japanese illustrated woodblock printed books, of all periods

Transcription

List Date : NOVEMBER 19, 2016
WOODBLOCK ILL'D BOOK
1 - 497
============================================================
RARE ORIENTAL BOOK CO. ABAA, ILAB
An Art & Intellectual Property Company Since 1967
P.O. BOX 1599
APTOS, CALIFORNIA 95001
TEL [831] 689 0203
email [email protected]
website: http://www/rareorientalbooks.com
Dear Antiquarian Oriental Bibliophile,
SOMETHING NEW !!
WE ARE NOW MAKING COLOR-ILLUSTRADED CATALOGS !
FREE SUBSCRIPTION TO OUR MAILING LIST
You are invited to join our free color-catalog mailing list.
Please let us know your collecting, reading and book buying
interests, we shall be happy to add you to our email mailing
list. Please visit our website [link above], and select any
catalogs of your choice and download them after selection.
--------------------------------------------------------------------------------------------
IN ANSWER TO YOUR REQUEST,
THIS LIST WAS SPECIALLY GENERATED FOR YOU
IMPORTANT ====>>>
HOW TO ORDER THE CORRECT ITEM YOU WANT TO AVOID CONFUSION
We issue lists daily, please order by the unique BOOKNUMBER,
and also if you wish let us know the author & title.
Please DO NOT order by catalog individual item number, as
this changes daily.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
B E F O R E
O R D E R I N G
P L E A S E
R E A D
B E L O W !!
All items in very good or better used antiquarian condition.
Relatively small defects such as former owner's names,
bookplates [ex-libris private collection book plates], minor
RareOrientalBooks.Com
scuffing, scratches, marks, discoloration of the paper,
"toning," minor spine head/tail wear, mild corner bumps,
minor fading and the like are not mentioned.
.
Please view photographs posted to our website to confirm
condition and your interest, or ask questions, request more,
or better photos prior to ordering.
.
All items are sold as complete, or as described. Most books
in English, or in a foreign language, as noted.
*
*
*
*
*
TO OUR DEAR LIBRARY COLLEAGUES:
We are triple graduates of U.C.L.A., and your MLS colleague,
U.C.L.A. School of Library & Information Science, 1972.
We are more than happy to cooperate with you and eager to
try to meet special needs. We offer deferred or other
creative billing, adjustable by fiscal year limitations,
remaining budget funds can be used where expirations dates
limit selection or against time restraints. We are flexable
and happy to assist you in preserving your budget. We can
offer "special terms" to our colleagues when ever possible.
our inquiries appreciated, let us us hear from you!
We are happy to accept for credit your antiquarian,
scholarly and better books in the Asian-related fields
listed below. Please watch for quality book donations,
scholar's libraries, G & E items.
Please send us a simple hand list for starters.
*
*
*
*
THIS LIST SUPERSEDES ALL OTHER LISTS, PRICES IN U.S. $
ALL ITEM PRICES ARE SUBJECT TO CHANGE WITHOUT NOTICE
ALL ITEMS AVAILABLE "FIRST COME, FIRST SERVED," BASIS, ALL
SUBJECT TO PRIOR ORDERS & OR RESERVES.
A MORE COPIOUS DESCRIPTION & PHOTOS OF ANY ITEM AVAILABLE
UPON REQUEST.
APPROPRIATE POST, PACKING & INSURANCE/REGISTRY EXTRA
WHEN ORDERING,PLEASE INDICATE YOUR PREFERRED SHIPPING METHOD
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
T E R M S
O F
B U S I N E S S
Please CONFIRM your interest in an unfamiliar item by FIRST
viewing it at a library BEFORE ordering.
We do not send books on approval. Books are NOT returnable
except when the book differs from the catalog the catalogue
description. We are meticulous in our professional efforts
to accurately catalogue [according to AACR rules] and
describe our items. Unauthorized returns will be refused
and returned to the sender unopened. Any return MUST be
pre-authorized by us BEFORE being sent back. Returns must be
re-packed in our original packing materials. Returns are the
buyer's responsibility, any damage sustained to a returned
item, for any reason, books returned in less than the
condition it was sent will not be accepted.
Any returns must be made within two days of receipt, by
either: registered or insured mail, in all cases sent with
*
"signature required" to insure return. Items not received
will not be refunded. Items lost in the mail remains the
buyer's responsibility.
. . . . .
. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PAYMENT METHODS
Please wait for us to send you a Pro-Forma invoice with the
shipping before paying. Please select a shipping method.
Credit card payment via Paypal accepted, we ask that you
please pay the 5% fee Paypal takes from each payment
transaction. We are sorry to say that we no longer directly
accept any credit cards. Domestic clients can send their
personal check, or U.S. Postal money order [no other money
order accepted] payment at our option.
FOREIGN BUYERS:
Foreign buyers can pay by Paypal per above terms. Wire
transfer is accepted, or requested at our option, depending
on the value of the item and your location. Wire transfer &
banking details will be provided.
Foreign shipped books of value will only be sent via
registered mail or insured, or by Federal Express at our
option. Signature required to insure deliver is required.
We can not ship valuable books that are non-trackable,
non-insured or by non-registered methods and take any
responsibility for loss, damage or non-delivery.
If you want to have your books mailed WITHOUT any insurance,
tracking we can do that, however you assume all risk, there
are no refunds or adjustments for undelivered or damaged
items. We will provide you with a U.S. Post office "proof of
mailing" receipt, beyond that we can not help if your item
does not arrive or is damaged.
*
*
*
*
APPROXIMATE HOURS OF OPERATION
We DO NOT keep predictable office hours.
Although we often try to be here some weekdays from 10 AM. 6 PM. California time, or by chance. The most reliable way
to contact is by email: [email protected].
We are often out of the office, you can leave a voice
message on our answer machine. During rain storms we often
loose power and your message. If you don't get a reply
within 2-3 days, please send us email.
-----------------------------------------------------------DESIDERATA
If you did not find the exact book you were looking for in
this list, please send us your current desiderata or want
list.
We shall be happy to search and offer your wanted items when
when found without obligation.
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
A L W A Y S
B U Y I N G
For the past 50 years, we have been dealing exclusively in
Far Eastern literary & artistic materials.
We are always interested in buying collections, libraries
or single better items in our fields of interests:Early and
Rare books on: JAPAN, CHINA, KOREA, PHILIPPINES, SIAM, S.E.
ASIA, VIETNAM, ANNAM, TONKIN, COCHIN-CHINA, FRENCH INDOCHINA, LAOS, CAMBODIA, BURMA, MALAYA, SINGAPORE, TIBET, MT.
EVEREST, YUNNAN, CENTRAL ASIA, BUDDHISM, ASIANS IN AMERICA,
JAPANESE & CHINESE ART REFERENCE, JAPANESE WOODBLOCK PRINTS,
MAPS & E-HON or JAPANESE [ILLUSTRATED WOODBLOCK-PRINTED
BOOKS], WOODBLOCK PRINT REFERENCES, PHOTOGRAPHS OF ANY AREA
IN OUR SPECIALTIES, PHOTO ALBUMS, STEREO VIEWS,CHINESE SNUFF
BOTTLES, JADE, JAPANESE SWORDS, NETSUKE, JAPANESE & CHINESE
PAPER-MAKING, COMMODORE MATTHEW C. PERRY:his letters & books
LAFCADIO HEARN: First Editions, Manuscripts & his 16 Vol.
Set: The Writings of Lafcadio Hearn.
Early European printed maps showing the countries & areas
noted above, and any other related & choice material.
* * * *
If you are considering the weeding or disposal of your
library, collection or better single titles please send us a
note or list we are interested. We travel to your location.
If possible, please send us a simple hand list showing
author, title, imprint & condition.
** ** ** ** **
A P P R A I S A L S
We are America's most experienced & qualified Asian
specialty appraisor.
We have been a specialist antiquarian rare bookdealer since
1967. This is our fiftieth year of professional experience,
we are a highly qualified specialist and scholar. Working in
materials in Chinese, Japanese, Vietnamese and in most any
other western European language. We are triple graduates of
U.C.L.A. with two years Japanese University and one year
Taiwan research residency.
We are prepared to execute your most complicated appraisal
for insurance, charitable donations, probate, valuations, or
any other purpose.
Please inquire for more details.
** ** ** ** **
WEEDING YOUR LIBRARY ? BOOKS FOR SALE ?
COLLECTORS:
We are always interested in buying your better single items,
or whole collections and libraries.
Please contact us with your list & inquiries.
LIBRARIANS:
Your duplicates, G & E items in our area specialty will be
happily considered for credit or cash.
Please send us a simple hand list, or inquire.
============================================================
NOVEMBER 19, 2016
BEGINNING OF THE MEIJI PERIOD BOOK OF KABUKI & SAMURAI
Book Number: 27024801
1 [ADACHI, Ginko.]
[EHON SHOSETSU SAI GINKOH: WOODBLOCK BOOK BY GINKOH.
[Japan 1880, no publisher]. Stiff boards, accordion album,
contains 11 double-page woodcut color prints, or 22 smaller
prints, each Chuban page is 21 x 17 cm., rebacked,mismatched
covers, each page is a small dyptich.
OBSCURE ITEM !
The contents consists of 10 double-illustrations in full
woodblock printed color. Some of the pages are slightly
mis-aligned, which is normal for a book of this period and
nature.
*
THE ARTIST:
Sho-Setsu-Sai Gin-Koh is his real name, and he used his
studio name Adachi Ginkoh for this book, he flourished
1874-97. He had several other Go or studio names, see
Roberts below for more details.
*
Each print shares a date cartouche at the top, stating Meiji
period, these are diptych type woodcuts, each pair equals a
single image or scene from a Kabuki play. The action starts
out with a Buddhist priest talking to an itinerant
traveler. The next shows two ruffians engaged in
conversation. Followed by a man with a stab wound in the
belly biting his Kimono to stave off the pain, while two
other men look at him. The next shows a man offering a cup
of Sake to an Onnagata [woman form, actually acted by a
man]. Nest shows a man holding a Kiseru tobacco pipe talking
to another man and an Onnagata. Two men are locked in
crossed bamboo Kendo swords during sword play and practice.
Two samurai look at the same direction, one has drawn his
sword in anger. Two Samurai engage in combat, the man on the
right trying to avoid being roped while trying to stab his
opponent with a short dagger; the other uses a fork-like
weapon to jab the other man in the neck while pulling the
rope tight. Three Samurai all look to the left, one holds
Kiseru pipe, the other two fans. Next shows a central
Samurai figure who holds his sword, he looks at a man to his
left as does an Onnagata to his right.
*
DATES:
The top of several prints show the dates, which range from
1868-1888, essentially meaning the scenes were from these
years.
*
CONDIDITON:
The work is solid having been rebacked at some time. Each of
the woodblock prints are laid down on the backing, some show
previous old vertical folds, minor corner wear, dusty, old
minor stains, but solid and nicely executed in the usual
Meiji genre. The album has mismatching covers. The contents
consists of 10 double-illustrations in full woodblock
printed color. Some of the pages are slightly mis-aligned,
which is normal for a book of this period and nature. We
tend to be over critical on condition, nevertheless this is
a nice work, highly collectable.
*
A good representation of Meiji type Kabuki/Samurai style
plays, with good costumes, period Kimono as well as Western
style clothing, typical of that period. The artist's name is
on some of the prints along with his cinnabar Hanko or seal.
All prints show the names of the actors and whom they
portray in the story.
*
BIBLIOGRAPHY:
L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.32 left colum,
states he was an Ukiyo-e printmaker, life unknown, good at
Nishiki-e and actors' portraits [as is evidenced by this
book], as well as battle scenes. Served as an lillustrator
during the Sino-Japanese war, and is highly collected by
world museums.
*
AN EARLY OPHTHALMOLOGCAL & ILLUSTRATED TREATISE
2 AI, Gakuen.
GANKA ZENSHO:TREATISE & MANUAL OF OPHTHALMOLOGICAL DISEASES.
Kyoto 1824, Suwahara. Blue stitched stiff wrs., 6 vol. set,
bound in 3, very good, 53+57+55 double folded leaves, woodblock printed on handmade mulberry paper, 76 illustrations
of eyes each with a different appearance or malady. R A R E
The first edition of this work was published in 1688 in 3
volumes, again in 1791 and greatly enlarged, or doubled in
the current edition of 5 volumes, with additional illustrations of eyes with disease. An amazing work, contains therapeutics, operations, use of Moxa in ocular disorders. The
use of & application of medicine, pharmacopoeia, what plants
to use, how to use them, application of fish oils and other
salves and washes. The profuse illustrations, each show a
different eye disease or problem. Each is identified, named,
discussed, with the remedy & prescription. During this time,
the Majima School of Ophthalmology flourished & was important to the end of the Edo period [1604-1867], they taught
anatomy and pathology of the eye, & therapy through drugs
& operations. The beginning of this text discusses the anatomy and illustrates its parts with proper names cited. This
text was part of that "secret" knowledge supplemented by
word of mouth, or dictated to others, but not allowed to
be seen or copied into books or in their entirety. See
G. Mestler: GALAXY OF OLD JAPANESE MEDICAL BOOKS, p.328
et al for citation of this work and more on the Majima
Opthalmology School. This work was originally taken from a
Chinese manual of diseases of the eye by Ai, thus the text
is still in Chinese, or Kambun in Japanese, with the Furigana grammatical marks for Japanese to read and understand.
Also cited in Yu. Fujikawa; JAPANESE MEDICINE Clio Medica
Series 1934, p.58: "First knowledge of European ophthalmo-
$524
ology came to Japan with the translation of von Plenck's
work by Kinchoo Sugita published 1815 with the title
GANKA SHINSHO A NEW WORK ON OPHTHALMOLOGY." cited in S.Kure:
REPORT OF THE MEDICAL EXHIBITION 1925, p.46. A very bright
copy, with a minor bit of old worming, text barely affected
else clean, solid & complete as originally issued. Books of
this subject interest were highly coveted and protected by
Japanese physicians and practitioners, used widely by physiians and Rangakusha [Dutch learning scholars] & not commonly
available to the general public. Contained in a blue Chitsu
cloth covered folding case, ivory pegs. Scans can be sent by
email.
$6120
A BUDDHIST PILGRIM'S GUIDE TO THE TEMPLES OF KYOTO
3 AKATSUKI, Kanenari.
SAIKOKU SANJUSAN SHO MEISHO ZU: PICTORIAL RECORD OF THE
FAMOUS THIRTY-THREE TEMPLES OF KYOTO & ENVIRONS CONSECRATED
Osaka 1853, Shogagoshi.Blue stitched stiff wrs., dusty, some
title slips rubbed away, contents clean, solid, 10 vol. set,
woodblock printed on hand-made mulberry paper, 18 x 25.5 cm.
31+75+61+50+59+37+64+50+60 double folded leaves.
R A R E
With 89 single, 151 double page illustrations by Matsukawa
Hanzan flourished [1850-82], Kikugawa Chikkei [1816-67],
Uraga Kosai. A most substantial & copious illustrated guide.
This superb work covers the 33 temples of Kyoto and environs
consecrated to the goddess Kwannon. During the middle ages,
it was commonly believed that whosoever had gone to these
temples would be preserved from hell. This work is a copious
and illustrated guide to those temples. They are: Nyoirin,
Kokawa, Fujii, Ryakai, Nan-en-do, Kami-no-Daigo, Ishiyama,
Shin Kuimano, Ryuhara-Mitsu, Gyokwan, Bodai, Kacho, ShinKiyomizu, Nyorin, Matsu-no-o, Chomei, Kegon, Kongho, Sefuku,
Minami-Hokkei, Hase, Shoho, Mii, Kiyomizu, Rokkaku, Yoshimine, Sozen, Nakayama, Hokke, Seiso, Chikubu & Kwannon. Note,
we have omitted the common suffix for "temple" [dera, ji]
from these names. A most charming and lovely period work,
showing contemporary life and life style of the Japanese.
Shows the common people, tea shops and resting places, inns,
Samurai, Buddhist priests, landscapes, whaling along the
coast, activities of the lay people along the roads and in
the villages, out door bathing and so much more. Cited in
much bibliographical detail in C. Mitchell: THE ILLUSTRATED
BOOKS OF THE NANGA, MARUYAMMA, SHIJO...p. 455-6. Wrong author attribution to Akeno in R. Douglas: CATALOGUE OF JAPANESE
PRINTED BOOKS...London 1898 & 1904 editions. For a nice description of the subject of this book, see E. Papinot: HISTORICAL & GEOGRAPHICAL DICTIONARY OF JAPAN, p.540, which lists
all thirty-three temples cited in this work. In L. Roberts:
DICTIONARY OF JAPANESE ARTISTS p.13 good biographical notes
on two of the artists: Chikkei; p.39 for Hanzan. Scans can
be sent by email.
$3400
EARLY PRIMARY TALE OF JAPANESE CASTEWAY IN MEXICO & AMERICA
4 AKIKO, Gyosoh.
KAIGAI IBUN: STRANGE INFORMATION FROM THE OTHER SIDE OF THE
SEA. [Japanese Castaway in Baja California & Mexico, 1850's]
[Japan], n.p. 1854, Seifuen Juou]. Stitched wrs.,5 vol. set,
17.5 x 25.5 cm., Japanese text, double-page color map, 13
double-page & 26 single-page illustrations, woodblock color
printed, 101 double-sheets in all. FIRST & ONLY RARE EDITION
In the 18th and 19th centuries many Japanese junks were
driven by storms and currents to the California coast. Under
punishment of death by the Shogun, no Japanese were allowed
to leave nor return back to Japan from about 1604 through
1867. This tale is an exception to that rule !
*
JAPANESE TITLE: Kaigai Ibun, Ichimei, Amerika Shinwa.
*
The true and fascinating story of 13 Japanese castaways who
were rescued in mid-ocean, then taken to Mexico and finally
returned to Japan via Canton. The story was written by one
of the castaways, Hatsutaro [no last name was held by him at
that time, a common Japanese name feature] then published
in Japan. Hatsutaro was a peasant from Awa, along with
twelve other sailors were the crew aboard the Eiju Maru, a
coastwise shipping vessel. They were blown out to sea in
their disabled craft. The work is vividly illustrated with
some 39 color pages [13 are double-page illustrations] in
all. With charming and naive scenes of early Mexico, their
homes, people, activities and native costumes.
*
This fascinating primary resource covers the tale of the
story of castaways as written by Hatsutaro. They were all
lost off the coast of Hyogo, Japan in 1841, the crew of 13
men sailed without rudder for some six months southeast to
be rescued by a Spanish galleon returning from S. China, and
then dropped off in Baja California, at San Jose del Cabo.
They went to Mazatlan, and eventually boarded a ship bound
for Canton, and then back to Nagasaki in 1854. A wonderfully
brilliant work, full of excitement and the unusual.
*
There is a lovely double-page map in full color of the
Pacific showing the route of the author, his visit to Lower
[Baja] California and Mexico, and his return back to Japan.
See Maekawa below for full English translation of the
voyage.
*
COMPILER:
A-Boku Shin-Wa compiled by Confucian minister Bunzo MAEKAWA
and that was then translated by Zumwinkle, see citation
below.
*
COLLATION:
Vol. 1: 26 sheets, 2 sheets preface, 1-18 pages text 4
.
sheets illustrations, 2 sheets maps.
Vol. 2: 20 sheets, 1-15 text, 5 sheets illustrations.
Vol. 3: 21 sheets: 1-19 text, 2 sheets illustrations.
All illustrations are in color. Issued with no title page,
no Hashira title, no colophon; above extracted from Kerlen &
Toda, see bibliography below.
***
FULL TITLE:
Title: KAIGAI IBUN, STRANGE INFORMATION FROM THE OTHER SIDE
OF THE SEA [or STORY OF A CASTAWAY]
Subtitle: AMERIKA SHINWA: The New Story of America.
***
CONTENTS:
Book 1: The preface, with notes on the illustrations, map of
the castaways' route. Narrative from the time their drifting
began until their arrival in America, and their sojourn at
the town of San Jose [del Cabo].
*
Book 2: The account of the homeward voyage from America
across the ocean to Canton, in China. The account of the
trip from Canton to Chapu [Ning-po] and their return to
Japan.
*
Book 3: Geography, climate, population, language, food and
drink, housing.
*
Book 4: clothing, customs.
*
Book 5 : Amusements, coinage, ships, flora, faunal.
***
THE ENGLISH TRANSLATION:
We also include a copy of the full English tranlation of
MAEKAWA, Bunzo: "KAIGAI IBUN: A Strange Tale From Overseas,
or a New Account Of America. compiled from the narrative of
Hatsutaro, a Japanese Castaway" title with any order for
this book. See below for bibliographical details.
***
BIBLIOGRAPHY:
Dawson's Book Shop: ASIATIC BOOKS 1949-1952 compiled by Jack
Gyer, item #211, page 29.
*
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS IN
PUBLIC COLLECTIONS IN THE NETHERLANDS, no. 724, page 311.
*
MAEKAWA, Bunzo. comp. et al. KAIGAI IBUN: A Strange Tale
From Overseas, or a New Account Of America. compiled from
the narrative of Hatsutaro, a Japanese Castaway. Los Angeles
1970, Dawson's Book Store. This work provides an excellent
and complete English translation of the text along with many
color illustrations. Translated by Richard Zumwinkle,
assisted by Tadanobu Kawai. FIRST & ONLY LIMITED EDITION OF
900 Copies only.
*
K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHNESE
ILLUSTRATED BOOKS: p.441
*
KSM: [kiko, hyoruki], 2-5-3
*
Dawson's Book Store, ASIATIC BOOKS, catalog by Jack Gyer,
L.A. 1952, item 211, page 29.
*
Not in Mitchell
*****
$9836
5 AKIMOTO, Shunkichi.
THE TWILIGHT OF YEDO.
Tokyo [1952], Tokyo News Service. Blue boards, 231p., very
good, dj.
A trilogy of Edo period literature, reflecting a time now
passed. Illustrated from old period woodblock printed books
& a print of the Himeiji Castle by Yoshida Hiroshi. Titles
are: Twilight of Yedo, The Mad Karo of Himeiji, Kibyoshi-bon
or Yellow-Cover Story Books. Poignant and reflective essays.
Nice & easy, enjoyable reading.
A STUNNING RECORD OF SHANK'S MARE ON JAPAN'S INLAND HIGHWAY
6 AKIZATO, Ritoh.
KISOJI MEISHO ZUE: PICTORIAL DESCRIPTIONS OF NOTED PLACES
ALONG THE NAKASENDO HIGHWAY CROSSING THE CENTRAL PART OF THE
Osaka 1814, Kawachi-ya. Blue stitched stiff wrs., very good,
7 volumes bound in 6, profusely illustrated, woodblock printed by hand on hand-made Masa paper, bright clean copy, no
worming, solid, 18 x 25.5 cm., paper folding case.
R A R E
Kiso: a mountainous region comprising the S. W. of Shimano
and the East of Mino. In 702 A.D. a road was built there,
called the Kiso-kaidoh or Nakasendoh. The ancient fief of
Kiso, extended as far as the modern city of Matsumoto [Shinano] now called Nagano prefecture. It was given to a branch
$80
of the Minamoto clan, among whom Yoshinaka became famous. In
the Ashikaga era, the region belonged to the Kiso family,
who resided first at Suhara, then at Fukushima. Hideyoshi
gave it to Ishikawa Sdakiyo. A historic road and main inland
route connecting Kyoto to Edo [modern Tokyo]. It passed through the provinces: Yamashiro, Omi, Mino, Shimano,Kozuke and
Musashi, as it followed the great Kiso river for a long distance, thus being called the Kiso-kaidoh, it counted some 69
Eki [stations]. In Edo, all roads began [and ended] at Nihon
Bashi, the famous arched bridge in the center of town. Thus,
this work also shows that famous location with its charming
and famous bridge. This lovely travelogue shows the majestic
and wondrous sights along the highway, from its beginning
in the deep mountains and lush forests. It shows the marvelous Buddhist shrines, Shinto temples, nestled villages, teashops, resting places, quaint inns, rivers, rapids, rural
scenes, and of course, the people who worked and traveled
this road. There were regal personages and royalty who traveled in their lacquered & screened carriages, religious pilgrams visiting the adjacent shrines, laborers, Samurai, entertainers, cloistered women, processions of festivals and
portable shrines, fierce horse-mounted armoured Samurai, a
Buddhist priest riding a horse facing backwards, mixed out
door bathing and so many more. The work also lingers on important places & shows one the interior of celebrated shrines
& temples, noble palaces, giving us valuable insights to the
actual life styles of the times. Famous & holy places shown,
great waterfalls, river crossing ferries, the lovely Gifu
cormorants ply the Nagara River at night catching fish, magnificent holy rocks, deep gorges and canyons, epic poems
cited. A most charming intimate insight to the life & times
of early 19th century Japan. Cited in
H. Kerlin: CATALOGUE
OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN
THE NETHERLANDS, p.373-4, as item #873. This was bound in
several variants, 197 full page illustrations by Nishimura
Chuwa. Several are connecting, that is to say, 3-4-5 make a
single image of a famous place in panoramic form. See E.
Papinot: HISTORICAL & GEOGRAPHICAL DICTIONARY OF JAPAN, Kiso
Kaidoh p.285-6; Nakasendoh p.429 for more details. The set
is in very good condition, with rubbed & bit soiled covers
for volume one only, the balance clean, occasional old worm
pin-holes, but not detracting from the overall look & value.
By and large a most stunning guide book and period reference
to Edo period life.
A STUNNING RECORD OF SHANK'S MARE ON JAPAN'S INLAND HIGHWAY
$2856
7 AKIZATO, Ritoh.
KISOJI MEISHO ZUE: PICTORIAL DESCRIPTIONS OF NOTED PLACES
ALONG THE NAKASENDO HIGHWAY CROSSING THE CENTRAL PART OF THE
Osaka 1814, Kawachi-ya. Blue stitched stiff wrs., very good,
7 volumes bound in 6, profusely illustrated, woodblock printed by hand on hand-made Masa paper, some old minor occasional worming, else text clean & bright, 18 x 25.5 cm. R A R E
Kiso: a mountainous region comprising the S. W. of Shimano
and the East of Mino. In 702 A.D. a road was built there,
called the Kiso-kaidoh or Nakasendoh. The ancient fief of
Kiso, extended as far as the modern city of Matsumoto [Shinano] now called Nagano prefecture. It was given to a branch
of the Minamoto clan, among whom Yoshinaka became famous. In
the Ashikaga era, the region belonged to the Kiso family,
who resided first at Suhara, then at Fukushima. Hideyoshi
gave it to Ishikawa Sdakiyo. A historic road and main inland
route connecting Kyoto to Edo [modern Tokyo]. It passed through the provinces: Yamashiro, Omi, Mino, Shimano,Kozuke and
Musashi, as it followed the great Kiso river for a long distance, thus being called the Kiso-kaidoh, it counted some 69
Eki [stations]. In Edo, all roads began [and ended] at Nihon
Bashi, the famous arched bridge in the center of town. Thus,
this work also shows that famous location with its charming
and famous bridge. This lovely travelogue shows the majestic
and wondrous sights along the highway, from its beginning
in the deep mountains and lush forests. It shows the marvelous Buddhist shrines, Shinto temples, nestled villages, teashops, resting places, quaint inns, rivers, rapids, rural
scenes, and of course, the people who worked and traveled
this road. There were regal personages and royalty who traveled in their lacquered & screened carriages, religious pilgrams visiting the adjacent shrines, laborers, Samurai, entertainers, cloistered women, processions of festivals and
portable shrines, fierce horse-mounted armoured Samurai, a
Buddhist priest riding a horse facing backwards, mixed out
door bathing and so many more. The work also lingers on important places & shows one the interior of celebrated shrines
& temples, noble palaces, giving us valuable insights to the
actual life styles of the times. Famous & holy places shown,
great waterfalls, river crossing ferries, the lovely Gifu
cormorants ply the Nagara River at night catching fish, magnificent holy rocks, deep gorges and canyons, epic poems
cited. A most charming intimate insight to the life & times
of early 19th century Japan. Cited in
H. Kerlin: CATALOGUE
OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN
THE NETHERLANDS, p.373-4, as item #873. This was bound in
several variants, 197 full page illustrations by Nishimura
Chuwa. Several are connecting, that is to say, 3-4-5 make a
single image of a famous place in panoramic form. See E.
Papinot: HISTORICAL & GEOGRAPHICAL DICTIONARY OF JAPAN, Kiso
Kaidoh p.285-6; Nakasendoh p.429 for more details. The set
is in very good condition, with rubbed & bit soiled covers
for volume one only, the balance clean, occasional old worm
pin-holes, but not detracting from the overall look & value.
By and large a most stunning guide book and period reference
to Edo period life.
A STUNNING & MOST LOVELY 18TH CTY. GUIDE TO KYOTO & ENVIRONS
$2992
8 AKIZATO, Ritoh.
SHUI MIYAKO MEISHO ZUE: ADDENDUM OF PICTORIAL DESCRIPTION OF
NOTED PLACES IN KYOTO.
[Osaka 1787, Kawachiya]. Blue stiff wrs.,4 vol. set bound in
5, 56+48+49+59+72 double folded leaves, 568p. in all, 25+34+
32+33+43 woodcuts, hand printed Washi paper, Japanese text,
bit of old minor worming vol.3, 5, else solid, complete.RARE
This title is a supplement or addendum another title by the
same author, under title: MIYAKO MEISHO ZUE, please see our
other entry for the first part of this set, our book
#220253, at our website, or ask us to send you more
information on that part.
***
This work was illustrated by Shunchosai Takehara Nobushige.
It is a superb guide to the famous sights and architectural
monuments. It covers famous places in Kyoto the ancient
capital, shrines, residents, palaces, Buddhist temples and
other famous and historic places are drawn from a distant or
close-up and in much detail.
***
REFERENCES:
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN
PUBLIC COLLECTIONS IN THE NETHERLANDS, p.454, #1066.
***
A MOST LOVELY ILLUSTRATED PERIOD GUIDE TO KYOTO'S SIGHTS
9 AKIZSATO, Ritoh.
MIYAKO MEISHO ZUE: PICTORIAL DESCRIPTION OF NOTED PLACES IN
KYOTO.
[Osaka 1780, Yoshinoya].Blue stitched wrs., very good,covers
covers bit dusty, extremities bit worn, contents clean,solid
a 6 vol. set, complete, woodblock printed on hand-made
mulberry paper by Takehara Shunchosai flourished [1772-1801]
A collection of famous views in and around Kyoto, the
ancient capital. A lovely period guide to the Buddhist
temples and shrines, the Emperor's outings in and around the
city, his Royal processions, great funeral processions to
Kitano Tenman temple, Buddhist ceremonies and musical
rituals. A documentary on 18th century contemporary Kyoto
life, the common people, Samurai, the Imperial family, New
Year's celebrations, great merchant houses & activities.
In volume 2, part 2 is a very fascinating illustration of
$2720
three Hollanders visiting a temple.
*
Large numbers of onlookers cast astonished glances at the
first Westerners to grace their city. Akizato also wrote
SHUI MIYAKO MEISHO ZUE, a supplement to this title, please
check with us to see if this is in stock, or request our
full list of Japanese illustrated books.
***
Contains 418 wood cut illustrations.
***
SEE US FOR THE SUPPLEMENT ITEM:
We have separately listed the supplement to this title as
our book # 240225. Please see it listed on our website, or
ask us for more information. This supplement completes the
first series of this title.
***
BIBLIOGRAPHY:
H. Kerlen. CATALOGUE OF PRE-MEIJI JAPANESE
BOOKS...p.453 item #1065.
*
D. Chibbett: A DESCRIPTIVE CATALOGUE OF THE PRE-1868
JAPANESE BOOKS...p.53 item #139.
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, p.136.
*
C.H. Mitchell: ILLUSTRATED BOOK OF THE NANGA, MARUYAMA,
SHIJO...lists a later edition on p.420.
*
L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.155 for
biographical details on the artist Shunchosai.
*
$9520
A RUN FROM VOLUME 1 NUMBER 1 OF THIS COLLECTOR'S JOURNAL
10 ANDON.
ANDON: SHEDDING LIGHT ON JAPANESE ART: A Journal.
[Leiden, 1981-2003, S.J.A.]. Stiff buff & color wrs., very
good, broken run, beginning with Vol.1, no. 1 to #15, 17-25,
30-32, 34-36, 38-43, 47, 49, 52-58, 62,74 as a lot missing a
few, FROM THE BEGINNING to 2003, very clean.FIRST & ONLY ED.
ANDON SHEDDING LIGHT ON JAPANESE ART A Journal.
*
This run has many color & b.w. photos, contains some 47
issues in all, each bright, tight, new as issued.
***
Covers a wide range of subjects, focus on Japanese
woodblock prints, woodblock printed books, albums,
Netsuke, collectors, Surimono, signatures & the folklore,
customs, erotic themes found in these objects.
*
With scholarly article contributions, as well as those of
collectors. Fine reference for collectors & students alike.
ANDON is the Bulletin of the Society for Japanese Arts &
Crafts.
***
$275
COMPLETE MID-19TH CTY. ATLAS OF JAPAN'S PROVINCES & ISLANDS
11 AOU, Tohkoku.
KOKU GUN ZEN ZU: COMPLETE ATLAS OF JAPAN SHOWING SECTIONAL
MAPS OF EACH PROVINCE, COLOUR WOODBLOCK PRINTED.
Osaka 1837, Kawachi. Yellow stiff stitched wrs., very good,
2 volume set, 41+35 double folded leaves, woodblock printed
in color by hand, on hand-made mulberry paper, 19.5 x 28 cm.
covers minor rubbed,some faint marginal staining,else solid.
This is a color national atlas of Japan. The work begins
with a nice double-page national map. It continues with 66
double-page color maps 66 provinces or "Kuni" the name for
ancient provinces, and the "Gun," some 69 maps in all. Also
all of the island provinces; the five main highways, that
crossed much of the country. Each map shows the area in much
detail & color outline: mountains, rivers, villages, towns,
castles and roads, with the four directional symbols noted,
each place labeled with proper names. An exceptionally detailed set of provincial maps, each map occupies two facing
pages ca. 34 x 21 cm. The maps are drawn in the "bird's eye
view" with a charming perspective style and show the water,
sea, lakes & rivers in blue, mountain areas in green, important towns in yellow. With an index of each Kuni and road
listed. Nicely executed, a fascinating early atlas. Listed in G. Beans: A LIST OF JAPANESE MAPS OF THE TOKUGAWA ERA
p.36-7, entries: 1837.1-1837.69.
A MARVELOUS RENDERING OF BEAUTIFUL COLOR ART IN WOODBLOCKS
12 ARAKI, Kampo.
KAI GA CHO, KAMPO, KAGETOSHI, BAIREI, YOSHIFUMI KATEI &c.:
A Salute to Ancient Painters.
$2448
Tokyo [1892], Okuma. Stitched stiff wrs., vol 2 of 2 vol set
blocks carved by Minokichi, complete in itself, 23 double
folded leaves [ie 46p.], 40p. color woodblock prints, hand
printed on hand made paper, 16 x 14.5 cm., very good.
A most interesting color illustrated book. Consisting of
flowers, birds, landscapes, traditional Japanese style pictures. Also shrimps and a cat, a Chinese feminine beauty,
ducks, Noh drama, Japanese woman making paper, Chinese scholar, morning glories, ancient Japanese nobleman & a water
waterfall. The artist pays homage to ancient painter's techniques and subjects, showing his great skill and execution
of line, color & composition. Beautifully illustrated, fine
example of the last phase of expert Japanese woodblock printing in color in the traditdional style. Each painting is
cinnabar sealed.
$544
13 ARCHIVES OF ASIAN ART.
VOL. XLVII, 1994.
New York 1994, Asia Soc. Stiff buff wrs., very good, 23 x 30
cm., 100p., many b.w. photos.
With articles: Kathyln Liscomb: A COLLECTION OF PAINTING
AND CALLIGRAPHY DISCOVERED IN THE INNER COFFIN OF WANG ZHEN;
Tsuji Bobuo: ORNAMENT [KAZARI] AN APPROACH TO JAPANESE
CULTURE; Quitman Phillips: HONCHO GASHI AND THE KANO MYTH;
Timon Screech: THE MEANING OF WESTERN PERSPECTIVE IN EDO
POPULAR CULTURE; C.C. Wang and Katleen Yang: THE REDISCOVERY
OF NI ZAN, LONGMEN DUBU TU.
A SUPERB MONOGRAPH ON ONE OF JAPAN'S GREATIST ARTISTS
14 [ASAI, CHU Tadashi.] MOKUGOKAI comp.
MOKUGO NIHON GASHU: A GROUP OF PAINTINGS BY ASAI [CHU]
TADASHI COLLECTED BY THE MOKUGO CLUB.
[Kyoto 1909, Unsodo]. Green boards, thread-tied spine, tall
folio 24.6 x 37.5 cm., very clean. a bit of edge/corner wear
contents solid, 8 color woodblock prints, 81 b.w. collotype
photos, [Small Edition ca.200 Copies] THE RARE FIRST EDITION
. * * A STUNNING COLOR WOODBLOCK PRINTED MONOGRAPH * *
.
.
AN IMPORTANT JAPANESE PAINTER AND INFLUENTIAL ARTIST
.
This is a stunning work, with 8 full-page color woodblock
$70
printed illustrations, plus 81 b.w. collotypes, showing
89 examples of Asai's and other artist's paintings.
.
A DELUXE BOOK:
This work was beautifully printed with 8 color woodblock
prints, before which are tissue guards with the Japanese
painting title and the owner's name. This copy also contains
seven additional typed English sheets giving the title,
owner's name for the first 8 color prints, [lacks 1 sheet]
and translation of the Japanese.
.
The work was compiled by the committee from the MOKUGO KAI
[MOKUGO CLUB] and includes the works of Nakazawa Iwata,
Ikebe Gissho, Tsumaki Tsuruichi, Yamamoto Shunkyo, Kagoi
Toshiro, Kikuchi Samataro and Miyakodori Eiki.
***
.
WHO WAS THE ARTIST ASAI CHU [Tadashi] [1856-1907]:
.
Per Roberts below states, he was a "Western-style painter,
born in Kazusa province,, moved to Tokyo, later Kyoto, a
pupil of Kunisawa Shikuro at his private school Shogido in
1875, and Antonio Fontanesi the next year at the Kobu
Daigaku Bijitsu Gakko. In 1888, with Kawamura Kiyo-o and
others, set up the Meiji Bijutsukai. In 1898 taught at the
Tokyo School of Fine Arts. Served as a war artist in the
Sino-Japanese war. From 1900 to 1902 in France, living first
in Paris, then in Grez [near Paris], where he did some of
his best work; exhibited at the Paris Exposition of 1900. On
his return moved to Kyoto and became professor at the Kyoto
Kogei Gakko; also took a leading part in Kyoto art circles
as director of the Kansai Bijutsuin and founder of the
Shogoin Yoga Kenkyusho. Among his best pupils were Ishii
Hakutei, Umehara Ryuzaburo, and Yasui Sotaro. A leading
painter of his time, most influential in the development of
Western-style painting in Japan." He is well collected by
world museums.
***
Wikipedia has an excellent article on Asai Chu.
Asai Chu was a Japanese painter, noted for his pioneering
work in developing the yoga (Western-style) art movement in
late 19th century and early twentieth-century Japanese
painting.
.
Asai was born to an ex-samurai class household in Sakura, in
the Kanto region of Japan, where his father had been a
retainer of the Sakura Domain. He attended the domain
school, where his father was principal, and left home in
1873 to pursue English language studies in Tokyo. However,
he became interested in the arts, and enrolled as a pupil of
Kunisawa Shinkuro in western oil painting classes. In 1876,
he enrolled as one of the first students in the Kobubijutsu
Gakko [the Technical Fine Arts School], where he was able to
study under the Italian foreign advisor Antonio Fontanesi,
who had been hired by the Meiji government in the late 1870s
to introduce Western oil painting to Japan.
.
He also tutored the noted poet Masaoka Shiki in the
techniques of Western art, and was the model for a character
in Natsume Soseki�s novel "SANSHIRO."
.
Asai also used a number of "Go" or "studio names: Go:
Mokugo, Mokugyo.
.
A number of Asai�s works have been recognized by the
Japanese government's Agency for Cultural Affairs as
"IMPORTANT CULTURAL PROPERTIES.".
.
***
.
THE TWO EDITIONS:
[AND UNSODO THE PUBLISHER]
.
The title was printed in two editions:
The FIRST EDITION OF 1909, superbly done, and a much later
and poor quality edition of 1927.
.
This the FIRST EDITION OF 1909 is an exceptionally fine
printing of the first pull off the woodblocks in full color.
The quality of Unsodo in their early days was of the highest
standard in Japan of the period.
.
The second edition was printed some eight years later in
1927, reflecting the world-wide depression attitude of
poor-quality Japanese goods. This edition is can not compare
to the high quality First Edition.
.
***
THE BINDING:
The work is bound in the original green-pictorial paper
covered boards, with a decoration of flowers from the
artists collection. The binding is solidly stitched with
[recent] purple threads.
*
.
PROTECTED IN CHITSU:
.
The book is protected in a typical indigo-blue cloth covered
Japanese Chitsu case, circa the 1940's-50's period. It is
very clean and solid, without any issues, complete with 2
bone clasps, all in all, in excellent condition.
*
CONDITION:
The book covers show signs of use and wear at the corners
and edges, the contents is very clean, with all tissue
guards placed before each illustration. There was a tiny
worm hole on 2 pages, in the lower margins, properly
restored ages ago, this is not anywhere near the graphics,
the work is very solid.
***
.
REFERENCES:
WorldCat lists:
http://www.worldcat.org/title/mokugo-nihongashu/oclc/8447778
77/editions?editionsView=true&referer=br
*
Wikipedia cites him:
https://en.wikipedia.org/wiki/Asai_Ch%C5%AB
*
Link:
http://www.myjapanesehanga.com/home/artists/asai-chu-1856-19
07
This illustrates a number of his drawings, and prints, with
biographical data.
*
ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS:
PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, cites this
artist on p.6, left column.
***
$1559
EXCELLENT SCHOLARLY ARTICLES IN ALL FIELDS ABOUT JAPAN
15 ASIATIC SOCIETY OF JAPAN.
THE TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN.
Tokyo 1913, A.S.J.Grey cloth over boards,very good,p.493-680
vol 51, pt.4: W.Schwartz; THE GREAT SHINTO SHRINE OF IDZUMO:
Some notes on Shinto,Ancient & Modern, author's presentation
copy, clean ex-liberary copy, the usual marks, solid. SCARCE
These are bound in the original 1/2 cloth spine over boards,
all in very good or better condition. Uniformly bound by the
publisher. By and large these books were reference copies,
and not circulated. Later editions are in the original stiff
buff wrappers.
*
FIRST AND ONLY EDITION:
This title was only published by the Asiatic Society in
Japan, by and large all are this original edition, except
where stated otherwise.
*
PASON J. TREAT GIFT PLATE COPIES:
Some copies are with College gift book plate: PAYSON J.
TREAT COLLECTION, ex-library copies with the usual stamps,
and or small stamp on margin of title page & or possibly
another on lower edge, else very clean solid copies.
.
Some of these copies are also signed on the inside cover by
PAYSON J. TREAT, all with the above gift bookplate came from
his private collection.
*
NOTE:
Not all copies listed came from PAYSON J. TREAT.
Please inquire with us, if you want to know which copy came
from his collection.
*
Tokyo 1914, A.S.J.Grey cloth over boards, very good, 681p.
vol 42, pt.1: article: W. MCLAREN: JAPANESE GOVERNMENT DOCUMENTS, clean ex-library copy, usual marks, College gift book
plate, PAYSON J. TREAT COLLECTION signed by Payson J. Treat.
$37
buff wrappers.
*
*
.
*
NOTE:
*
Tokyo 1915, A.S.J.Grey cloth over boards, very good,170p.,
vol 43, pt.1: articles: J. Robertson: BIBLIOGRAPHY OF EARLY
SPANISH JAPANESE RELATIONS, clean ex-library copy, the usual
marks, solid,signed by Payson J. Treat & his gift bookplate.
buff wrappers.
*
*
.
*
NOTE:
$37
*
$43
Tokyo 1915, A.S.J. Grey cloth over boards, very good, 307p.,
vol.43, pt.2: W. Schwartz: A SURVEY OF THE SATSUMA DIALECT,+
parts: 1,2,3: CHARACTERISTICS OF THE DIALECT; LEXICAL COMPARISON OF THE DIALECT; VOCABULARY. Schwartz signed copy.RARE
buff wrappers.
*
*
.
*
NOTE:
*
Tokyo 1916, A.S.J.Grey cloth over boards, very good, 55p.,
vol 44, pt.1: articles: M. TAKESHIRO:OLD GEOGRAPHER. CRUCIFIXION OF THE TWENTY-SIX IN 1597. Clean ex-library copy, the
usual marks, solid, signed by Payson J. Treat.
R A R E
buff wrappers.
$37
*
*
.
*
NOTE:
*
$37
Tokyo 1917, A.S.J. Grey cloth over boards, very good, 185p.
vol. 45, pt. II: articles: S. Kato: WARONGO OR JAPANESE ANALECTS. G. Fisher: KUMAZAWA BANZAN. Rev. Macauley: PERCIVAL
LOWELL: A MEMORIAL. Clean ex-library copy, usual marks,solid
buff wrappers.
*
*
.
*
NOTE:
*
$37
vol. 45, pt.I: articles: F. Star: NOSATSU-KWAI. E. Kellogg:
HOGEN MONOGATARI. H. COLEMAN: LIFE OF YOSHIDA SHOIN, clean
ex-library copy, College gift book plate: PAYSON J. TREAT.
buff wrappers.
*
*
.
*
NOTE:
*
vol 46, pt.2: one article: A. Sadler: THE HEIKE MONOGATARI,
clean ex-library copy, usual marks, College gift book plate:
PAYSON J. TREAT COLLECTION, Payson J. Treat signed copy.
buff wrappers.
*
$37
*
.
*
NOTE:
*
$37
vol 46, pt.1: articles: E. Kellogg: SPRING & AUTUMN FIRES IN
JAPAN. E. Clement: YEDO & TOKYO. K. Asakawa: SOME ASPECTS OF
JAPANESE FEUDIAL INSTUTIONS. Treat signed, ex-libray, &c.
buff wrappers.
*
*
.
*
NOTE:
*
$37
+57p. list of books in TASJ library. Vol. 47: articles: F.
Purvis: SHIP CONSTRUCTION IN JAPAN. G. Bouldin: TEN BUDDHISTIC VIRTUES. S. Wainright:JAPAN'S TRANSITION. Treat signed.
buff wrappers.
*
*
.
*
NOTE:
*
Tokyo 1920, A.S.J.Grey cloth over boards, very good, 45p.,
vol 48, articles: F. Starr: EMA. E. Clement: SAKURADA AFFAIR
J. Troup: ABRAXAS, clean ex-librarly copy, usual marks,solid
College gift book: PAYSON J. TREAT COLLECTION, Treat signed.
buff wrappers.
*
$37
*
.
*
NOTE:
*
$37
vol. 49, pt. 1: A. Sadler: THE HEIKE MONOGATARI [cont], fold
out map, index, very clean solid ex-library copy, signed by
PAYSON J. TREAT, College gift book plate: TREAT COLLECTION.
buff wrappers.
*
*
.
*
NOTE:
*
$37
Tokyo 1922, A.S.J. Gray cloth over boards, very good, 100p.,
vol.50, articles: N. Tsuda: MANUSCRIPT COPIES OF BUDDHIST
SCRIPTURES & HOW THEY WERE MADE. E.CLEMENT: SAGA & THE SATSMA REBELLION. J.Gubbins: FEATURES OF TOKUGAWA. Treat signed.
buff wrappers.
*
*
.
*
NOTE:
*
Tokyo 1924, A.S.J. Gray cloth over grey boards, very good,
99p.,2nd series, vol.1:
G. Sansom; IMPERIAL EDICTS IN THE
SHOKU-NIHONGI. G. Ramstedt: COMPARISON OF THE ALTAIC LANG.
WITH JAPANESE. J.KUIPER:FOREIGN RELATIONS OF JAPAN...&c...
buff wrappers.
*
*
$37
.
*
NOTE:
*
$37
168p.,2nd series, vol.8:D.Holtom:SOME NOTES ON JAPANESE TREE
WORSHIP. M. Anesaki: WRITINGS ON MARTYRDOM IN KIRISHITAN
LITERATURE.C.Boxer: NOTES ON EARLY EUROPEAN MILITARY INFLU..
buff wrappers.
*
*
.
*
NOTE:
*
$37
184p.,2nd series, vol.4: L. Tomkinson: THE SOCIAL TEACHINGS
OF MEH TSE. Pason J. Treat's signed copy, clean ex-library
copy, usual marks, college gift plate from Pason J. Treat.
buff wrappers.
*
*
.
*
NOTE:
*
Tokyo 1930, A.S.J. Grey cloth over grey boards, very good,
205p., second series,vol. 7,articles on: Jan Compagnie in
Japan by C.R. Boxer; Japanese Criticisms by M. Anesaki; A.K.
Reischauer: GENSHIN'S OJO YOSHU: W.M. Bickerton: 2 STORIES.
buff wrappers.
*
*
$37
.
*
NOTE:
*
$37
2nd series, vol.7, articles: M. Anesaki; JAPANESE CRITICISMS
& REFUTATIONS OF CHRISTIAITY in 17 & 18th CETURIES.A.Reischauer: GENSHIN'S OJO YOSHU: COLLECTED ESSAYS. & Others...
buff wrappers.
*
*
.
*
NOTE:
*
$37
2nd. series,vol.5, articles:C.Parker:COGNATES OF NATIVE JAPANESE WORDS. W. Gundert: INTRO TO THE MAIN CURRENTS OF BUDDPHILOSOPHY IN JAPAN. R. Layard: INDEX OF TASJ FIRST SERIES.
buff wrappers.
*
*
.
*
NOTE:
*
2nd. series,vol.3, articles:A. FOUCHER: CRADEL OF GRECO-BUDDHIST ART. A.WHYMANT:OCIANIC THEORY ORIGIN OF JAPANESE LANGUAGE & PEOPLE. F. Starr: JAPNESE TOYS. & Other essays.
buff wrappers.
*
*
$43
.
*
NOTE:
*
$37
2nd. series,vol.2, articles: A.Clement:50 SESSIONS OF JAPANESE IMPERIAL DIET. S.Wainright: APPRECIATION OF NATURE IN
JAPANESE POETRY. F.Gookin:AESTHETIC VALUE OF FAR EASTERN ART
buff wrappers.
*
*
.
*
NOTE:
*
$37
2nd. series,vol.3, articles:A. FOUCHER: CRADEL OF GRECO-BUDDHIST ART. A.WHYMANT:OCIANIC THEORY ORIGIN OF JAPANESE LANGUAGE & PEOPLE. F. Starr: JAPNESE TOYS. & Other essays.
buff wrappers.
*
*
.
*
NOTE:
*
2nd. series,vol., supp. articles: G.Kato: STUDY OF THE DEVELOPMENT OF THE RELIGIOUS IDEA AMONG THE JAPANESE PEOPLE AS
ILLUSTRATED BY JAPANESE PHALLICISM.
Clean ex-library copy.
buff wrappers.
*
*
.
$37
*
NOTE:
*
$43
166p.,2nd series, vol.9: B.Trollope: CARLETTI DISCOURSE. J.
Batchelor: AINU BEAR FESTIVAL. C. BOXER: RIN SHIHEI AND HIS
PICTURE OF A DUTCH EAST INDIA SHIP, 1782. Pason Treat Coll.
buff wrappers.
*
*
.
*
NOTE:
*
2nd. series, vol.10, articles:J.Romieux: LES ALTERATIONS DES
$43
RADICAUX ET DES RACINES EN JAPONAIS. J.Hackin: IRANIAN INFLUENCES IN BUDDHIST ART. R.Ponsonby-Fane: NIBUKAWAKAMI. &c...
buff wrappers.
*
*
.
*
NOTE:
*
244p.,2nd series,vol.11:J.SNELLEN: IMAGE OF ERASMUS IN JAPAN
N. SMITH:WRITINGS OF THE 18TH CENTURY. J. PIERSON:WAS JAPANESE A LANGUAGE OF OPEN SYLLABLES IN THE 7TH CTY. & others..
buff wrappers.
*
*
.
$37
*
NOTE:
*
$43
2nd. series,vol.12, articles:D. Buchanan: INARI: ITS ORIGIN,
DEVELOPMENT & NATURE. Clean ex-library copy, bibliography,
index, many b.w. photo plates.
buff wrappers.
*
*
.
*
NOTE:
*
Tokyo 1936, A.S.J. Grey cloth over boards, very good,137p.,
2nd. series, vol.13, articles: R .K. Reischauer: ALIEN LAND
TENURE IN JAPAN, clean ex-library copy, Pason J. Treat Collection gift book plate, 15 x 21.7 cm.
FIRST & ONLY EDITION
$37
buff wrappers.
*
*
.
*
NOTE:
*
2nd series, vol.14,articles: N. Smith: MATERIALS ON JAPANESE
SOCIAL & ECONOMIC HISTORY. A.Sadler:NAVAL CAMPAIGN IN KOREAN
WAR OF HEDYOSHI. J. SNELLEN: SHOKU NIHONGI pt.IV-VI cont.& c
buff wrappers.
*
*
.
*
$37
NOTE:
*
$37
2nd. series,vol.14, articles:YT. Tsuchiya: AN ECONOMIC HISTORY OF JAPAN, trans. by N. Smith, intro. and notes by Kurt
Singer, 40 b.w. photos, clean ex-library copy, usual marks.
buff wrappers.
*
*
.
*
NOTE:
*
Tokyo 1938, A.S.J. Gray cloth over boards, very good, 259p.,
2nd series, vol.17, articles: K.Singer: DAS BILD DER KREISEDEN DREI. R.Van Gulik: ON THREE ANTIQUE LUTES. Z. Itani:THE
ECONOMIC CAUSE OF THE MEIJI RESTORATION. & other essays.
$37
buff wrappers.
*
*
.
*
NOTE:
*
2nd. series, vol.16, articles:H.Borton: PEASANT UPRISINGS IN
JAPAN TOKUGAWA PERIOD. F.Fisher: KUMAZAWA BANZAN, HIS LIFE &
IDEAS. & his transl: DAI GAKU WAKUMON BY KUIMAZAWA BANZAN.
buff wrappers.
*
*
.
*
NOTE:
$43
*
$37
Tokyo 1939 A.S.J. Grey cloth over boards, very good, 204p.,
2nd. series,vol.18, article: S. Sakamaki: JAPAN & THE UNITED
STATES 1790-1853: A Study of Japanese Contacts with & Conceptions of the Unites States & its People Prior to 1853-4.&c.
buff wrappers.
*
*
.
*
NOTE:
*
2nd. series,vol.19,articles:U. Casal: SOME NOTES ON SAKAZUKI
& ON THE ROLE OF SAKE DRINKING. J. RABBIT: RICE IN CULTURAL
LIFE OF JAPANESE PEOPLE. S.KISHIBE:ORIGIN OF P'I P'A. &c...
$37
buff wrappers.
*
*
.
*
NOTE:
*
Tokyo 1954, A.S.J. Red cloth over boards, very good, 241p.,
3rd. series, vol.7 articles:I.Morris:ECONOMIC REALISM IN THE
LATER WORKS OF IHARA SAIKAKU. J. Ackroyd: WOMEN IN FEUDAL
JAPAN. J. Lwerski: A POLISH CHAPTER OF THE RUSSO-JAP. WAR...
buff wrappers.
*
*
.
*
NOTE:
$37
*
$32
3rd. series, vol.3, articles: C. Spinks: TOKAIDO IN POPULAR
LITERATURE & ART;E.DeBecker:POST-WAR TRENDS IN JAPANESE LAW.
U.CASAL: INCENSE. G.Stramigioli: HIDEYOSHI'S EXPANSION...&c.
buff wrappers.
*
*
.
*
NOTE:
*
3rd. series, vol.4 articles:THE KAGERO NIKKI: Journal of a
10th Century Noblewoman, translated by E. Seidensticker, 15
x 21.7cm., illustrated.
buff wrappers.
*
$32
*
.
*
NOTE:
*
$43
3rd. series, vol. 5 articles: I. Shimizu: TAKAOKA, PRIEST
IMPERIAL PRINCE SHINNYO; G.Wenck: JAPANESE LANGUAGE STUDIES
SINCE CHAMBERLAIN. D.Keene: BASHO'S JOURNEY TO SARASHINA. &c
buff wrappers.
*
*
.
*
NOTE:
*
$32
3rd. series, vol.6: COMPREHENSIVE INDEX: 1872-1957., very
clean ex-library copy, College gift book plate: PAYSON J.
TREAT COLLECTION, 15 x 21.7 cm. AN IMPORTANT INDEX REFERENCE
buff wrappers.
*
*
.
*
NOTE:
*
3rd. series, vol.8 articles:E.Crawour: SOME OBSERVATIONS ON
MERCHANTS CHONIN KOKEN ROKU; J. Figgess: GLAZED POTTERY IN
THE SHOSOIN. U. Casal: THE KAPPA. I. Dan: INFLUENCE OF ...&c
buff wrappers.
*
$70
*
.
*
NOTE:
*
$32
Tokyo 1980, A.S.J. Red cloth over grey boards, very good,
122p., third series. Articles on Don Brown, Japan Queries &
Answers, Shimoda, Minoan & Japanese Ritual, Griffis & Japanese Education, 5 in all by Japanologists. Vol. 15.
buff wrappers.
*
*
.
*
NOTE:
*
$20
3rd series,11, articles: R. Rabinowitz:LAW & SOCIAL PROGRESS
IN JAPAN. V.Hrdlickova: CHINESE STORY TELLERS & SINGERS OF
BALLADS. L. Zolbrod: KUSAZOSHI:CHAPBOOKS IN JAPAN. & others.
buff wrappers.
*
*
.
*
NOTE:
*
third series,vol.9:U.Casal:JAPANESE COSMETICS & TEETH BLACKING. E.Crawcour: KAWAMURA ZUIKEN. J.Kidder: HANIWA: ORIGIN &
MEANING. S.O: MODERNIZATION & JAPANESE PHILOSOPHY. & others.
buff wrappers.
*
$20
*
.
*
NOTE:
*
$20
Tokyo 1986, A.S.J. Buff stiff wrs. very good, 177p., 4th
series, #1. Articles on KIDO TAKAYOSHI & THE YOUNG EMPEROR
MEIJI; IMAGES F WOMAN; SAIOKUKEN SOCHO & THE LINKED VERSE;
BRUSH STROKES OF ENLIGHTENMENT ZEN ART & other articles.
buff wrappers.
*
*
.
*
NOTE:
*
$20
series, #2. Articles on: JAMES MURDOCH; ELITIST ORIGINS OF
JAPANESE WELFARE; BASIL H. CHAMBERLAIN; GOLDEN DECADE FORGOTTEN; & several other articles, as new bright copy.
buff wrappers.
*
*
.
*
NOTE:
*
series, #3. Articles on:CULTURED NATURE OF HEIAN COLORS;JAPANESE-SPANISH RELATIONS 1936-1945; BUSY YEAR: BUSON'S LIFE;
KAGA'S TARDY SUPPORT & several other articles, as new copy.
buff wrappers.
*
*
$20
.
*
NOTE:
*
$20
series, #4. Articles on:INVESTIGATION INTO ESSENCE KUKI
SHUZO;TOKYO-MOSCOW-PEKING-TRIANGLE;JAPANESE MUSICAL HERITAGE
IN THE HALFSHADE & several other articles, a very good copy.
buff wrappers.
*
*
.
*
NOTE:
*
$20
Tokyo 1995, A.S.J. Stiff buff wrs., very good,240p., vol.10,
4th Series.Articles: AYUTTHAYAN-JAPANESE RELATIONS IN PREMODERN PERIOD; STATESMAN FOR 21ST CENTURY: SIDEHARA;TALES OF
TOYOKAGE; MYTHICAL ELEMENTS IN SECRET HISTORY OF MONGOLS...
buff wrappers.
*
*
.
*
NOTE:
*
EARLY JAPANESE BOTANICAL TREATISE
63 BABA, Nobutake.
$14
SHUURUI SANKOH, BAIKA SHIN-I SHOCHU SHINAN: INSTRUCTION & GU
INSTRUCTION & GUIDANCE FOR WILD FLOWERS, BLOSSOMS EASILY
[Japan ca.1811,n.p.].Blue stitched wrs.,77 double leaves,150
bw. woodcut illustrations, hand printed on Washi paper,
15.5 x 22.5, 5 vols. bound in 1,covers spotted, corners worn
contents solid, lower corner thumbing, a few old stains, old
worming on a few pages and also a few old stains, all in all
solid.
*
This is a profusely illustrated botanical. Shows a very
large number of plants, flowers and grasses, all of which
are named, along with their Furigana for easy reading.
*
The work contains 5 volumes bound in one, with the cover
title slip wrongly stating 'volume 4.' The work lacks the
title page. Volume 1: begins at page 4, continues 8-18,
23-24. Volume 2: page 2-19. Volume: 3: page 2-21. Volume 4:
page 3-15. Volume 5: page 2-15, else complete.
*
DATE & EDITION:
Because this book does not have the colophon, we believe it
to be the Bunka 8 [1811] edition rather than the Genroku
10th year [1697] edition.
*
REFERENCES:
NOT found in:
Bartlett
Edgren
Kerlen
*
$340
ECCLECTIC WORK, ILLUSTRATED WOODBLOCK BOOKS, IVORY, METAL...
64 BAEKELAND, Frederick.
IMPERIAL JAPAN: The Art of the Meiji Era 1868-1912.
Ithaca [1980], Johnson Museum. Stiff wrs.,very clean, 155 bw
photos, index, bibliography, 22 x 28 cm., solid copy.
FIRST & ONLY LIMITED EDITION OF 2500 COPIES
This well organized exhibition addresses the various art
forms of the Meiji era, including painting, calligraphy,
lacquer, woodblock prints and illustrated books, ivory,
wood, metalwork, cloisonne and ceramics. The print section
covers works by Yoshitoshi, Koson, Kiyochia, Gyosai, Gekko,
Seitei, Kokyo et al. A very useful reference source.
*
$12
A MAJOR REFERENCE WORK FOR JAPANESE WOODBLOCK-PRINTED BOOKS
65 BARTLETT, Harley H. et al.
JAPANESE BOTANY DURING THE PERIOD OF WOOD-BLOCK PRINTING.
Part I: On the Development of Natural History, Especially
Los Angeles 1961, Dawson's. Green cloth, very good, 267+3p.,
index, bibliography, 103 b.w. photos, co-author Hide Shohara
this is an exact reprint of the first Asa Gray Bulletin edition.
SUBTITLE: cont.: An Exhibition of Japanese Books &
Manuscripts, Mostly Botanical, Held at the Clements Library
of the University of Michigan, in Commemoration of the
Hundreth Anniversary [1954] of the First Treaty Between the
United States and Japan.
.
WHO WAS BARTLETT:
Harley H. Bartlett [1886-1960]
see: http://webapp1.dlib.indiana.edu/archivesphotos/results/
item.do?itemId=P0037357
.
A most valuable, useful & comprehensive bibliographic
reference work addressing Japanese woodblock illustrated
books pertaining to botany.
.
This superb resource illustrates and describes over 100
titles. It gives full bibliographical description, with
English translation,cites Latin names of botanical examples,
illustrates many books & has a valuable commentary on each.
.
With indices of Japanese artist/author, Japanese title,
scientific name of plants. Cross references cited, with a
copius bibliography. Divided into two parts per the
subtitle. This highly useful bibliography is coveted by
collectors of Japanese woodblock printed books and also
Japanese [and Chinese] botany. This is the one and only
comprehensive source, showing examples from the actual
books.
***
THE CO-AUTHOR:
Co-author was Hide Shohara, who being a Japanese could
properly read and understand the bibliographic colophon as
well as read Japanese texts to derive ample critical
cataloging information for this excellent reference.
****
Please contact us if you are interested in woodblock printed
Japanese botanical books, we have several in stock. Or you
can visit our website and select this catalog and down load
a color-illustrated copy of it.
**
REFERENCES:
E. D. Merrill et al: A BIBLIOGRAPHY OF EASTERN ASIATIC
BOTANY and supplement by E. H. Walker. Please check with us
to see if we have this rare gem in stock. H. Bartlett
[1886-1960] This title is ALWAYS QUITE RARE !
***
$238
Ann Arbor 1961, Asa Gray Bull.Green cloth, very good, 267+3p
index, bibliography,103 b.w. photos. Co-authored by Hide
Shohara.
FIRST EDITION
.
WHO WAS BARTLETT:
.
.
.
books.
***
THE CO-AUTHOR:
****
**
REFERENCES:
***
$238
Los Angeles 1961, Dawson's. Green cloth, very good, 267+3p.,
index, bibliography, 103 b.w. photos, co-author Hide Shohara
this is an exact reprint of the first Asa Gray Bulletin edition, minor foxing to inside covers, balance clean & solid.
.
WHO WAS BARTLETT:
.
.
.
books.
***
THE CO-AUTHOR:
****
**
REFERENCES:
***
$196
68 BERNOULLI, Rudolf.
AUSGEWAHLTE MEISTER-WERKE OSTASIATISCHER GRAPHIK IN DER
BIBLIOTEK FUR KUNST UND KUNSTGEWERBE IN BERLIN: SELECTED
Vogtland 1923, Schultz. Half red cloth over boards,11 color,
32 b.w. tipped in plates, 110p., very good, German text, 22
x 29 cm., very good, clean solid copy
FIRST EDITION
An excellent study of Japanese, Chinese & Korean color woodblock prints. Also covered are the Ukiyo-e schools, the
primitives, illustrated Japanese books [Ehon], prints, &c.
*
An excellent comparative study. Well illustrated & carefully
written. Important reference.
*
$26
69 BREA, Luigi B. et al.
UKIYO-E PRINTS AND PAINTINGS FROM THE EARLY MASTERS TO
SHUNSHO: Edoardo Chiosonne Civic Museum of Oriental Art
Genoa [1980], Sagep. Buff cloth, as new copy, in likewise dj
& slipcase, introduction by Giuliano Frabetti, 322p., index
bibliography, 433 color, b.w. figures & photos,English text,
17 x 25 cm., co-author Eiko Kondo.
$20
70 BROWN, Yu-Ying.
JAPANESE BOOK ILLUSTRATION.
[London 1988], British Library. Stiff color wrs., very good,
80p., 75+ color & b.w. photographs of Japanese illustrated
books, bibliography, 17 x 24 cm., clean, bright copy.
This excellent reference covers examples of Japanese woodblock printed books. Subjects include romances & folk-tales,
poetry & poets, guides & documentaries, nature & landscapes,
women's world: flowers, prostitutes, learning, their arts.
The floating world, pleasures of the flesh, the golden age.
Each book is illustrated & carefully described, with choice
passages & graphics displayed. A very useful resource.
*
$31
SHOWS THE RESIDENCES OF DAIMYOO AND SAMURAI
71 BUNKEN KAIHOO OEDO EZU: CONVENIENT SCALE MAP OF EDO.
BUNKEN KAIHOO OEDO EZU: CONVENIENT SCALE MAP OF EDO.
Edo 1830, Suharaya. Single sheet, woodblock, color printed,
90 x 71 cm., with the appendage, 37 x 17.5 cm., very good,
solid copy, in larger indigo-blue Chitsu case, verso folds,
old worm holes all restored, mended, now solid.
R A R E
The Mon [family crest] are clearly shown on residences and
detached villas. Large directional characters on each side,
with colophon. The Hatamoto are within the moat, near the
Palace. Clearly shows rivers, roads, individual wards,
houses, ships ply the harbor with the folding appendage at
the East.
*
A nice work suitable for framing and display. Nicely
executed in pastel colors. S C A R C E
*
BIBLIOGRAPHY:
NANBA, Matsutaro. OLD MAPS IN JAPAN: listed as 93, Nanba
states:
"This map, drawn to scale of 1 bu to 20 ken is much like
many others of this type in both scale & content. They all
originated...from maps drawn by Ochikochi Doin. What
distinguishes this from others is its detailed information
on residences of Daimyoo and other Samurai."
*
$622
A LARGE FOLDING WOODBLOCK PRINTED MAP SHOWING EDO [TOKYO]
72 BUNSEI KAISEI OEDO OEZU: GREAT MAP OF EDO IN BUNSEI.
BUNSEI KAISEI OEDO OEZU: GREAT MAP OF EDO IN THE BUNSEI TO
KAISEI PERIODS, 1830.
Edo 1830, Suharaya Mohie. Blue stiff paper covers, black and
white, printed, some folds tender, minor old worming, 1.6
meters x 87.5 cm., distance chart, key to famous places and
cities, directional symbols, folds down to 16 x 23.4 cm.
Entirely woodblock printed on hand-made paper, as issued,
without color. A grand map of Edo [old Tokyo], documenting
the location of Hatamoto or the closest Shogun supporters,
shows the family Mon or crest, detailed map of the streets,
family Zashishi or Daimyo mansions, Kamon [family crests],
with the Edo Castle located in the center. Distance to some
68 cities listed, and also a list of famous places, products
and sellers, shops, medical [Chinese] herbs &c. With a with
date colophon. Suitable for display and framing. A handsome
example of an early period map of Edo. Cited in G. Beans:
LIST, p.35, 1830.1 for a very similar items. A handsome work
in good condition, uncolored as issued.
Large scale early
maps of Edo are always scarce. Scans can be sent by email.
A STUNNING GROUP OF FLOWER & FRUIT ARRANGEMENTS
$2720
73 [BUNSHOSAI, Issen].
SOKA SHIKI EN: SOKA SCHOOL FLOWER ARRANGEMENTS FOR THE FOUR
SEASONS: SPRING & SUMMER.
[Edo 1813, n.p.].Greem stiff stitched wrs., very good, title
slips, 2 vols.: Spring & Summer of a 4 vol. set, 15.5 x 22.3
cm., vol.1.: 17+4, vol.2:17+4 double-folded leaves, most all
pages are woodcut plates, clean, solid, nice copy. R A R E !
This is a lovely set of illustrated books. Of the four
seasons, of which we only have Spring and Summer. These are
the two seasons which have the most variety of flowers
and fruits of the whole year. These two volumes are devoted
to flower arrangements of these two prolific seasons.
*
The work is lavishly illustrated with stunning arrangements
and vessels, woodblock printed on handmade Washi paper.
*
A superb and early guide for any student of flower
arrangement and its vessels. Each arrangement has a caption
and title giving additional information.
*
The art was selected by who we believe to be a master flower
arrangement Sensei [teacher] SHOHAKUSAI Ippyo.
*
This is volumes 1 and 2 of a 4 volume set. The other lacking
volumes are Autumn and Winter.
***
REFERENCES:
Not listed in:
ROBERTS, Laurance P. :A DICTIONARY OF JAPANESE ARTISTS
PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER.
.
KERLEN, H.:CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN
PUBLIC COLLECTIONS IN THE NETHERLANDS.
***
$408
74 CALMELS CHAMBRE COHEN.
ESTAMPES ET LIVRES ILLUSTRES JAPON ECOLES ANCIENNS XX eme
SIECLE...Samedi 9 Decembre 2000 Drout Richelieu...Paris.
Paris 2000, C.C.C. Stiff pictorial wrs., very good, 26p., 8
color, 1 b.w. photo, lits 1-91 concern Japanese items, each
with French text descriptions, estimates, works of Hokusai,
Hiroshige, Utamaro, Torii, Kunisada, Sadahide, Keisai &c...
Basically clean, 3 items have blue pen line & marks.
A VALUABLE REFERENCE RESOURCE
75 CEADEL, Eric B.
CLASSIFIED CATALOGUE OF MODERN JAPANESE BOOKS IN
CAMBRIDGE UNIVERSITY LIBRARY.
Cambridge [1961], Heffer. Red cloth, 552p., index of names &
titles, very good, dj.
S C A R C E
$22
A copious bibliography, classified under the Cambridge
system, with comprehensive coverage, index of titles and
names, thousands of entries in both English, Japanese &
Romaji.
$94
A VALUABLE REFERENCE RESOURCE
76 CEADEL, Eric B.
CLASSIFIED CATALOGUE OF MODERN JAPANESE BOOKS IN
CAMBRIDGE UNIVERSITY LIBRARY.
Cambridge [1961], Heffer. Red cloth, 552p., index of names &
titles, very good, dj.
S C A R C E
A copious bibliography, classified under the Cambridge
system, with comprehensive coverage, index of titles and
names, thousands of entries in both English, Japanese &
Romaji.
LATE 18TH CENTURY ILLUSTRATED JAPANESE FLOWER ARRANGEMENTS
77 CHIBA, Ryuboku.
HYAKKI ZUKAI: DRAWINGS OF FLOWER VASES, WITH FULL
DESCRIPTIONS AND OWNER'S NAMES.
[Kyoto 1773, Toundo]. Blue stiff wrs., stitched spine, 3 vol
set, engraved by Morimoto Richo, 16.3 x 22.2 cm., profusely
illustrated woodblock printed on hand-made Washi paper, 20 +
20+16 double folded leaves, very clean solid copy. R A R E !
A lovely set of books, showing a large number of flower
arrangement vases, trays, baskets, enamels and ceramics,
and trays used. Also some Bonkei style arrangements.
.
The three volumes focus strictly on the wide variety of
vessels use in Japanese flower arrangement. Volume 2 shows
some furniture used in the tea room or the flower
arrangement room. Each vase or recepticale has a name, size,
and other details. Nicely done, artistic work !
***
REFERENCE:
DAWES, Leonard G.: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS
IN THE DEPARTMENT OF PRINTS AND DRAWINGS. See p.21, last
entry at the bottom.
****
$94
NOT IN:
.
MITCHELL, C.H. et al. THE ILLUSTRATED BOOKS OF THE NANGA,
MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A
Bibliography.
*
KERLEN, H. CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN
*
EDGREN, J.S. CATALOGUE OF THE NORDENSKIOLD COLLECTION OF
JAPANESE BOOKS IN THE ROYAL LIBRARY.
***
$447
AN EXCELLENT REFERENCE & BIBLIOGRAPHY ON THE WHOLE GENRE
78 CHIBBETT, D.G. et al.
A DESCRIPTIVE CATALOGUE OF THE PRE-1868 JAPANESE BOOKS,
MANUSCRIPTS, AND PRINTS IN THE LIBRARY OF THE SCHOOL OF
London 1975, Oxford Univ. Red cloth, dj., 185p., very good,
bibliography, chronology, glossary, chronology, indices,
many b.w. illus.Co-authored by B.F. Hickman & S. Matsudaira.
Excellent reference work for single sheet print & woodblock
printed books with copious indices: illustrators, print makers, by series, or individual title, Kabuki actors, Kabuki
roles, plays and publishers. An all together useful resource
which gives detail bibliographic descriptions of each entry,
illustrations, binding, notes & more. Essential for any collector or library reference desk. One more very valuable
item for looking up those elusive E-Hon !
A MOST RELIABLE COLOR RESOURCE AND REFERENCE BOOK
$109
79 CHIBBETT, David.
THE HISTORY OF JAPANESE PRINTING AND BOOK ILLUSTRATION.
Tokyo [1977], Kodansha. Cloth, very good, 264p., 30 color,72
b.w. photos, 5 appendices, book title index, artists and A
general index, unclipped dj. in mylar protector, glossary,
23 x 29 cm., bibliography, clean, sharp copy. FIRST EDITION
This is an important contribution to Japanese illustrated
book bibliography. It covers in great detail a history of
Japanese printing, writing, paper, manscript, binding techniques, block & color printing. Historical origins in Nara &
Kyoto, movable type boom, and publishing in the Edo period.
*
Also covering the history of woodblock printed book
illustrations, the various "schools" and supported with a
wealth of appendices.
*
This is an essential reference work for any student,
collector or dealer of Japanese woodblock printed works.
*
BIBLIOGRAPHY:
Arntzen N149
*
A BEAUTIFULLY ILLUSTRATED COLOR ALBUM
80 CHIKANOBU, Toyoharu. [Yoshu]
[ONNA FUZOKU]: LADIES' MANNERS & CUSTOMS.
Of The Meiji Era
Tokyo 1896, Fukuda. White boards, silk floral and butterfly
pattern laid onto covers, very good, 10 double-page color wo
woodcuts, ca 17.5 x 24 cm., opens to ca. 35.5 x 24 cm., ie.
Oban, each page is Chuban, together making an Oban album.
A fine example of Meiji era Nishiki-e brocade style
polychrome woodblock printing with the rare technique of
Gauffrage. A stunning album, consisting of ten Oban
horizontal prints, with split in the center margin, as
issued. Each print has a double-fish like colophon showing
the date, publisher, carver's seal and other bibliographic
details.
*
THE TITLE:
The work is without title. As a common practice, many prints
of the time lacked title, and were simply issued in serial
form with each print matching the same format, by the same
artist.
$83
*
THE ARTIST:
Though the work is not signed, it is obviously the work of
Chikanobu Toyoharu [aka Yoshu his studio name] [1838-1912],
who was know for his excellent depiction of Meiji period
women, warriors, snow, moon, flowers and political scenes.
Chikanobu studied Kano style painting, studied under
Toyohara Kunichika, who's surname he adopted. A skillful
painter of women & historical subjects. See L. Roberts
below.
*
THE PRINTS A SUITE OF TEN:
Number 1: The art of Koto, depicts a woman on the floor
playing the Koto, with a Hibachi [brazier] and a cat. She is
elaborately dressed in a very elegant and formal Kimono.
*
Number 2: Playing with sparrows. This shows two refined
Japanese women, the first stands and points to two sparrows
which fly near-by. The second woman is kneeling while she
prepares to cover a candle with a large basked. The candle
stand is superbly toned with orange, an iron-based pigment
that takes more than one-hundred years to oxidize, yielding
a lovely patina. Both women wear superbly elegant Kimono,
both have very fine gradation in color from solid to nearly
clear white background. This technique is exceptionally
difficult to achieve in color woodblocks. Nevertheless, the
great skill of the printers achieved success with this
technique of applying the ink with a light stroke, the brush
having more ink on one end graduating out to
nothing....stunning work !
*
Number 3: Bird cage. This shows a mother seated and leaning
her left arm on a cushion, while her young daughter holds a
fan and touches the birdcage. Again the are dressed in
stunningly elegant Kimono, each of which have colors
gradually fading into the white background or pale pastels,
marvelous. A summer lantern hangs in the center of the
illustration, with black-lacquer wooden bottom and wind
chime.
*
Number 4: Peony Iris and Sakura: A mother and daughter are
illustrated. The mother looks back at her daughter who
carries a younger brother. All are dressed in summer Kimono
with elegant and Shibui design. The young boy wears a silken
head cover, and wears a lovely child's patterned Kimono. In
the background is a lovely floral arrangement of sprigs of
Cherry, Iris and red peony.
*
Number 5: Presentation of the bride. The first woman carries
a lantern and leads the way. She is followed by two
attendants who guide a bride. The bride is dressed in
stunning white Kimono, with Gauffrage-pattern of swastika's,
an ancient Buddhist symbol. Her undergarments are of
crimson-red. Others wear elegant silken Kimono, with
excellent printing techniques.
*
Number 6: The game of Goh. This lovely domestic scene shows
two women playing the traditional Japanese game of Goh. The
woman on the left is about to place a black stone on the
board, while the other looks on. Both are dressed in
stunning Kimono with floral designs. In the background is a
lovely red-lacquer table and roses in full bloom. A small
tray with tea cups and snacks are present.
*
Number 7: New Year's Shuttle Cock. Its New Years and the
traditional game is Shuttle Cock [a kind of badminton]. Each
girl holds a paddle and tries to keep the "birdie' in the
air. The girls are young and both wear special new year's
style Kimono, and wear black-lacquered Pokkuri type
"shoes."
*
Number 8: The art of wearing Kimono. This depicts three
women, one helps another wear very elaborate heavy silk
Kimono. The pattern of fans and Shibori [tie-dye] are done
with great skill. Another woman kneels while preparing a
jacket. Again the printing technique shows great skill of
the artists in showing the gradations of color. A small
mirror is the focus of attention of the woman who tries on
her new fashions.
*
Number 9: Ikebana. This shows two very elegantly dressed
women. The first presents a tray with flowers to the other.
The other holds a scissors and is preparing to cut then
arrange the flowers in a bronze vase. Each wear elaborate
Kimono, one has lovely gradations of color.
*
Number 10: Cat's cradle. The last illustration shows two
young girls playing Cat's Cradle. A mother looks on, holding
a sprig of chrysanthemums. In the background is a lovely
screen with a painting of Mt. Fuji.
*
CONDITION:
The work is in an unusual binding, with embroidered flowers
and butterflies laid down on both front and back covers. The
covers are clean and in very good condition. The contents by
and large are clean and solid. There is a small defect in
the hand-made paper on illustration number 5 at the bottom
but this is of no consequence and is not obvious. The last
page has a small amount of minor, faint transfer and a bit
of thumbing, the backside of each illustration has been
reinforced at some time with Washi [hand-made Japanese]
paper to give hinge strength, otherwise this is a very clean
and nice album.
*
According to Coats: "Like many Japanese government officials
in the 1890's, Chikanobu began to show increasing concern
for teaching moral values to the new generations, especially
to women. Increasingly women were seen as the protectors of
Japanese customs and virtues, while men were expected to
cope with Western influences and modernization..." From ca.
1890 Chikanobu began to produce prints showing women at
appropriate pastimes, such as those that would enrich
their cultural and social skills. Following the traditional
Zen arts such as Tea, archery, flower arrangement were just
a few of the several that also agreed with ancient Confucian
attitudes. Ladies' etiquette [Onna Reishiki] was also a
major subject found in his prints. Part of this etiquette
was stunning ladies' dress in Kimono, hand & body movements,
discreet eating practice and the proper entertainment of
guests. [Liberally summarized from Coats, pp.46-47 et al.]
*
BIBLIOGRAPHY:
B.A. Coats et al. CHIKANOBU: Modernity and Nostalgia in
Japanese Prints. Especially pages 46-47, plate 21, pages
172-196 plates196--203; 210-212; 224-228; 232-235. Useful
bibliography.
*
L. Roberts: A DICTIONARY OF JAPANESE ARTISTS p.185-6. He
devotes about a half of a page to this celebrated artist.
*
R. Lane: IMAGES FROM THE FLOATING WORLD p.214.
*
$1413
A STUNNING AND MOST LOVELY COLOR WOODBLOCK BOOK
81 CHIKUYO, Suiken.
NIKKO MEISHO JUNI KEI ZU: TWELVE VIEWS OF FAMOUS PLACES
IN NIKKO.
[Tochigi 1868, Kobayashi]. Folding album, very good, silk
brocade covers, all edge gilt, in folding slipcase, minor
corner wear, 13 color Chuban prints, ca. 18 x 24 cm., title
page, pristine prints, bright and most lovely.
R A R E !
Depicts the beautiful waterfalls, bridges & shrines of
that mountain forest area. Nice technique on the cascades.
Books of this beauty are rare, & this one is a fine copy.
*
$2720
82 [CHINZAN.]
CHINZAN GAFU: AN ALBUM OF CHINZAN'S PAINTINGS.
Kyoto 1911, Yoshikawa Kobunkan. Yellow boards, 2 vol. set,
accordion folded, covers spotted, stained, corners rubbed,
contents, clean, solid, 20 color, 4 Sumi [black] double-page
paintings, 16.5 x 25.5 cm., a posthumous edition.
R A R E
This work contains delicately executed fruits, vegetables,
mushrooms, grases, silkworms on mulberry leaves, loquats,
peach, plum, bamboo, various flowers, a bat, lotus flower,
sprit of cherry blossoms, persimmon sprig, bowl of cherries,
a duck &c. All painted with great Zen skill in shades of
pastels. Chinzan [1801-54] was a Nanga painter, born & lived
in Edo. His family was of Samurai stock, attached to the
Tokugawa government. He first studied under Kaneko Kinryoh,
then under the most famous and celebrated Tani Buncho, and
finally under the most august Watanabe Kazan who was his
best pupil. Painting in a style derived from the famous the
classic Chinese painting manual, CHIEN TZU YUAN HUA CHUAN,
or commonly called THE MUSTARD SEED GARDEN MANUAL OF PAINTING executed 1679-1701. His works are usually flowwers. See
L. Roberts: A DICTIONARY OF JAPANESE ARTISTS, p.14. As a point of interest, Chinzan in Kanji or Japanese characters
means "Camellia Mountain." Each painting was impressed with
his cinnabar [chop] seals, at east one or two per work. The
two volume set is contained in a blue cloth Chitsu folding
case, with ivory clasps. Color scans can be sent by email.
$2856
83 CHRISTIE'S NEW YORK.
SALE 5956. JAPANESE PRINTS, BOOKS, PAINTINGS AND SCREENS
FROM VARIOUS SOURCES. Sale of Sept. 26, 1985.
New York 1985, Christie's. Tan pictorial wrappers, very good
101p., 284 well-described lots, 4 color, many others in b.w.
price estimates. A useful reference & bibliography.
The selling the works of Kunisada, Hiroshige, Kuniyoshi, &c.
$31
AN IMPORTANT PRICED AUCTION REFERENCE GUIDE
SALE 6670: THE DONALD AND MARY HYDE COLLECTION OF JAPANESE
BOOKS AND MANUSCRIPTS: Sold for the Benefit of the Pierpont
New York 1988, Christie's. Red cloth, very good, 215p.,
40 color photos, 170 b.w. photos, bibliography, 160 lots described, pictorial dj.
This attractive volume describes the incomparable Hyde collection, including illustrative examples. Includes asking
prices, contents of books, &c. Covers such names as Kitagawa Utamaro, Tsuruoka Rosui, Torii Kiyotsune, Ippitsusai
Buncho, Katsukawa Shunsho, Matsuo Basho, Utagawa Hiroshige,
Suzuki Bokushi, Katsushika Hokusai, &c. Superlative reference source. With prices realized list, many color plates.
$53
PART I: SALE OF MARCH 21, 1989, PART II: OCTOBER 16, 1989
SALE 6782 & 6896. JAPANESE PRINTS & DFRAWINGS FROM THE
COLLECITON OF THE LATE THEODORE SCHEIWE, PARTS I, II.
New York 1989, Christie's. Black cloth, very good, dj., 99p.
176 well described lots, price estimates, 176 color & b.w.
photos, excellent refrence source. Lots 1-176, Part II only.
Covers prints by primitives, Torii Kiyonobu, Harunobu, Utamaro, Koryusai, Buncho, Shunsho, Shunei, Kiyonaga, Eishi,
Eisho, Eisui, Choki, Sharaku, Toyokuni, Kunimasa, Hokusai,
surimono, Hokkei, Gakutei, Eizan, Eisen, Kunisada, Kunisada,
Kuniyoshi, Hiroshige, Hiroshige II, Yoshitoshi,Gyosai et al.
$83
86 CHRISTIE'S SOUTH KENSINGTON.
SALE COR 4605. ORIENTAL CERAMICS AND WORKS OF ART.
SALE OF 23 JAN., 1992.
London 1992, Christie's. Stiff white wrs., very good, 38p.,
417 well described lots, many b.w. photos, price estimates,
very solid copy. FIRST & ONLY EDITION
& illustrated books [e-hon], Buddhist sculpture, cloisonne &
Chinese & Japanese ceramics, Japanese prints.
$22
87 CHRISTIE'S SOUTH KENSINGTON
SALE COR 4491. ORIENTAL CERAMICS AND WORKS OF ART.
SALE OF 28 NOV. 1991.
London 1992, Christie's. Stiff white wrs., very good, 45p.,
456 well described lots, price estimates, many b.w. photos,
clean solid copy. FIRST & ONLY EDITION
Covers Chinese & Japanese ceramics, Japanese woodcut prints,
woodblock printed & illustrated books [e-hon], Chinese
jades
& ivory carvings, lacquer, bronzes, Buddhist art &c...
$19
88 CHRISTIES EAST.
SALE 5109. FINE JAPANESE PRINTS, BOOKS & PAINTINGS: From
Private Collections & from Various sources. Dec. 16, 1981.
New York 1981, Christie. Stiff white wrs., very good, 49p.,
price estimates, 229 well described items, many b.w. photos.
Sale of December 16, 1981, From Private Collections et al.
$31
AN EXCELLENT & MAJOR MONOGRAPH ON THIS SUPERB PAINTER
89 CLARK, Timothy.
DEMON OF PAINTING: ART OF KWANABE KYOSAI.
London 1993, British Museum. Grey pictorial wrappers, very
good, 192p., 122 color photos 1 folding, 163 b.w. photos,
bibliography, appendix, index, clean, 22 x 27.5 cm. R A R E
A well-constructed monograph, with an informative introduction, catalog with 112 well-described items, with additional
descriptive text about each item. A highly useful & copious
reference, loaded with great color plates, some foldouts,
with good annoations. An essential tool for any collector
interested in Kyosai painting and artistic production, wood
block books and his prints. Perhaps the best single resource
in English on this fantastic artist and woodblock book and
print designer. The book profusely illustrated with a very
large number of excellent color and b.w. photos of Kyosai's
marvelous and imaginative art works. Quite useful reference.
$403
90 CRIGHTON, R.A.
THE FLOATING WORLD: Japanese Popular Prints 1700-1900.
London 1973, Her Majesty's Stationery Office. Stiff pictorial wrs., very good, 8 color plates, 296 b.w. illustrations,
76 b.w. figures. QUITE SCARCE
This important exhibit catalog is divided into 5 subject
areas: Kabuki, the popular theatre, Beautiful women, landscapes & views, birds and flowers, including animals & water
life, and Heroes & heroines, battles and warriors, myths and
legends, poetry and fiction. This work was a highwater mark
for prints from this 200 year period. Illustrated books are
also listed. With signature index & brief biography of the
artists.
QUITE RARE
A COMPREHENSIVE BUDDHIST SECT WORK
91 DAI NIPPON OHKURA KYOO. THE OHKURA BUDDHIST SECT.
DAI NIPPON OHKURA KYOO. THE OHKURA BUDDHIST SECT IN THE
JAPANESE EMPIRE.
[Tokyo 1884, Koh Kyoo Shoin]. Stitched buff wrappers, very
$131
good, 10 volume set, Japanese text, total of 828 double folded pages, 8 woodcut Buddhist illustrations, few old worm
holes, not significant. Double page pagination: vol. I: 55p.
II: 75p. III: 97p. IV: 108p. V:98p. VI:111. VII:81p. VIII:74
p. IX:41p. X:88p. This source covers various sects: Nichiren
Shishoo, Rinsaishuu, Soobushuu, Shingonshuu, Jishuu, Joboshu
Tendaishu, Yuutsuu Nenbutsu shuu et al. An excellent reference for the various sects within Buddhism in Japan.
$748
USEFUL PRICED REFERENCE GUIDE TO YOKOHAMA PRINTS, E-HON &c.
92 DAWSON'S BOOK SHOP.
FOREIGNERS IN EARLY JAPAN: Paintings, Prints, Books,
Including a Remarkable Perry Scroll of Russians in Japan,
Los Angeles [1965-6], Dawson's. Brown cloth, as new, 136p.,
323 b.w. photos, a series of catalogs #'s: 354, 363 & 386,
covering hundreds of items, illustrations, & photos. An excellent reference to the genre.
Consisting of three separate catalogs, all bound in one,
items consecutively numbered through item 1-561. A highly
valuable reference for a host of various Japanese prints,
woodblock printed books, painted scrolls, guidebooks &c. All
related to the opening of Japan & Commodore Perry, Yokohama,
Nagasaki, maps, early foreigners in Japan. Each item is well
described, catalogued & priced. Including a substantial part
on the Dutch in Nagasaki, their Chinese assistants, exotic
paintngs, foreign birds, whaling in Japan, Japanese Christianity, Yokohama prints showing a host of foreigners, maps
shwowing Yokohama & other ports, foreign technology, "Black
Ships," Sino-Japanese War prints & tryptichs, and a host of
other fascinating resources on the subject. Useful for any
serious student & collector of this genre.
$65
JAPANESE PAINTINGS OF THE FLOATING WORLD. Catalogue 352.
Los Angeles [1966 ], Dawson's. Stiff pictorial wrs., very
good, 55p., color cover print + many b.w. photos, covers 128
individual items, priced, with good descriptions, Catalogue
352 on the covers, very clean, solid.
An excellent resource for a wide variety of scrolls,
Kakemono, paintings in various forms, manuscripts, early
Japanese woodblock prints [primitives], E-hon or
illustrated books and a host of fascinating illustrated
works.
*
A useful guide to the genre.
FEATURING JAPANESE & CHINESE PAINTINGS, BUDDHIST ART &c...
$19
JAPANESE PICTURE SCROLLS AND PAINTINGS.
[Including Chinese & Korean Paintings &c.]
Los Angeles [1965-67], Dawson's. Blue cloth, AS NEW,clean
191p., title, artist & author indexs, profusely illustrated
with b.w. photos, 511 individuially described & priced item
many illustratations, solid copy.
Excellent priced dealers catalog & a valuable reference
resource for any collector or student of both Japanese &
Chinese painting, Buddhist art, Buddhist woodblock prints
[Japanese], sculptures, scrolls, Kakemono, Zen Buddhist
arts, woodblock printed books [E-hon].
.
Also manuscript scrolls, books, paintings, fans, Samurai
fenching, Noh drama, Kano and early Sumi paintings,
literati, Shijo, fine calligraphy, Shijo school work,
picture scrolls, flower arrangement, Korean art works & a
host of others.
*
An ecclectic reference, most useful.
*
Contains Catalogue numbers: 343, 349, 351, 357 & 366, all
items consecutively numbered 1-511.
SUPERB FULL ENGLISH TRANSLATION OF THE ORIGINAL 3 VOL. SET
95 DICKINS, Frederick V.
FUGAKU HIYAKU-KEI: OR A HUNDRED VIEWS OF FUJI BY HOKUSAI.
[1960 Reprint Edition]
New York 1960, Frederick. Gray cloth, ribbon tied, very good
double-folded pages, profusely illustrated in b. w. from the
original, intro. by Jack Hillier, descriptions by F.Dickins,
15.5 x 24 cm., red slipcase ends taped, solid, [124] pages.
THIS TITLE:
F.V. Dickins: FUGAKU HIYAKU-KEI: OR A HUNDRED VIEWS OF FUJI
BY HOKUSAI. An English translation of the entire original
woodblock printed set of 3 volumes. A valuable reference
and enhancement to the original set. See F.V. Dickins
below.
*
There is a mistake on the title page, they cite the author's
name as "F.W. Dickins" the actual and correct name of the
author was Frederick Victor, not "W." Dickins.
*
This was printed in a FIRST AND ONLY REPRINT EDITION in
1960.
*
There was another edition done in 1880 of this English
translation that came with an original 3 volume edition of
the Japanese set: FUGAKU HYAKKEI.
*
If you are interested in the original 3 volume woodblock
printed edition, please inquire with us.
$15
****
BIBLIOGRAPHY:
*
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS
--for more bibliographic details, item #396, pp.163-166.
*
H. Smith: HOKUSAI ONE HUNDRED VIEWS OF MT. FUJI, pp. 21--22 outline the editions.
*
K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE
--ILLUSTRATED BOOKS, p.263.
*
*
J. Hillier: no. 241, p.278.
"
"
HOKUSAI NO. 110
J. HILLIER: THE ART OF BOOK ILLUSTRATION, p.213-225, plates
. 195-208
*
Kraft: VOL.3, NO. 185-=195; VOL. 4, NO.36
*
KSM: [Kaiga] 7-18-1
*
Forrer: 170-177
*
Not listed in C. Mitchell: THE ILLUSTRATED BOOKS OF THE
NANGA, MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN.
*
F.V. Dickins did a book with the title: FUGAKU HIYAKU-KEI:
OR A HUNDRED VIEWS OF FUJI [FUJISAMA] BY HOKUSAI. It was an
interesting edition of the book issued in London in 1880,
with English commentaries & translations by F.V. Dickins.
This book contained an actual and original woodcut
illustrated edition of Hokusai's book bound in with the
English translation of the Hokusai text. Please inquire to
see if we have this in stock.
*
Henry Smith II: HOKUSAI ONE HUNDRED VIEWS OF MT. FUJI.
*
SUPERB FULL ENGLISH TRANSLATION OF THE ORIGINAL 3 VOL. SET
96 DICKINS, Frederick V.
FUGAKU HIYAKU-KEI: OR A HUNDRED VIEWS OF FUJI BY HOKUSAI.
[1960 Reprint Edition]
New York 1960, Frederick. Gray cloth, ribbon tied, very good
double-folded pages, profusely illustrated in b. w. from the
original, intro. by Jack Hillier, descriptions by F.Dickins,
15.5 x 24 cm., red slipcase, solid, bright copy,[124] pages.
THIS TITLE:
F.V. Dickins: FUGAKU HIYAKU-KEI: OR A HUNDRED VIEWS OF FUJI
BY HOKUSAI. An English translation of the entire original
woodblock printed set of 3 volumes. A valuable reference
and enhancement to the original set. See F.V. Dickins
below.
*
$114
There is a mistake on the title page, they cite the author's
name as "F.W. Dickins" the actual and correct name of the
author was Frederick Victor, not "W." Dickins.
*
This was printed in a FIRST AND ONLY REPRINT EDITION in
1960.
*
There was another edition done in 1880 of this English
translation that came with an original 3 volume edition of
the Japanese set: FUGAKU HYAKKEI.
*
If you are interested in the original 3 volume woodblock
printed edition, please inquire with us.
****
BIBLIOGRAPHY:
*
--for more bibliographic details, item #396, pp.163-166.
*
H. Smith: HOKUSAI ONE HUNDRED VIEWS OF MT. FUJI, pp. 21--22 outline the editions.
*
--ILLUSTRATED BOOKS, p.263.
*
*
"
"
HOKUSAI NO. 110
. 195-208
*
*
KSM: [Kaiga] 7-18-1
*
Forrer: 170-177
*
*
F.V. Dickins did a book with the title: FUGAKU HIYAKU-KEI:
OR A HUNDRED VIEWS OF FUJI [FUJISAMA] BY HOKUSAI. It was an
interesting edition of the book issued in London in 1880,
with English commentaries & translations by F.V. Dickins.
This book contained an actual and original woodcut
illustrated edition of Hokusai's book bound in with the
English translation of the Hokusai text. Please inquire to
see if we have this in stock.
*
*
EXCELLENT COLOR STUDY OF CHINESE & JAPANESE EROTIC ART WORKS
$126
97 DOPP, Hans-Jurgen.
THE EROTIC ORIENT.
New York 2001, Parkstone Press. Pictorial boards, 104p., as
new, profusely illustrated in color, English text, 15.5 x 23
cm., dust jacket, as new bright copy.
A useful recent study, covers the erotic theme as found in
Chinese painted albums & books, carvings, sculptures, hidden
erotic art and in ceramics. The Japanese section also covers
erotic woodblock printed books, prints, and a lovely section
on erotic ivory carvings or Netsuke. An unusual color reference, nicely done.
A COPIOUS AND MAJOR BIBLIOGRAPHY ON ALL CLASSES OF E-HON
98 EDGREN, J.S.
CATALOGUE OF THE NORDENSKIOLD COLLECTION OF JAPANESE BOOKS
IN THE ROYAL LIBRARY.
Stockholm 1980, [Royal Library]. Green stiff wrs., very good
388p., slight bump to corner, contents clean, concordance,
with 1082 excellent entries with full bibliographic description for each, with English & Japanese characters. OBSCURE !
With 1082 entries with full bibliographic notes , Also with
personal name & book title index.
.
The A.E .Nordenskiold collection of Japanese illustrated
books was made in Japan 100 years ago as a direct result of
the famous & celebrated successful voyage of the "VEGA"
through the so-called North-east Passage: from Sweden over
the Northern waters of Russia and through the Bering Strait.
*
The world-famous expedition was led by Adolf Erik
Nordenskiold [18 Nov. 1832-12 Aug. 1901], who with his
officers and crew spend the months of September & October,
1879 in Japan before proceeding on to Sweden by the
Southerly route and through the Mediterranean Sea.
$15
*
Nordenskiold related the history & findings of the
expedition in an eminently readable, popular report of the
journey, in 2 vols. entitled THE VOYAGE OF THE VEGA AROUND
ASIA AND EUROPE, London & N.Y., 1881.It contains three
chapters devoted to the 2 months in Japan, in which brief
mention of the book collection is made.
***
From a Swedish translation: "An even more valuable
contribution to the knowledge of Japan's older history &
its people's ancient culture is provided by the rather
extensive Japanese book collection that I succeeded to
bring together during my brief stay there. I was assisted
by a young Japanese...on my account he searched through the
stocks of countless antiquarian book dealers in
Yokohama, Tokyo & Kyoto...I was guided by the desire to be
able to bring home a more valuable & more enduring memento
than could be conveyed by the natural history
collections..." Thus it was very clear, during his visit the
old feudal estates were being confiscated & the dispersal of
a large number of historical & family collections of arms,
armor, old books were completely disregarded & went to curio
& book stores in great numbers."
*
This major and hitherto most OBSCURE bibliographical
resource offers the collector a new & keen insight to a
whole genre of E-hon many of which are NOT listed in the
other standard reference bibliographies of the past. The
preface offers a rich history of the collection and the
first attempt at cataloging by Leon de Rosny,
which was severely flawed.
*
A major resource for pre-Meiji books. Each entry shows
the Romanized, Kanji author & title with English notes on
date, original price, size, Rosny and other reference
citations, with notes on the covers & title labels. The
whole work is organized in the traditional subject format
following that of the Naikaku Bunko with sections
on: general, Shintoism, Buddhism, language, literature,
music and drama, history, geography, government -law
-economics, education, physical sciences, medicine,
industries, fine arts and amateur arts, military arts,
Sinology and Chinese works, book & personal name index. An
essential reference for any collector or student of E-hon.
*
GROUP OF LOVELY COLOR PERIOD MAPS OF OLD EDO CITY AREAS
$83
99 EDO KIRI CHIZU.
EDO KIRI CHIZU: A GROUP OF 19th CENTURY COLOR WOODBLOCK
PRINTED SECTION OR "KU" MAPS OF EDO [OLD TOKYO].
[Edo 1850-1861]. A group of 28 of 31 original period color
woodblock-printed maps, folds to 9.2 x 16.5 cm.,all the same
uniform size blue covers, title slips, smallest opens to be
54.49.3 cm.; largest is 54.5 x 74 cm.,1-7,8-21,23-30. RARE !
This is an offering of a group of original period woodblock
printed sectional maps of the old city of Edo, now modern
day Tokyo.
***
GENERAL CONDITION:
All in original blue paper covers with labels, a few labels
are in facsimile. Any old worming was restored from the
verso using period handmade Washi paper and rice glue. All
maps are now stable and solid. Old stains, discoloration or
other typical condition issues with the covers, by and large
very good contents, no stains or blemishes, restored old
worming.
***
GROUP 1: Contains 28 of 31 maps, 1 title slip in facsimile,
else all original. This group also contains six original map
envelope covers which originally contained each map. These
are for the most part soiled, torn, rear cover detached or
otherwise simply excellent examples of how the maps were
originally protected. These are seldom found if ever with
the maps. An added bonus to the group !
.
Condition: All maps are very good or better some have old
restored worming, and are now solid. Some covers have old
stains, oxidizing of the blue color, else contents clean,
excellent registry, excellent color, all folded several
times as issued. Complete with all covers.
***
GROUP 2: Contains 23 of 31 maps, 3 title slips in facsimile,
else all original.
.
CONDITION: All maps are very good or better some have old
restored worming and are now solid. Some covers have old
times as issue. One map lacks the back cover, else complete
with all covers.
***
THE MAPS:
Each map shows a specific area of old Edo, now called "Ku"
[ward, district or section] of the city. Much detail to each
map shows the name of the Daimyo Loyal Retainers, their Mon,
name of the street, location of rivers, canals, bridges,
directional compass, temples, shrines, special gardens,
flower locations, fire stations, with a color coded key to
the above and also stores, roads, rivers and other
geographical features.
*
There is also a colophon on each map, showing date of
publication, author or compiler, location of the publisher
and address.
***
An excellent example of the complex and grand city of Edo
during the late Edo period [prior to 1868]. Each individual
map is a cartographic treasure. With all of the usual
features found in larger and earlier maps.
***
REFERENCE:
HAMADA, Giichiro. comp. EDO KIRI E ZU: ILLUSTRATED SECTIONAL
MAPS OF EDO. 2 volume set.
These maps are found & listed in both vol. 1 and 2 of this
set. We have elected to follow the numbering found in volume
one, which shows some 31 maps in all. There has always been
a variation as to the exact count of the sections of old
Edo, and this work shows both versions and lists each
section's name. The list in volume 1 seems to best suit the
group of sectional maps we have.
*
[KONDO Gennichi.]: MEIJI TOKYO KUBUN CHIZU ZEN:
Tokyo Daishoo Kubun Chizu & Tokyo Jyuugo Kubun Chizu:
COMPLETE MEIJI TOKYO WARDS [KU]:LARGE & SMALL WARDS & THE
FIFTEEN WARDS OF TOKYO.
*
EDO KIRI MAPS:
https://books.google.com/books?id=eYuojP7kgvkC&pg=PA3&lpg=PA
3&dq=EDO+KIRI+MAP+NAMES&source=bl&ots=r3MkvkDGOT&sig=3Q5PE4s
SpuYcmEsbNPqL50n9-tg&hl=en&sa=X&ei=F0NbVfzfGcfTsAXeuIGgBg&ve
d=0CBQQ6AEwAA#v=onepage&q=EDO%20KIRI%20MAP%20NAMES&f=false
***
GROUP OF LOVELY COLOR PERIOD MAPS OF OLD EDO CITY AREAS
100 EDO KIRI CHIZU.
EDO KIRI CHIZU: A GROUP OF 19th CENTURY COLOR WOODBLOCK
PRINTED SECTION OR "KU" MAPS OF EDO [OLD TOKYO].
[Edo 1850-1861]. A group of 23 of 31 original period color
woodblock-printed maps, folds to 9.2 x 16.5 cm.,all the same
uniform size blue covers, title slips,smallest opens to 54 x
49.3 cm.;largest: 54.5 x 74 cm.,#'s 1-6,9-17,19-21,23-26,30.
This is an offering of a group of original period woodblock
printed sectional maps of the old city of Edo, now modern
day Tokyo.
***
GENERAL CONDITION:
All in original blue paper covers with labels, a few labels
are in facsimile. Any old worming was restored from the
verso using period handmade Washi paper and rice glue. All
maps are now stable and solid. Old stains, discoloration or
other typical condition issues with the covers, by and large
very good contents, no stains or blemishes, restored old
worming.
***
$3313
GROUP 1: Contains 28 of 31 maps, 1 title slip in facsimile,
else all original. This group also contains six original map
envelope covers which originally contained each map. These
are for the most part soiled, torn, rear cover detached or
otherwise simply excellent examples of how the maps were
originally protected. These are seldom found if ever with
the maps. An added bonus to the group !
.
Condition: All maps are very good or better some have old
restored worming, and are now solid. Some covers have old
times as issued. Complete with all covers.
***
GROUP 2: Contains 23 of 31 maps, 3 title slips in facsimile,
else all original.
.
CONDITION: All maps are very good or better some have old
restored worming and are now solid. Some covers have old
times as issue. One map lacks the back cover, else complete
with all covers.
***
THE MAPS:
Each map shows a specific area of old Edo, now called "Ku"
[ward, district or section] of the city. Much detail to each
map shows the name of the Daimyo Loyal Retainers, their Mon,
name of the street, location of rivers, canals, bridges,
directional compass, temples, shrines, special gardens,
flower locations, fire stations, with a color coded key to
the above and also stores, roads, rivers and other
geographical features.
*
There is also a colophon on each map, showing date of
publication, author or compiler, location of the publisher
and address.
***
An excellent example of the complex and grand city of Edo
during the late Edo period [prior to 1868]. Each individual
map is a cartographic treasure. With all of the usual
features found in larger and earlier maps.
***
REFERENCE:
HAMADA, Giichiro. comp. EDO KIRI E ZU: ILLUSTRATED SECTIONAL
MAPS OF EDO. 2 volume set.
These maps are found & listed in both vol. 1 and 2 of this
set. We have elected to follow the numbering found in volume
one, which shows some 31 maps in all. There has always been
a variation as to the exact count of the sections of old
Edo, and this work shows both versions and lists each
section's name. The list in volume 1 seems to best suit the
group of sectional maps we have.
*
[KONDO Gennichi.]: MEIJI TOKYO KUBUN CHIZU ZEN:
Tokyo Daishoo Kubun Chizu & Tokyo Jyuugo Kubun Chizu:
COMPLETE MEIJI TOKYO WARDS [KU]:LARGE & SMALL WARDS & THE
FIFTEEN WARDS OF TOKYO.
*
EDO KIRI MAPS:
https://books.google.com/books?id=eYuojP7kgvkC&pg=PA3&lpg=PA
3&dq=EDO+KIRI+MAP+NAMES&source=bl&ots=r3MkvkDGOT&sig=3Q5PE4s
SpuYcmEsbNPqL50n9-tg&hl=en&sa=X&ei=F0NbVfzfGcfTsAXeuIGgBg&ve
d=0CBQQ6AEwAA#v=onepage&q=EDO%20KIRI%20MAP%20NAMES&f=false
***
$2722
A CLASSIC STORY OF SAMURAI COURAGE FROM THE 16TH CENTURY
101 EHON AMAGO YUUSHI DEN: ILLUSTRATED STORY OF A BRAVE SAMURAI.
EHON AMAGO YUUSHI DEN: ILLUSTRATED STORY OF A BRAVE AMAGO
SAMURAI: The Story of Yamanaka Shikanosuke.
[Tokyo 1870 Tohsendoh]. Stitched orange wrs., very good,
8.5 x 12 cm., 19 double folded leaves, 50 pages of steel or
copper engraved illustrations, two large fold-outs opens to
be a double set with 4 illustrations on both sides 8 in all.
This work shows the courage & heroism Yamanaka Shikanosuke,
one of the bravest who served his Shogun Amago in the Sannin
district.
*
It was during the 16th century, that Yamanaka became a
wellknown legend for his bravery. This work outlines his
deeds & escapades as a warrior. It shows various scenes in
the life and actions of Yamanaka, a women who threw off
male attackers, young people listening to the tales of
recited by Yamanaka. Views of his early childhood, as he
rode a deer, while his mother was protected by a monkey.
*
Suppressing the Inoshishi [wild boar], how he protected
his Lord Amago from attackers while traveling in a
palanquin as he fends off attackers. His sword duels, in
full armor, protection of unarmed Buddhist priests,
suppression of animal monsters, capture of enemies &c.
Fascinating graphic representations of true stories from
Japan's rich Samurai past.
*
The theme of courage, loyalty and honor is clearly
delivered, and has become legendary. Expertly executed
etchings drawn by Bai-Doh Kunimasa.
*
FORMAT:
The book is a very small size, easily put in the pocket. The
kind of a book people carried around and read. Nicely done,
profusely illustrated work, capturing the imagination of the
reader.
**********
BIBLIOGRAPHY:
Not in Kerlen.
*
$270
DRAMATIC SWORD PLAY, MANY SAMURAI FIGHTING SCENES
102 EISEN, Keisai.
BUYU SAKIGAKE ZUE: ILLUSTRATIONS OF MILITARY COURAGE.
[Nagoya 1844-47?, Eirakuya]. Stiff orange wrs., stitched,16
x 23 cm., very good, usual minor edge wear, bit old worming
only in the upper margin to 8p., else strong clear images,
[20] double-folded leaves, 40 full page illustrations.
Eisen was known for his stunning portrayal of Samurai
warriors and traditional heroes. Like Kuniyoshi he excelled
at action and sword play. This work continues in that vein
with famous warriors subduing wild animals and challenging
the most powerful sword fighters. A dramatic work, loaded
with dynamic Samurai sword play and action !
****
THE WORK IN BIBLIOGAPHICAL TERMS:
Kerlen states vol.1, vol.2 as the complete set; our copy
clearly states "Zen" or "Complete" on the title slip, which
appears to be 2 vols. bound in one. Kerlen states the
complete set consists of 20 unnumbered pages. If it were
incomplete, or an odd volume, the title slip would say vol.
1, or vol. 2, per Kerlen; as is. FIRST EDITION.
****
REFERENCES:
PUBLIC COLLECTIONS IN THE NETHERLANDS #116, p.48-49.
*
KSM: KAIGA [Eiga]7-139-3
*
Forrer:156-157
*
Kraft: vol. 2, no. 40
*
L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.21.
***
A STUNNING SET OF DESIGN BOOK FOR JAPANESE OBJECTS
$493
103 EITAKU, Sensai.
BANBUTSU HINAGATA GAFU: BOOK OF DESIGNS.
[Tokyo 1880-81, Eto]. Vols. 1-4 of a 5 vol. set, very good,
blue, green, purple stitched wrs., some faint damp stain on
vol.1, 129 double-pages woodcut illustrations, hand-printed
on Washi paper, 15 x 23.5 cm.
Contains b.w. illustrations of E-hon, textiles, scrolls and
birds, flowers, Chinese heroes, pottery, porcelain &c.
Compiled by Otagawa Yasuchika, the well known ivory carver.
*
This is signed "Sensai Eitaku" [Kano School, 1843-90].
Eitaku [Kobayashi] was a Japanese style painter & became a
pupil of Kano Eitoku Tatsunobu. He attained Samurai status,
later he edited several painting books & was an illustrator
for the "Yokohama Mainichi Shimbun," specializing in
historical subjects. He worked in the Kano, and later Nanga
styles. Eitaku: [1843-90]. Superbly done, quite nice !
*
CONDITION:
The set is bound in original various colored covers, with
title slips, title slip of vol. 4 is half gone, and there is
some spotting to the front and rear covers of that volume
else all are with usual edge wear and some small nibbles on
the bottom of vol. 1. Contents of all are clean, no worming.
****
REFERENCE:
L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.23 for more
details.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS #29, p.14.
*
Louise N. BROWN: BLOCK PRINTING AND BOOK ILLUSTRATION IN
JAPAN, p.180.
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS:
pp.180-181.
***
A STUNNING SET OF DESIGN BOOK FOR JAPANESE OBJECTS
$1358
104 EITAKU, Sensai.
BANBUTSU HINAGATA GAFU: BOOK OF DESIGNS.
[Tokyo 1881, Eto]. Purple stitched binding wrs., vol. 4 of 5
only, 20 double page woodblock illustrations, printed on
hand made paper, 15 x 22.5 cm., very good.
Contains b.w. illustrations of E-hon, textiles, scrolls and
birds, flowers, Chinese heroes, pottery, porcelain &c.
Compiled by Otagawa Yasuchika, the well known ivory carver.
*
This is signed "Sensai Eitaku" [Kano School, 1843-90].
Eitaku [Kobayashi] was a Japanese style painter & became a
pupil of Kano Eitoku Tatsunobu. He attained Samurai status,
later he edited several painting books & was an illustrator
for the "Yokohama Mainichi Shimbun," specializing in
historical subjects. He worked in the Kano, and later Nanga
styles. Eitaku: [1843-90]. Superbly done, quite nice !
*
CONDITION:
The set is bound in original various colored covers, with
title slips, title slip of vol. 4 is half gone, and there is
some spotting to the front and rear covers of that volume
else all are with usual edge wear and some small nibbles on
the bottom of vol. 1. Contents of all are clean, no worming.
****
REFERENCE:
details.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS #29, p.14.
*
Louise N. BROWN: BLOCK PRINTING AND BOOK ILLUSTRATION IN
JAPAN, p.180.
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS:
pp.180-181.
***
A CHARMING AND QUAINT HAND-PAINTED MINIATURE EROTIC BOOK
$136
105 EN SHO HI CHO.
EN SHO HI CHO: SECRET BOOK OF BIG LEAVES AND SWALLOW.
[An Erotic Color Painted Japanese Miniature Albuml]
[Japan n.d.ca.1860's]. Green silk brocade cloth covers, very
clean, solid copy, 8.5 x 12 cm., accordion folded, painted
on both sides, 12 double-page erotic color paintings, all
edges gilt, on thick album leaves.
OBSCURE CHARMING WORK
***
***
***
.
.
.
A SUPERB POLYCHROME PAINTED MINIATURE EROTIC ALBUM
.
.
TWELVE DOUBLE-PAGE STUNNING EROTIC SCENES
.
.
***
A miniature Japanese hand-painted erotic album. As was the
custom at the time, these albums were seldom signed or
signed with a pseudonym to hide the true artist's name.
.
This stunning and skillfully painted album is most likely
the anonymous work of a famous Ukiyo-e artist, executed in
polychrome with the utmost detail.
*
THE TITLE:
EN SHO HI CHO:SECRET BOOK OF BIG LEAVES THE SWALLOW:
Is a play on words, the "big leaf" means the vagina, and the
"swallow" refers to the penis, and of course most of the
erotic books contain the character "Hi" [Himitsu = secret]
secret or hidden book in the title.
.
****
TWELVE DOUBLE-PAGE EROTIC PAINTINGS:
Front Side:
.
1. A man with a large hard-on holds his penis projecting
from his Kimono, as he listens to a couple on the other side
of the Shoji screen making love.
.
The opposite page shows a sexually excited woman flushed and
pink-faced, while she also listens to the adjacent couple
making love. She prepares to wipe her freely flowing
love-fluids, she holds a packet of Chirishi [toilet paper]
at the ready. Her Kimono is parted, revealing her red under
wear with her legs parted.
.
2. A man inserts his fingers inside the his lover's vulva,
she closes her eyes in ecstasy, pink-faced and flushed.
.
3. A couple making love, the woman rides on top of the man,
her rear end exposed, showing his penis entering her vagina.
She is flushed and red-faced in excitement.
.
4. A couple making love. The woman is on her knees offering
her rear to him, as he enters her vagina, we can see his
testecals and a fierce look on his face. His Kimono is
pulled open, her Kimono is pulled over her back, revealing
her bright red under Kimono.
.
5. Before a grand screen of landscape and a plum tree in
blossom, a couple make love. She clutches a packet of
Chirishi [toilet paper] in her right hand. She is on her
back, spread wide and open, he penetrates her fully-exposed
vagina revealing his penis half-way inside her. He clutches
her around the back of her neck with both arms, holding her
Kimono firmly. He is flushed and pink-faced in ecstasy.
.
6. A man makes love and enjoys two women. His penis
penetrates the closest woman and sucks her nipple, while
inserting his fingers into the vagina of the second. Both
women have exposed vagina's. All three display very bright
red-pink-flushed faces in fits of sexual passion.
*
VERSO OR BACK SIDE OF THE ALBUM:
.
7. A naked woman is on her back, spread-eagle, right leg
held up by his left arm. She is top-mounted by her
passionate male lover. He is on his knees penetrating her
anus. The woman flails her arms, squinting in pain, the man
has a firm look on his pink-flushed face. Her Kimono is
spread below, her wooden pillow is pushed off to the side.
.
8. A fully naked and well-tattooed man sits on the Tatami
mat, while holding a naked woman's left leg up enough to
easily enters her exposed vagina from the rear. Love fluids
freely flow from her vagina. She faces away from her lover
while supporting herself by holding his right leg and left
hand on the Tatami. He is pink-faced in ecstasy.
.
9. A man catches a prostitute on the street. He pushes her
against a building, while pulling up the back side of her
Kimono. Spreading his Kimono open, he enters her vagina from
the rear. They are both exposed from the hips downward,
revealing their genitals. The are both quite red-faced in
moment of sexual passion and ecstasy.
.
10. An afternoon scene, the man wears a cloth over his head,
hiding himself from the public. He secretly entered his
lover's room. The eager and passionate lovers embrace, he is
on his knees, she willingly sits back spreading her vagina
while he penetrates her, ejaculating quickly with
excitement. Love fluids flow from her vagina. Their Kimonos
are pulled up to their hips, revealing their genitals. She
is clutches him tightly holding his Kimono fast. Her face is
brightly flushed pink. A white cockatoo observes from his
cage.
.
11. A night scene, the man has secretly entered his lover's
room, he uses his Kimono to block out the lantern light.
Holding a lighted candle in his left hand, he sheds light to
reveal the sight of the couple's love-making. She is on her
back, knees spread wide revealing her naked vagina, he sits
on his knee, fully penetrating her vagina, which flows
love-fluids. He holds her firmly with right hand. She is
locked in a passionate grip behind her neck, eyes closed
lost in ecstasy. His face and neck are pink-flushed with
sexual passion. Her Kimono is thrown open, her bright-red
under Kimono above her pubic area.
.
12. The last scene is a classic of Japanese erotica. A man
visits his beloved and favorite prostitute. She has pulled
open her Kimono revealing her breasts and vagina. She sits
back, resting both feet on her lover's chest, offering her
vagina to him. He sits back resting against the door jam
near naked as his Kimono is pulled off his shoulders. His
penis penetrates her vagina as he suddenly notices a person
just outside the doorway.
.
Just beyond the open sliding doors is an unashamed young
prostitute, who is voyeuring the couple making love, which
greatly excites her. Pulling her Kimono up over her back and
on all fours, reveals her naked rear end and vagina. She
reaches under and between her legs with her right hand,
masturbating her vagina with her fingers. Her whole body is
a sexually excited pink-flush.
.
***
.
EXCELLENT AND HIGHLY SKILLED PAINTING TECHNIQUE AND DESIGN:
.
This adorable and charming miniature album is a very solid,
with excellent color and fine detail, executed by a first
class artist. Much attention has been paid to the facial
details, sensual facial expressions, the elaborately
designed Kimono, rooms, their design and art work, and every
facet of common life during the mid-19th century Japanese
culture. The book reflects the average person, and their
dwellings, costume, coiffeur and erotic social customs.
.
***
EROTIC ART BANNED BY THE SHOGUN:
From the Tokugawa period [1604], the Shogun banned erotica
in all forms. This was an effort to demonstrate to foreign
missionaries and foreign traders [i.e. Dutch merchants in
the Nagasaki] that the Japan and the Japanese were a
high-cultured people, not a "base people or culture" by
prohibiting erotic books and paintings from their culture.
.
Being illegal, these books mostly circulated privately
or "underground," being passed around discreetly. Artists
either avoided signing their erotic woodblock-printed books
and prints, or signed them with some ironic anti-political
or anti-Shogunate name. Nevertheless the public could easily
identify the painting style and know the artist's name. Many
artists were jailed for either erotic art production or
anti-Shogunate political satirical books and prints.
.
Regardless, substantially large number of anti-Shogun and
erotic works were popularly circulated in society
continually down to the modern period. Erotica in Japan is
an ancient art form, continuing for millenum.
.
***
SIZE AND FORMAT:
The album is small, commonly called "Mamebon" or "Bean Book"
in Japan due to its miniature size. This kind of miniature
book was easily concealed in the Kimono sleeve and joyfully
carried around and jshared among friends, loaned or sold in
the street.
.
***
REFERENCES:
LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE
PRINT, INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E.
.
LANE, Richard.: THE EARLY SHUNGA SCROLLS. Tokyo 1979,
Gabundo.
.
LANE, Richard.: THE EROTIC THEME IN JAPANESE PAINTING AND
PRINTS. [Tokyo 1968-69, Gabundo.]
.
LANE, Richard.: EROTIC THEME IN JAPANESE PAINTING: THE EARLY
SHUNGA SCROLL. [Tokyo 1979, Gabundo]
.
BEURDELEY, Michel. et al.: EROTIC ART OF JAPAN: The Pillow
Poem.
*
FAGIOLI, Marco.: SHUNGA THE EROTIC ART OF JAPAN.
*
ILLING, Richard.: JAPANESE EROTIC ART: And the Life of the
Courtesan.
.
Note: Please check with us as we may have some of the above
reference items.
***
Color scans of this & most other items posted to our
website.
A FASCINATING MINIATURE ACCORDION ALBUM OF EROTIC PRINTS
$2725
106 EROTIC MEIJI JAPANESE WOODBLOCK PRINTED COLOR ALBUM.
EROTIC MEIJI JAPANESE WOODBLOCK PRINTED COLOR ALBUM.
[Japan ca. 1870]. Small calico cloth covered accordion album
10 x 13 cm., very good, 12 color erotic woodblock prints,
with 1 b.w. photo layed down on the verso of an old erotic
woodcut print,a bit of the old silver gilt edges left. RARE!
The title slip on the cover is somewhat illegible, but
possibly can be read: UME TO TORA: PLUM & TIGER.
*
The contents are nicely done, showing twelve different
scenes of love-making prints of a man and a woman.
.
1. & 2. Man on top missionary position, shows genital parts.
.
3. Man licking her vulva while she holds it open and she
licks his penis.
.
4. & 5. Man on top making love, they exchange tongue kiss.
.
6. A Bonze [Buddhist priest] inserts his fingers into her
vulva, while he sucks on her nipple
.
7., 8. & 9. Woman is on top, making love, genitals exposed.
.
10. 11 & 12. Man is on top, love making, genitals exposed.
***
CONDITION:
The calico covers are a bit dusty, the accordion folds are
solid, not weak or torn. Title slip is rubbed.
.
Each print is nicely woodblock printed. There is a tiny bit
of purple transfer from the end paper on the first & last
print. Others clean,
*
A nice example of Meiji [1867-1912] period printing by a
skilled painter & artist. As usual, this work is not signed
as this kind of erotically illustrated work was banned by
the Shogun. Nevertheless this kind of "Shun-pon [erotic
book] was still produced and distributed under the table.
***
$2312
A STUNNINGLY BEAUTIFUL COLOR WOODBLOCK PRINTED CRAPE BOOK
107 FLORIAN, J.P. Claris de.
FABLES CHOISIES DE J.P. CLARIS DE FLORIAN. Ilustrees Par Des
Artists Japonais Souos La Direction de P. Barboutau.
Paris [1895], Marpon. Stiff wrs., woodblock printed covers,
14 color woodcuts in Oban sizes, deuxieme serie, [18p.],
34 x 24 cm., printed on hand-made Torinoko paper,very clean,
minor rubbing.
FIRST LIMITED EDITION OF 190 ONLY COPIES
This fascinating book comes in two variants. First printed
by woodcuts on Torinoko paper, large paper edition oblong
format, 34.3 x 24.4 cm. The second woodblock printed, on
Hosho paper, then creped, 15.2 x 20.2 cm. The contents are
identical, but the order of the stories may vary. The
illustrations also are the same in both editions.
***
The oblong version: exceptionally nice book, lavishly
illustrated with 30 color woodcut prints, Oban size, also
with line drawings. Artists/illustrators: Koubota [Kubota]
Beisen [aka To-soui], Yosai, Tosoui, Kano Tomonobu & Kajita
Hanko. Second series.
*
Consists of illustrated stories & verses in French, such as
"L'Aveugle et le Paralytique," "Le Chat et le Miror," "Le
Grillon," "Le Singe qui Montre la Lanterene Magique," &c...
*
The vertical version: a beautiful work, from the 2nd series
on Japanese Fairy Tales, illustrated by Japanese artists.
Printed by Shueisha, a printer/publisher very well-known for
their charming crepe paper children's books. Text in French,
14 double-page color woodblock printed illustrations, using
subtle vegetal natural colors. Artists/illustrators:
Koubota [Kubota] Beisen [aka To-soui], Yosai, Tosoui, Kano
Tomonobu & Kajita Hanko.
***
JAPANESE CREPE PAPER BOOKS:
If you would like to see more of our listings of Japanese
crepe paper books please let us know, we have many in stock.
***
REFERENCES:
Kyoto University 1980, vol.I, #843, page 52.
*
SHARF, Frederic A. TAKEJIRO HASEGAWA: Japanese Pictures of
Japanese Life.
*
WorldCat:
http://www.worldcat.org/search?q=kw%3Ajaponais+ti%3Afables+c
hoisies&qt=advanced&dblist=638
****
$629
A USEFUL RESOURCE ON JAPANESE WOODCUT BOOKS & SCROLLS
108 FRANKLIN, Colin.
EXPLORING JAPANESE BOOKS AND SCROLLS.
[Limited Edition 450 Copies for the Book Club of California]
San Francisco 1999, Book Club of California. Blue cloth spine over pictorial boards, very good, as new, 157p., folio,
index, slipcase, 26 x 36 cm.
S C A R C E
This excellent reference is a guide by the well-known dealer
and scholar-bookseller. The author collected some of the
finest Japanese woodcut books, painted scrolls and early
printing examples from Japan some decades ago. This work
describes those wonderful items with much of the
background and provenance as well as the books and items.
Covers early Buddhist printing, woodcut illustrated books
[e-hon], hand scrolls [Makimono], and some woodcut printed
maps, early Buddhist woodcut prints i.e. Hyakuman Toh &c.
*
Beautifully illustrated, large type face, solid binding. A
useful reference for any curator, collector or student of
this genre.
*
AN EXCELLENT BIOGRAPHY ON THE DA VINCI OF JAPAN
$80
109 FRENCH, Calvin L.
SHIBA KOKAN: Artist, Innovator, and Pioneer in the
Westernization of Japan.
New York [1974], Weatherhill. Blue cloth, very good, dj.,
200p., bibliography, index, appendix, notes, 105 color & b.w
photos, 18 x 26.5 cm., bright, clean.
Profusely illustrated biography of a most uncommon man. This
work covers the amazing life of a man comparable to Leonardo
Da Vinci. He was an artist of startling accomplishments, he
played a formative role in the development of Japanese art,
and was second to none in his wide knowledge & inquisitive
mind. At one and the same time he was an ink painter in the
traditional Oriental style, an admitted and excellent forger
of Harunobu's woodblock prints, the artist who perfected in
Japan the Western techniques of copperplate etching, a
geographer, a cartographer, a scholar, a philosopher and a
Ran-gakusha [student of Dutch learning].
*
He was also the author of a most celebrated and famous
illustrated set of books, documenting his journey from Edo
to Nagasaki SAIYU RYODAN: ACCOUNT OF A WESTERN JOURNEY
1788-1789. Kokan was Japan first and true renaissance man
and great scholar.
*
Check with us regarding original editions of other works by
Kokan.
*
SUPERSTITIOUS PAPERS TO BE PASTED ON A SHINTO SHRINE
110 FUDA/SENJAFUDA.
FUDA/SENJA FUDA: TALISMAN JAPANESE WOODBLOCK PRINTED VOTIVE
NAME PAPER.
[Japan ca 1870-80's]. Group of 5 separate woodblock printed
miniature b.w. Fuda/Senjafuda, hand printed on Washi deckle-
$32
paper [1 example], various sizes, each excellent, unused as
new old period genuine examples. UNCOMMON
***
****
***
.
.
A GROUP OF VARIOUS FUDA ISSUED BY THE SAME KUMI-I
.
.
WHAT ARE 'FUDA' AND 'JINJA FUDA:
Since Heian period [794-1185 AD],, 'Fuda' and 'Jinja Fuda'
[Shinto Shrine personal name papers] have been used by the
Japanese as a talisman to appeal to the gods for the New
Year's blessing. These became most popular during the Edo
period [160-1868 AD].
.
For over 800 hundred years, Japanese have been visiting
Shinto shrines at New Years and plastering their Fuda,
invoking prayers for "cleansing and purification" which are
central to the values of Shinto.
.
Fuda were plastered on Shinto shrines by Kumi-ai [local
organized workers] of various kinds. Individual tradesmen
and 'tradesmen union' workers [Kumi-ai], actors and
merchants and so many others [see below] have used Fuda,
annually during their lifetime.
.
A the old tradition continued, every New Years, each person
or 'tradesmen union members' group would have a new Votive
woodblock printed, the glued to the stanchions and Torii
gates of their local Shinto shrine. The higher one can place
it the closer to the Gods and the sooner the Gods will see
and grand protection.
.
The offering was to insure good: luck, health, fortune for
the next year.
.
Fuda and Jinga Fuda ranged from the most simple person's
name to elaborate color prints with bold Edo period Kanji
characters. They were exceptionally popular with
celebrities, famous leaders, local law enforcers, Meiji
police, firemen, fishermen, builders, roofers, bricklayers,
ceramicists, laborers, long-shore men, carpenters, and other
manual laborers & various other workers.
.
In some cases, these Fuda were composed, drawn and executed
by famous Ukiyo-e woodblock artists of the time. Wealthy
people vied to create the most attractive Fuda by well-known
artists. Such Fuda were a source of pride.
.
Posting these to the local Jinga was an act of superstitious
belief. A kind of Karmic action "proactive-action."
.
***
READY FOR DISPLAY AND FRAMING:
These lovely items are presentable and will be conducive to
be framed and displayed.
.
***
THE CONDITION:
These are original old period items unused, in new
condition, nicely preserved since they were printed. There
are no issues. The versos are clean, also no issues. The
first is deckle edge at the top, all others are clean, squar
cut, as issued.
.
***
THE SIZE:
Please view the photo posted to our website. From the left
the sheet sizes are:
a. 12.1 x 25.5 cm.
b. 5.1 x 15 cm.
c. 5.7 x 15.9 cm.
c. 6.8 x 19.3.
.
***
REFERENCES:
Senjafda:
https://www.google.com/search?q=SENJA+FUDA&biw=1920&bih=984&
source=lnms&tbm=isch&sa=X&ved=0ahUKEwjbpInDq-3OAhUD32MKHTcPA
JcQ_AUIBigB
.
http://www.greenshinto.com/wp/2015/02/25/senja-fuda-1000-shr
ine-stickers/
.
***
Color scans of this & most other items are posted to our
website.
AN EXCEPTIONALLY RARE 13TH CENTURY WOODBLOCK PRINT
111 FUDOH MYOH-OH HYAKU INBUTSU:
FUDOH MYOH-OH INBUTSU: ONE-HUNDRED IMAGES OF FUDOH MYOH-OH,
FROM TOH-JI TEMPLE, KYOTO, JAPAN.
[Kyoto 1185-1333, Tohji Temple]. A single sheet woodblock
printed, white Washi mulberry paper, 32 x 48 cm., minor old
worming now rebacked, shows 100 FUDOH MYOH-OH icon images,
extremely rare and famous work. FIRST & ONLY OBSCURE EDITION
This FUDOH MYO-OH is a thirteenth century Late Heian
[1185-1336] A.D. Buddhist work and is represented showing
one-hundred individual Buddhist images, woodblock printed.
.
WHAT IS FUDOH MUYO-OH:
FUDOH MYO-OH was one of the supernatural guardians of the
paradise of the Amida Buddha. Also known commonly as the
"Immovable Wisdom King," is the patron deity of the
Yamabushi. He usually portrayed holding a sword and a
lariat, clad in rags, has one fang pointing up and another
pointing down, and a braid on one side of his head. It is
also know in Chinese as BU DONG MING WANG.
*
PULSATING:
Jon Rosenfield stated: "Overcrowded, pulsating with
bristling energy, this sheet of one hundred tiny stamped
images of Fudoh is typical of those found inside Buddhist
statues of the 13th century." See his book cited below.
*
FUDO MYOO: In Sanskrit: Acalanatha, was the principal of the
Myojh or "Enlightened Kings" of Esoteric Buddhism, A
$51
manifestation of Dainichi and a powerful conquer of evil, he
is shown in many frightening aspects. Commonly depicted in
very early woodblock prints with a fiery Mandala behind his
head. See references below for Wikipedia citation.
*
This print was found in the Toh-ji [Eastern Temple], Kyoto.
from the Shingon Buddhist sect. This is located next to the
famous Rashomon gateway to the Heian capitol [now Kyoto]. It
was formerly known as Kyoh-oh-gokoku [The Temple for the
Defense of the Nation by Means of the King of Doctrines]
believed to defend the nation.
*
This work upon discovery was first considered to have been
printed in the Heian period [794-1185], later after study,
it is currently believed to have been printed in the
Kamakura [1185-1392] and is so cited by Baskett and
Rosenfield to be this period. This Inbutsu [woodblock
print] along with several others, was rolled up, then placed
inside a hollow place in a Fudoh Myoh-oh statue and left for
over nearly a millennium. In the 1960's Japanese temple
monks began to conserve and preserve ancient sculptures in
the Toh-ji temple and therefore discovered these prints.
*
Monk's efforts brought to light a few rare bundles of these
prints, undisturbed. In an effort to save the structure and
sculptures a very few were given to patrons of the temple in
gratitude for substantial donations, which has been a common
practice for over 2000 years in Japan, China and Korea.
Because these prints were left sealed inside the statues,
they were preserved in extraordinary condition. In some
cases a few worms or insects penetrated and left some damage
to the hand-made Washi mulberry paper, sadly this was
unavoidable. Ours is one of those presented to a patron.
Mosaku discusses this on pages 29, 30.
*
TOH-JI TEMPLE:
UNESCO designated this as part of the Historic Monuments of
Ancient Kyoto" a World Heritage Site. The temple is located
Minami-ku near the intersection of Omiya and Kujo Streets,
southwest of Kyoto Station. Toh-ji is often associated with
Kobo Daishi [Kukai]. The well-known Buddhist priest was put
in charge of Toh-ji in 823 by order of Emperor Saga. The
temple's principal image is of Yakushi Nyorai, the Medicine
Buddha.
*
PRINTING AS A DAILY DEVOTION:
Ishida points out this on p.30-31, discussing the Heian
practice of worshipers printing a number of Buddhist images
each day or month to fulfill a religious vow. Printing
these images gave merit and virtue to the printer, thereby
increasing their position in the Buddhist Sangha
[community]. Temples encouraged the Sangha to print images
as that aided in soliciting donations. "Donors were allowed
to pay for the printing of Buddhist images to be placed
inside of statues. This served the purpose of temple
finance in much the same way as printed appeals for
contributions. The images were never distributed to the
people but were instead stored away in sculpted images."
See Ishida p.31.
*
Every morning as part of a daily regimen, women of the
Imperial court would print Buddhist images using woodblocks
on sheets of thin mulberry Washi paper as religious
observance, much like saying prayers every morning. After an
appropriate number of pages were printed, the sheets were
rolled and tied in bundles and then inserted into the hollow
interior of sculptures.
*
PRINTING TECHNIQUE:
This print was likely printed from a single block containing
ten images, then printed ten times on a single sheet,
yielding a total of one-hundred images in all. See Baskett
p.30. Upon closer observation, taking a single image, the
third one from the right, and comparing it to all above
there are the exact specks of dust influencing the printing
of the flame lines in the upper left quadrant. This is ample
evidence to support both Ishida and Baskett's idea that the
print was done by use of a single block containing ten
images then stamped from the top ten times on a single sheet
of paper.
*
RARITY:
The print is exceptionally rare. Only a few examples have
been cited, published or illustrated. Apparently this image
only came to light in the 1960's and very few came to public
view, those few that were given to patrons eluded the usual
scholars and their publications. It was not uncommon for
patrons of Buddhist temples in Japan to covet and hold their
gifts from the temple for several reasons. Namely, the need
and desire to remain unknown to the general public for their
donations, which were done for the right reasons, avoiding
any public acknowledgement. Secondly, there are moral
questions vis-�-vis accepting "compensation/gifts" from
monks for donations. Above all, donors do not like others to
know their private business and so the prints given in
acknowledgement by monks commonly remains a private matter.
*
CONDITION:
The work has some worming on the upper left and right edges,
where it was rolled up and stored inside a sculpture. All
one-hundred images are present, there is some loss to eight
of the images on the sides, and other old worming though not
major but nevertheless has left its mark on the interior.
The print was kept relatvely safe inside a sculpture of
Amida Buddha for some 900 years. During that time natural
attrition rate to bugs or moisture has taken a toll on this
kind of print. It is therefore natural to see some loss and
other minor defects.
.
Unfortunately almost all of the very few prints similar to
this one have survived only in fragmented pieces, and none
are cited nor illustrated in Ishida, They seem to have
eluded the scrutiny of Ishida, and most other studies of
early Buddhist woodblock prints.
***
REFERENCES:
BASKET, Mary: FOOTPRINTS OF THE BUDDHA: Japanese Buddhist
Prints from American and Japanese Collections. This exact
print is illustrated and discussed on p.30, as plate 6. She
attributes this work to the 13th century i.e.: Kamakura
period. Source: "Discovered inside a sculpture
[Tainai=Fudoh] of Fudoh Myoh-oh." See her Bibliography for
other excellent references on this famous work.
*
ROSENFIELD, John et al.: TRADITIONS OF JAPANESE ART:
Selections from the Kimiko and John Powers Collection.
This exact print is illustrated and discussed on p.113, and
illustrated as item 45.
*
MUSEE CERNUSCHI: ESTAMPS BOUDDHIQUES JAPONAISES: XIIe-XVIIIe
Siecles: Les Precurseurs de l'Ukiyo-e. See item 81;
introduction by Kikutake Junichi.
*
Ishida, Mosaku: JAPANESE BUDDHIST PRINTS: pp.29-30, 120-122,
et al; plates 73-75 a, b, c.
*
Tokuriki, Tomikichiro; TOYO KO HANGA [ORIENT OLDEST
WOODBLOCK PRINTS FROM THE TOMIKICHIRO TOKURIKI COLLECTION].
Tokyo 1978, page 63
*
Nara National Museum. TOKUBETSU TENRAN BUKKYO HANGA: SPECIAL
EXHITIBION OF BUDDHIST WOODBLOCK PRINTS. July-August 1972,
no. 44.
*
http://en.wikipedia.org/wiki/Acala
http://en.wikipedia.org/wiki/T%C5%8D-ji
*
STUNNING BOOK ON HOW TO GRAFT, BUD, PROPAGATE & MARCOTTE
112 FUJII, Tohru.
KAKI SAIBAI HOH: THE METHOD OF PROPIGATING FRUIT TREES.
Tokyo 1876, Shizusato. Blue stitched wrs., 4 vol. set, 24+33
+39+21 double folded leaves of text, 13 double folded leaves
of color illustrations, 25 color woodcut illustrations, 15 x
22.5 cm., very good, clean, solid copy. FIRST & ONLY EDITION
Reviewed by Tanaka Yoshiwo, edited by Sakamoto Noriyuki.
*
THE ARTIST:
This work is stunningly illustrated in color woodblock
engravings by the famous and celebrated Katoh Chikusai [his
studio name], commonly known as Bunrin [flourished 1808-77],
who's real name was Shiokawa Bunrin. See Roberts below for
more details.
*
THE USE OF LATIN PLANT NAMES
The table of contents shows the Japanese names of the plants
discussed, along with their Latin names, using the foreign
alphabet, in a symbolic way to show this work is a "modern"
Meiji [1868-1912] period example.
*
$4964
STUNNING GRAPHIC EXAMPLES OF PROPAGATING FRUIT TREES
This is a most valuable and rare early work on the methods
of propagating fruiting plants. The elucidates the reader
with superb insight to the current skill of Meiji-period
Japanese plant propagators, employing what we would consider
to be "modern" techniques.
*
THE CONTENTS;
The first three and one-half volumes are the text. The first
volume has a very handsome color frontis piece of the
various fruiting trees addressed in this work: cherry,
grape, persimmon, peach, pear & plum. The last half of vol.
4 begins the fantastic, copious color illustrations on how
and what methods are used to increase known better verities.
*
ROOTING
The planting bed is illustrated for seedlings or small
cuttings, with protective "curtains" to keep the heat &
moisture in. A kind of "cold frame" is also shown, with
raised planting beds for cuttings for rooting. Seedlings
and top worked cuttings also shown planted. Roots, and
branches are made into rooted propagations.
*
PROPAGATING & GRAFTING
Marcotting is accomplished by employment of a large bamboo
segment, split in half, the bottom notched out to match the
branch to be propagated, then the two parts aligned, bound
& filled with soil until the branch sprouts roots, then is
cut off from the mother tree. Variants to this show a
branch being gradually bent to enter the soil, staked down,
weighted with a flat rock as the new growth sprouts roots.
*
A final method involves the wrapping of the Marcotte with
Wara [rice straw] in a ball with soil inside.
*
BUDDING AND GRAFTING
The next major subject is grafting & budding. A prime
branch is selected for its good scions to cut and use to
graft onto older root stock. Cleft graft is employed, with
details showing how to prepare both the rooted and scion to
be grafted. To insure success 2-3 scions are inserted into
the root stock, bound with Wara [rice stalks] & tied off.
*
Some small branches are cut to reveal the open wood & then
bound to a rooted stock in a form of primitive "graft"
while others are side grafted in the usual way, then all
bound with Wara and tied off.
*
A form of "bud" grafting is shown, wherein the scion is
dropped into an area prepared by cutting a flap in the skin
so that the scion is inserted, and the flap replaced, tied
off while the scion grows-in to the old tree.
*
Other brilliant ideas employed to graft and co-join scions
to root stock & trees, as well as Marcottage. Pine trees
are shown being cleft grafted to grafted to the top of an
older tree.
*
A cherry is shown being clef-grafted to an old root stock.
"T" budding is also shown on varieties of what looks like
either persimmon or Asian pear. Other creative grafting
techniques utilizing the maximum "contact" between scion &
mother tree skillfully employed. One illustration shows the
bending of a branch into the ground with contact grafts
on three separate root stocks to hopefully gain new
grafted trees.
*
CREATIVE & UNIQUE TECHNIQUES
While many of these techniques now still in use, one
wonders just how much of our current knowledge has come from
such old and brilliant Japanese techniques. This work
clearly shows us that the Japanese knew how to propagate &
graft using a wide variety of complex techniques.
Although limited to using primitive tools this work displays
their great skill and good insight to methods which yielded
substantial success.
*
THE SET:
Volumes 1-3 Japanese text, volume 4 text and color
illustrations from an 8 vol. set.
***
RARITY:
This stunning work has eluded the most famous bibliographers
and Japanese botanic bibliographies. The work is obscure and
quite RARE, not found in the standard bibliographies.
*
CONDITION:
The books are bound in indigo-black dyed paper over stiff
covers, solidly stitched, each with a cover labels. The
covers are oxidized which is typical of books some 140 years
old. It is expected that the natural & organic colors used
to dye the covers to be in this state. The cover actually
show both indigo-blue and black colors, with some variance
and lighter color as well. The contents are quite clean on
bright paper. There are some small old mended worm holes in
the upper margin of several pages in vol.1. The last 14
pages of vol.4 has a small old worm hole in the upper part
of the page, which does not greatly impact the color
illustrations. Otherwise the work is solid and stable, by
and large a very good example of a very RARE color
illustrated woodcut work.
***
PER THE COLOPHON:
It states: "SEI-RI-EN zo-han" meanning the original wood
blocks of figures are located in SEI-RI-EN.
***
REFERENCES:
ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS
PAINTING, SCULPTURE,CERAMICS, PRINTS, LACQUER. See page 11,
under Bunrin. He was a Shijo painter, lived in Kyoto, pupil
of Okamoto Toyohiko, also learned Nanga style. Bunrin is a
well collected artist in world museum collections. See more
details.
*
The Below References Works do Not List This Title:
.
MERRILL, Elmer D. et al.: A BIBLIOGRAPHY OF EASTERN ASIATIC
BOTANY.
.
BARTLETT, Harley H. et al.: JAPANESE BOTANY DURING THE
PERIOD OF WOOD-BLOCK PRINTING.
.
KERLEN, H.: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN
***
$1505
DESCRIPTIVE & ILLUSTRATED EROTIC BIBLIOGRAPHY OF HOKUSAI
113 [FUJII, Yoshio.] comp.
NIHON UKIYO-E TAISHU DAI 1 KAN HIHAN HOKUSAI:
BIBLIOGRAPHY OF EROTIC HOKUSAI WOODBLOCK PRINTED WORKS.
[Tokyo 1952, Nihon Bijitsu]. Green boards, very good, 15
color, 1 color woodcut, 12 glossy b.w. photos + 58 other bw.
text photos, Japanese text, 15 x 21.5 cm. AN OBSCURE WORK !
This is a fascinating reference book. It has a good number
of color illustrations from Hokusai's erotic prints and
books, as well as a substantial list of erotic books by
Hokusai.
*
COMPILERS:
NIHON UKIYO-E KAI. [JAPAN WOODBLOCK PRINT SOCIETY] complied
this work under their special study group: Hokusai
Kenkyu-Kai or Hokusai Research Group.
*
STANDARD REFERENCE ALL PERIODS, EARLY TO SHIN-HANGA PRINTS
114 FUJIKAKE, Shizuya.
JAPANESE WOOD-BLOCK PRINTS.
[Tokyo 1949], J.T.B. Blue boards, 2nd. & best revised and
enlarged edition, 197p., index, bibliography, 10 color, 11bw
photos of prints, very good, clean, solid copy, 12.5 x 18.5
cm., color print on cover.
***
***
***
$226
.
.
A USEFUL AND COMPREHENSIVE REFERENCE ON UKIYO-E
.
.
ARTISTS AND PRINTS
***
This is a well-rounded study of the whole genre of Ukiyo-e
history, from the beginning down to 1949. With inclusion of
Shin-hanga prints and artists, covering the Taisho & Showa
period. Useful for student, collectors and researchers. A
valuable resource. With 11 color & 140 b.w. illustrations.
.
An excellent reference with many illustrations of 20th
century artist's works. Covers Hasui, Goyo, Shinsui & the
moderns. Listing following artists works & biographies:
Buncho, Denzen, Eishi, Eizan, Haritsu, Harunobu, Hiroshige,
Hokusai, Kaigetsudo, Kyomasu II, Kyomitsu, Kiyonaga,
Kiyonobu, Kokan, Korysai, Kunisada, Kuniyoshi, Masanobu,
Masayoshi, Matabei, Moronobu, Shigemasa, Shigenaga,
Sukenobu, Sharaku, Shunman, Shunsho, Toyoharu, Toyohiro,
Toyokuni, Toyonobu, Choki, Choshun, Utamaro, Yoshitoshi and
his pupils: Toshikata, Toshihide, Eiho, Toshikata,
Terukata, Kiyokata, Shinsui and others.
.
With a bibliography of other useful resources.
.
***
Tokyo [1953], J.T.B. Green cloth, 219p., 11 color 140 b.w.
illustrations, index, bibliogaphy, appendix, very good, dust
jacket, 13 x 29 cm.,clean, bright copy, biography of artists
nice work !
***
***
***
.
.
.
.
ARTISTS AND PRINTS
***
.
$9
.
.
***
Tokyo 1959, Japan Travel Bureau. Buff cloth, very good, dj.,
index, bibliography, appendix, chronology, biography of
artists, 11 color, 140 b.w. photos, 13 x 19 cm., solid nice
clean copy.
***
***
***
.
.
.
.
ARTISTS AND PRINTS
***
.
$44
.
.
***
$15
AN EARLY HISTORY OF JAPANESE MEDICINE & BIBLIOGRAPHY
117 FUJIKAWA, Y.
GESCHICHTE DER MEDIZIN IN JAPAN. Kurzgefasste Darstellung
der Entwicklung der Japanischen Medizin mit Besonderer
Tokyo 1911, Kaiserlich-Japanischen Unterr. Grey spine over
white boards, very good, 115p., chronology, German text,many
b.w. illustrations, first few pages slightly browned, else
clean, tight copy, 5 photos, 34 text illustrations. R A R E
A history of Japanese medicine from the beginning. Covers:
die mythische zeit, bis zur Nara, Heian, Kamakura, Muromachi
& Azuchi-Momoyama, Yedo, Meiji zeit...Anhang: Kurze ubersichtstabelle zur geschichte der medizin in Japan. A most valuable early & reliable reference to the early origins & beginnings of Japanese medicine found in mythology, as inherited
from China, Korea and in the 17th century from the Dutch and
from the West in general during the Meiji era. With scarce
& fascinating old pictures of Japanese doctors & physicians
taken from period woodblock printed texts, old native medical instruments. Also a very good bibliography of antiquarian
Japanese medical texts. A useful reference. FIRST EDITION
MOST IMPORTANT HISTORY OF JAPANESE MEDICINE FROM THE START
118 FUJIKAWA, Y.
JAPANESE MEDICINE.
New York 1934, Hoeber. Red cloth, very good, 114p., index of
subjects and personal names, appendix, chronology, 8 b. w.
photos, translated from the German edition by John Ruhrah
11 x 17 cm.
FIRST ENGLISH LANGUAGE EDITION S C A R C E
With a chapter on the RECENT HISTORY OF MEDICINE IN JAPAN by
Kageyas W. Amano. This excellent work addresses the early
beginnings of Japanese medicine in antiquity, tracing it
down to the 1920's. A monumental resource, outlining the
important medical figures in history, their progress, and
is also a bibliography of early Japanese medical
$51
treatises.
*
Also a good resource for the Dutch influence in Japanese
medicine during the period of when Japan was closed to the
outside world, and the Rangaku-sha [Dutch educated Japanese
scholars].Many of these are woodblock printed & illustrated.
The work is basically organized into historical periods.
Useful reference for which little in English is available.
Part of the Clio Medica series.
*
$187
A LOVELY EARLY MEIJI EDUCATIONAL GEOGRAPHY OF JAPAN
119 FUJIKOSHI, Kinnosuke comp.
NIHON CHI SO: GEOGRAPHY OF JAPAN.
Tokyo 1874-5, Goshobo. Stitched buff wrs., 4 vol. set,covers
bit scuffed, minor old worming, some mended, text not badly
affected, corners rubbed, worn, but internally clean, solid,
41+46+72+41 double leaves, 79 text illustrations, 15 maps.
A lovely illustrated set. Published and initiated under the
auspices of the Mombusho or Ministry of Education. This work
was basically designed to give the Japanese a good understanding of the geography of their own country. Volume 4 is a
supplement, compiled by Okugawa Ryukichi. The set covers the
whole of Japan, from Hokkaido, down to the Ryukyu Islands.
Written in plain and easy Japanese, this work is essentially
a complete national geography. The minor worming has not detracted from the text and is by & large marginal & minimal.
With a few double-page illustrations, cover title slips. The
illustrations show the landscape & aerial maps of villages,
shrines, temples, bridges, seascapes, beach-fronts, oceanside views, active volcanoes, large rivers, primitive trains
and shipping in harbors, lakes, great mountains and so on.
With early aerial views to Edo, Yokohama, Osaka, Kyoto and
other important cities, and associated aerial maps. Nicely
executed, and profusely illustrated. Scans can be sent by
email.
SUPERB REFERENCE OF JAPANESE TATTOO PRINTS OF 19TH CENTURY
$612
120 FUKUDA, Kazuhiko. ed.
GENSHOKU UKIYOE SHISEI HANGA: 19TH CENTURY COLOR JAPANESE
UKIYO-E [WOODBLOCK] PRINTS SHOWING TATTOOED PEOPLE.
[Tokyo 1977, Haga].Blue cloth, very clean like new copy,210p
Japanese text, profusely color & b.w. photo illustrated some
folding & fold out color plates, small folio: 21 x 30.5 cm.,
Gunji Masakatsu editorial supervisor.
This is an excellent, large-format and size volume. It is
loaded with stunning color Japanese woodblock prints
depicting Japanese Samurai, actors & tradesmen with tattoos,
or famous images, Buddhist art, and examples of some of the
most impressive graphics to come out of Japan in the last
200 years. This is a very useful color reference, used in
Japanese tattoo studios as samples and selections for
tattooing.
.
The Japanese have been masters of tattooing for more than
400 years. They have used historic symbols, heroes,
villains,
Monks, priests, goddesses, demons, folk-heroes and other
images drawn from the rich Shinto, Buddhist and historic
pantheon.
.
The superb full color Japanese prints within this fabulous
reference book cover the breath and width of this genre,
using some of the best artists of the time and their
impressive, dramatic and "Timeless" images. Their impressive
nature survives and continues today. The best collection of
such images in any single book, combined herein to give a
full perspective of this amazing genre.
***
The work focuses on some of the most celebrated and greatest
Japanese woodblock color print artists of the time.
Illustrating some 87 fine color examples from the best works
from the below famous artists. With many fantastic full
color illustrations. Showing a large number of tattooed
Japanese in the prints. Please visit our website, where we
have posted a good number of color photos from this great
work !
.
STUNNING EXAMPLES FROM THE BELOW ARTISTS:
.
1. Kuniyoshi
.
2. Toyokuni
.
3. Kunisada II
.
4. Yoshitoshi
.
5. Kunichika
.
***
There a good number of folding three and two panel color
woodblock prints. There are also a good number of smaller
black & white print examples, with descriptions.
***
THE AUTHOR KAZUHIKO FUKUDA:
The author is a celebrated contemporary scholar and
respected authority on Japanese Ukiyo-e or color woodblock
prints and illustrated woodblock printed period books. He is
the author of many superb reference books & monographs on
Japanese woodblock color printing.
***
RARE FIRST & ONLY EDITION:
This is the First & Only RARE edition.
It has been scarce since its small publication, and this
title seldom comes to market.
***
CONDITION:
This work is in excellent original condition, contained in
the original slip case, with color woodblock images. This is
a bright & clean copy with its gold-stamped titles on the
blue cloth binding. In collector's condition.
***
If you are collecting books about Japanese woodblock prints,
or actual Japanese 18-19th century woodblock printed books,
or original color Japanese woodblock prints, please inquire
as we have a good inventory.
***
Please visit our website and view the stunning color photo
examples posted.
***
EXCELLENT WORK ON CHINESE-JAPANESE CHARACTERS
121 FUKUI, Atsushi.comp.
KOH EKI MUSO SEI-JIN TSU: DICTIONARY OF CHINESE CHARACTERS
UNRIVALED PUBLIC BENEFIT.
Osaka 1885, Hanai. Stiff stitched gray wrs., very good, 11 x
15.5 cm., covers rubbed, mended, solid, contents clean, 256
double-folded leaves, copper plate etched, printed on handmade Washi paper, Japanese text.
This Late Ming period dictionary is firstly arranged by
character radicles, then by stroke order. Then the work
continues with a listing of all characters in use, from
$301
one to characters with the largest amount of strokes.
*
Each entry is clearly written with explanations of the
character, part of speech, in combinations [Jukugo], and the
Japanese & Chinese sounds.
*
Even today, this is a highly useful work.
***
$100
JAPANESE TRANSLATION OF A CHINESE TREATISE ON SYPHILIS
122 FUWA, Genchoo. trans.
BAISO HIROKU: SYNOPOSIS OF A CHINESE SECRET WORK ON SYPHILIS
MANUSCRIPT ON SYPHILIS REPRINTED IN JAPAN 1774.
[Edo 1774, Tokuraya]. Blue stitched wrs., covers bit soiled,
contents clean, 2 vol. set [61] double folded leaves, woodblock printed on hand-made paper, 18 x 26.5 cm., Chinese and
Kambun text, very good, title slip on v.1 only,clean, solid.
Syphilis in Japanese is Baidoku or poison illness. G. Mestler in his GALAXY OF OLD MEDICAL BOOKS IN JAPAN p.136 states
"The familial inheritance of syphilis and immunity to that
disease were both recognized by the Chinese. Colles' Law
[now obsoelete], states that "a child that is affected with
congenital syphilis, its mother showing no signs of the disease, will not infect its mother.' was propounded in China
during the Ming dynasty [1368-1644], possibly by one Chin
Shi Sei. The work of that Chinese physician was translated
and edited by Genchoo Fuwa and reprinted in Japan in 1774
[7224 sic], where it was known as the BAISOO HIROKU, and
was in the form of questions and answers, and presented some
case reports with remarkable cures. A rather complete descriptive account of that work, including a partial translation will be found in a paper by A. S. Ashmead entitled 'SYNOPSIS OF A CHINESE SECRET; MANUSCRIPT ON SYPHILIS....'" This
subject is also carefully chronicled in Mestler from p.125
et al. Scans can be sent by e-mail.
Q U I T E
R A R E !
NICELY ILLUSTRATED WITH COLOR & B.W. FULL-PAGE PLATES
123 FUZOKU GA HO: THE PICTORIAL MAGAZINE OF JAPANESE FASHION.
FUZOKU GA HO:THE PICTORIAL MAGAZINE OF JAPANESE FASHION.
$4080
A Group of 34 Odd Issues of this Color-Illustrated Meiji Era
Tokyo 1889-1908, Toyodo. Original color pictorial wrs.,
various pagination, color & b. w. plates, 18.5 x 25.7 cm.,
spines worn, some loose, some stapled, all now solid, 34 odd
issues, profusely illustrated.
FIRST AND ONLY EDITION
FUZOKU GA HO: a group of 34 odd issues of this scarce and
obscure color-lustrated Japanese periodical. Some items have
the English title: FUZOKU GAHO THE PICTORIAL MAGAZINE OF
JAPANESE FASHION. Also: FUZOKU GAHO AN ILLUSTRATED MAGAZINE
OF JAPANESE LIFE.
.
The title is somewhat misleading. It is not actually about
fashion, but an illustrated history of Japanese life,
customs, political activates, militarism in China,
historical events, important people, and government, to only
mention a few.
.
An historical record of Japan's past, important events,
political activities, military aggression in China, famous
people, festivals, customs, dress, furniture, arms, armor,
and too many subjects to list.
.
Each issue contains a number of illustrations, some in color
and b.w. illustrations, as well as a good number of text
drawings, figures and illustrations.
***
THE LIST OF ISSUES, number of color & b.w. illustrations,
last page number, &c.
.
No. 3. 1889., tinted covers, 5 full page b.w., 2 double
page b.w. illustrations, 42p.
.
No. 4. 1889. Tinted covers, 7 full page b.w., 1 double page
b.w. illustrations.
.
No. 21. 1890. Tinted covers, double page b.w. & 2 full page
b.w. illustrations, 14p.
.
No. 22. 1890. Tinted covers, 5 double page b.w. 3 single
full page b.w. illustrations, 20p.
.
No. 26. 1891. Color covers, 4 double page b.w., 5 single
full page b.w. illustrations, 22+3p.
.
No. 27. 1891. Color covers, 2 color by Hiroshige, 2 double
page b.w., 6 full page b.w. illustrations, 22p.
.
No. 36, 1891, color pictorial covers, 1 double page color,
10 b.w. single page, 32 pages text.
.
No. 43. 1892. Color pictorial covers, 1 full page color, 5
double b.w. page, 2 single b.w. page illustrations, 28p.
.
No. 45. 1906. Color covers, 2 full page color, b.w. photos,
1 full page b.w. & 1 double page b.w. illustration, 42p.
.
No. 53. 1893. Color pictorial covers, 3 page color folding,
1 full page color and 3 double page b.w. illustrations, 30p.
.
No. 54, 1908, 2 double page color, 9. b.w. photos, 39p. text
.
No. 54. 1980. Color pictorial covers,1 color double page, 1
color single page, 4 b.w. double page, 8 b.w. drawings, 20
pages text.
.
No. 55. 1893. Color pictorial covers, 3 page folding color,
3 double page b.w. and 4 single page b.w. illustrations,
30p.
.
No. 56. 1893. Color pictorial covers, 3p. 1 color folding, 1
single color, 4 double page, 4 single page b.w.
illustrations, b.w. 30p.
.
No. 64. 1894. Pictorial color covers, 1 color folding, 5
double page b.w. & 8 full page b.w. illustrations, 32p.
.
No. 67. 1894. Title covers, 22 full page b.w. illustrations,
pp.51-80.
.
No. 72. 1984. Color pictorial covers, 2 double page b.w., 1
foldout b.w. and 7 single page b.w. illustrations, 32p.
.
No. 83. 1895. Color pictorial covers, 2 fold out color,3
double page b.w. 3 full page b.w. and 1 fold out b.w.
illustrations, 32p.
.
No. 85. 1895, color pictorial covers, 1 color folding, 4
b.w. double page, 1 b.w. folding, 4 drawings, 31 page text.
.
No. 86. 1895. Color pictorial covers, 1 fold out color, 2
double page b.w., 5 single b.w. and a map, 30p.
.
double folding b.w., 7 single full page b.w. illustrations,
map, 34p.
.
double page b.w. and 3 single page b.w. illustrations, 36p.
.
No. 90. 1895, color pictorial covers, 1 folding color, 3
double b.w. pages, 4 single b.w. pages, 1 b.w. folding, 28
pages text.
.
No. 91. 1895 color pictorial covers, 1 color folding, 2
color single, 2 b.w. , 4 b.w. double, 1 drawing, 1 single
b.w. plate, 32 text pages.
.
No. 98. 1905, color pictorial covers, 1 color double, 1
color folding, 1 b.w. double, 6 b.w. single pages, 32 pages
text.
.
No. 139, 1897, 2 double color page, 4 double b.w. pages, 3
single b.w. pages, 38p. text.
.
No. 141, 1892, 3 double page color, 5 double page b.w., 3
b.w. single page, 36p. text.
.
No. 175, 1898, color pictorial covers, 2 double color, 3
double b.w., 4 single b.w., 24 b.w. photos, 40 pages text,
typed captions.
.
No. 176 1897, color pictorial covers, 2 double color, 1
color single, 1 b.w. double, 5 single b.w. pages, 40 page
text.
.
No. 177, 1892, color pictorial covers, 2 double color, 1
double b.w., 7 single b.w. pages, 36p. text.
.
No. 353, 1897, 11 double color, 5 b.w. single, 17 b.w.
photos, 40 pages text.
.
No. 370. 1907. Title covers, 3 color fold out,21b.w. photos
one large fold out, 44p.
.
No. 379, 1892. Color pictorial covers,2 double color, 2
single page color, 2 double page b.w., 3 b.w. photos.
.
No. 382, 1908. Cover with double color illustration of Ueno
station only.
.
***
THE COLOR PLATES:
The color covers and other color plates are all signed in
block, and red cinnabar Hanko [seal/chop] with the artist's
name and seal.
***
OTHER ILLUSTRATIONS;
The work has many full page, double-page and folding b.w.
illustrations, + profuse text drawings & illustrations.
.
Hand-written English captions to most illustrations, or
typed captions.
***,
CONTENTS:
Covers subjects: recording earthquakes, festivals, Buddhist
images, Buddhist ceremonies, historical events, famous
persons, gardens, sights, telegraph, conflagrations, Shinto
shrines, Japanese Imperial Issue: military uniforms, swords;
1894 Sino-Japanese war, New Years celebration, great
earthquake of 1855 at the Yoshiwara [prostitution
quarters], first Japanese envoys [1960's], Ronin attack on
the British minister at Takanawa, Battle of Weihaiwei,
floods and disasters.
***
CONDITION:
As published, most paper clean white, a few are browned,
toned paper, some spines modern double staples, some old dog
ears, all in all very good, solid.
***
Color photos can be sent by email.
124 [GANKI]. et al.
$578
KOKON MEIKA NARAI GA CHO: ALBUM OF OLD & NEW PAINTINGS BY
FAMOUS PAINTERS: A Practice Book of Drawing Examples.
Tokyo 1909, Ohashi/Hakubunkan. Stiff silk-tied buff wrs.,
2 volume set, very good, ca. 17.5 x 25.5 cm., Japanese text,
34 color & b.w woodcut illustrations: 2 large folding black
& white; single-page color:11, b.w. 11; double-page color 5,
single: 5. A very lovely work.
*
Contains paintings exmaples of many fine and celebrated
artists: Ganki, Toba Sojyo, Tanyuu, Gahoo, Tonda Tanryo,
Raboku, Kazan, Kohgyoshuku, Kotei, Kanboo, Yuushou,
Kagefumi,Tanyuu, Tosashoukan Keimitsu, Kazzan, Okyo and
Rantei Kyokusui et al.
*
Volume 1: The work begins with an introductory essay on how
to paint. The basis of this book is to teach interested
persons how to paint by observing the masters and their
works and techniques of orchids, grasses, leaves, plum,
cherry, flower blossoms, chrysanthemum, bamboo &c., in Sumi
& gray color. The work then shows how to color flowers and
grasses, birds, firefly, with help by example of drawings
and paintings of people, a dramatic birds of prey, old
sage, pair of dogs, & a classic landscape.
*
Volume 2 continues with a Chinese scholar, children
playing with bows, mythological Gods, Samurai warriors,
Chinese literati or scholars, portraits of various people,
ending with a large foldout of a pavilion in the pines.
*
Nicely done and finely executed.
*
A VERY EARLY ILLUSTRATED WOODBLOCK RESOURCE ON YOSHITSUNE
125 GI KEI KI YOSHITSUNE KI: RECORD OF THE LIFE OF YOSHITSUNE.
GI KEI KI [YOSHITSUNE KI]: RECORD OF LIFE OF YOSHITSUNE.
Ahead of Title: Shinpan Eiri: New Edition [1697].
[Kyoto 1697, Umemura]. Blue stitched wrs., very good, covers
basically clean, bit of minor scuff, tiny bit of old worming
vol. 1, else clean, entirely woodblock printed on hand-made
paper, 43 woodcut illustrations, 8 volume set, complete.
A most famous and valuable work. The first edition of this
was published in 1635 and is a biography of Yoshitsune in 8
volumes. The title is however written in the Chinese reading
thus it is commonly known as GI KEI KI. The earliest copies
were neatly hand colored. This set is complete and follows
the original in volume count & contents, 18 x 25.5 cm., and
follows the bibliographical note cited in L. Brown: BLOCKBLOCK-PRINTING & ILLUSTRATION IN JAPAN, p.32 & 48. She also
states:"...each illustration extends over 2 full pages...it
is one of the most interesting sets of books of this period,
not only because it represents rather typical Kwanyei work
in wood-engraving, but also because it shows the dress, armour, weapons, etc. for the time of Yoshitsune." K. Toda
also cites this on p.28-30 with a careful list of the illustrations and two editions. Yoshitsune was the son of Mina-
$818
moto no Yoshitomo, his father turned against the Taira clan
in the Heiji uprising. Yoshitsune entered Kuramadera temple
in Kyoto to become a monk. Around 1180, he joined his halfbrother to fight the Taira, and the famous battle of Dan No
Ura spelled the end of the Taira. Yoshitsune and his famous
retainer Benkei are the subject of a number of dramatic
books & stories performed as Kabuki plays. This present work
outlines the life of Yoshitsune until his death at the hands
of the Yoritomo forces. With a nice set of charming illustrations, one in particular shows a young Yoshitsune testing
his arm and sword against a solid tree, another shows him in
a successful defense against four assassins as he beheads
two and cuts another in the heart as blood sprays forth, the
fourth flees for his life. For more information on Yoshitsune see: S. Iwao:BIOGRAPHICAL DICTIONARY OF JAPANESE HISTORY, p.92, et al; F. Brinkley: A HISTORY OF THE JAPANESE
PEOPLE...p.294 et al; E. Papinot: HISTORICAL & GEOGRAPHICAL
DICTIONARY OF JAPAN p.383-385; [H. Murakami]: GREAT HISTORICAL FIGURES OF JAPAN p.75 et al. J.M. Goedertier: DICTIONARY OF JAPANESE HISTORY index p.347 for several entries.
Scans can be sent by e-mail.
AN EXCEPTIONALLY RARE & EARLY ILLUSTRATED RESOURCE
$10200
126 [GILDER, Peter. et al.]
JAPANESE PRINTS. Priced Catalogues.
[Carmel 1979-San Francisco 1985]. Trading as Arts & Designs
of Japan, a group of 7 sale catalogues #1-7, each is ca. 23
x 15 cm., illustrated covers, with about 60 items, each is
illustrated, priced and described. His first 7 catalogues.
Contains single sheet prints & albums from the primitives
through the late 19th century. Artists: Hokusai, Hiroshige,
Eisen, Shunga [erotica], Yoshitora, Eishi, Harunobu, Zeshin,
Utamaro, Kunisada, Kuniyoshi, Toyokuni, Yoshitoshi, Yoshida,
and others are covered along with portraits and landscapes.
Bibliography, a useful reference tool.
A HAND-DRAWN AND COLOR PAINTED EROTIC STORY BOOK
127 GOKURAKU NO TOMO: FRIEND OF BLISS AND PARADISE.
GOKURAKU NO TOMO: FRIEND OF BLISS AND PARADISE.
[An Old Erotic Hand-Painted Color Story]
[Japan n.d. ca 1920]. Green brocade silk covers, accordion
$131
folded book, all edges gilt, contains 12 double-page color
drawing, on front and back sides of the leaves, 12 x 18 cm.,
very good, tiny faint margin stain on 2 else clean.
SCARCE
A charming and quaint erotic book. It begins with a couple
engaged in love-making and tongue kissing, and also shows
the various other positions and styles of love-making. The
couples are wearing the usual Taisho period [1912-1926] Kimono and coiffeur, laying on the Tatami mats in typical Japanese style rooms. The artwork is skillfully executed in
Sumi black outline, with color applique. Each color drawing
occupies double pages, 24 x 18 cm. A very tiny bit of corner wear to the covers, else very bright and unique work.
Harubon [erotic books] have been banned in Japanese society
since the 1850's, so were always an underground" sub-culture
never for sale in the open market, but rather passed among
collectors discreetly. Color scans can be sent by email.
$1180
AN EXCELLENT COLOR REFERENCE ON THE GREAT MASTER'S WORKS
128 GOLDMAN, Israel.
HIROSHIGE BIRDS AND FLOWERS.
New York [1988], Braziller. Tangerine cloth, very good, dj.,
192p., bibliogaphy, tall folio, 26 x 37 cm., 91 color, 11 bw
photographs, very tiny damp mark on first 5 pages, else nice
copy.
A grand work, lavishly illustrated with superb reproductions
of color woodblock prints, fan prints, vertical scrolls and
a host of other fantastic examples.. A highly useful design
book, put out in conjunction with the Museum of Art, Rhode
Island Schol of Design. Nice collection of Hiroshige color
prints.
129 HAJEK, Lubor.
JAPANESE GRAPHIC ART: A Study of Japanese Woodblock Prints.
[London 1976], Galley. Blue cloth, very good, dj., 37p.,text
+ 113p. color plates, many other b.w. plates, glossary,clean
sharp copy, tall format: 24 x 30 cm.
The typical form of graphic art in Japan has been its
Ukiyo-e, or woodblock prints of the 'floating world.'
*
This work covers those color prints illustrating the
actors, Kabuki theatres, the women, men and settings.
$39
*
Also essays on the wood, colour, paper, reproduction,
distribution, pictorial cycles, brush, knife and calligraphy
of these prints.
*
An excellent work, well illustrated in full color. Also
covers the primitives, Utamaro, Toyokuni, erotica, woodblock
printed books, Meiji prints &c.
*
A useful reference source.
$5
A STUNNING BOOK OF JAPANESE DESIGNS
130 [HARUNA, Shikizan.]
SHIN KYOH MOYOH SHUU: COLLECTION OF ANCIENT & MODERN
TEXTILE PATTERNS.
[Kyoto 1903, Yamada]. Buff Stitched wrs., blind-stamped,[40+
42] folded leaves, Japanese style binding, 2 vols. complete,
[82p.], red tile slips, minor cover dusty, else very clean,
18 x 25 cm., woodblock printed.
Contains original patterns with a total of 80 b.w. and one
color illustrated pages of textile design. The work is very
copious, showing a wide variety of creative and traditional
designs and variations implemented. A Japanese designer wish
book. The work is obscure and rare when found complete.
*
The complete work in 2 volumes with embossed covers.
*
Scans can be sent by email.
A WONDERFUL EARLY JAPANESE VIEW TO THE WORLD OF NATIONS
$340
131 HASEGAWA, Sadanobu.
NAGASAKI HANGA BANPAKU ZUE: NAGASAKI WOODBLOCK PRINTS
ILLUSTRATIONS OF ALL NATIONS.
[Japan 1929, Shiudoh]. Accordion folded album, in Chitsu
blue cloth case with ivory clasps, color woodblock printed,
8 prints of ships, 2 color maps 1 folding, [30]p., 31 x 24cm
very pristine clean copy.
FIRST AND ONLY OBSCURE EDITION
A beautiful look at the foreign sailing ships that visited
Nagasaki. Including ships from England, Korea, Ryukyu Island
Russia, India steam paddlewheeler, Holland, America & China.
Each print sheet is 10 x 7.25 inches, with accompanying text
in Japanese.
.
***
Essentially a work discussing and illustrating the vessels
from around the world that have visited Nagasaki with
examples of foreign writing. The color woodblock printed
title sheet shows a globe on its axis, and has two
cinnabar seals and a colorful chain boarder. The folding map
illustrates Eastern Asia beginning with all of Japan,
surrounding islands, Korea & the China mainland.
.
***
The ships are lavishly done, showing flags flying, cannon,
anchor, under sail, national flags, and some with
surrounding scenery. A second map shows a double
hemisphere view of the world against an indigo background.
Each continent is named.
.
***
CONDITION:
A very handsome addition to any collection or library in
superb condition. Books of this subject and vintage are
quite R A R E !
.
***
$8000
T.TINDALE'S COPY OF A STUNNING PRE-1923 COLOR WOODBLOCK BOOK
132 HASHIGUCHI, Goyo. [author & comp.]
UKIYO FUZOKU YAMATO NISHIKI-E EDO SHOKI JIDAI: PICTURES OF
JAPANESE LIFE IN 'BROCADE' PICTURES OF EARLY EDO ERA [1600].
[Tokyo 1917], Nihon Fuzoku Zu-e Kai. Yellow pictorial boards
tall folio 25.5 x 37 cm., 17 of 20 color woodblock plates,
woodcut color printed endpapers,contents very clean, solidly
bound, excellent copy.
FIRST & RARE ONLY EDITION
***
***
***
.
.
.
A RARE & SUPERB COLLECTION OF PRE-EARTHQUAKE GOYO
.
.
.
POLYCHROME WOODBLOCK PRINTS
.
.
.
THE FIRST AND ONLY REMAINING EDITION:
.
.
. ALL OTHER COPIES LOST IN THE 1923 EARTHQUAKE & FIRE
.
.
***
A RARE SIGNED & DATED PRESENTATION COPY TO:
MR. & MRS. THOMAS K.TINDALE:
.
This book is brush signed and red-Hanko sealed by the Vice
Governor of Aichi Prefecture, Honorable KIRITANI
Katsusaburo, who presented this book on January 14, 1950 to
an even then famous authors, Mr. & Mrs. Thomas K. Tindale,
the writer of the important book entitled:
"JAPANESE HANDMADE PAPERS."
.
The presenter used Japanese Kanji characters "suzu" meaning
"tin" & "tani" meaning "dale" or "valley" a kind of
transliteration to represent Tindale's name in Japanese
characters. The meaning matches Tindale's name, but not the
sounds. Regardless, a very rare and important association
piece. See us for a copy of the Tindale book and others
regarding him and Japanese Washi paper-making.
.
***
THOMAS K. TINDALE'S PERSONAL COPY:
This book bears the blind-stamped embossed seal of Thomas K.
Tindale on the first fly leaf, lower right corner. It came
from his personal library.
.
***
.
A FAMOUS BOOK OF COLOR PRINTS BY HASHIGUCHI GOYO:
.
Goyo was born Hashiguchi Kiyoshi in Kagoshima Prefecture.
His father Hashiguchi Kanemizu was a Samurai and amateur
painter in the Shijo style. His father hired a teacher in
the Kano style of painting in 1899 when Kiyoshi was only
ten. Kiyoshi took the name of Goyo while attending the Tokyo
School of Fine Arts, from which he graduated best in his
class in 1905. Later, Goyo became a famous Shin-Hanga
artist.
.
This work is a superb example of Goyo's appreciation and
primitive foundation of color Japanese prints based in the
"Nishiki-E" [brocade color prints] era. The earliest prints
were only done in black outline. Color slowly became vogue,
and was added sparingly.
.
This work is his tribute to the masters of the earliest
period. Here in Goyo recreates examples of the primitives,
from the most famous artists as a tribute to their amazing
artistic, and compositional skills. Goyo expressed his
respect and appreciation as the old masters moved towards
effective use of subtle colors to accent, not overwhelm
prints like so many others did.
.
***
THE WORK AND ITS STUNNING COLOR WOODCUT PRINTS:
.
This work is seldom found complete, owners simply can not
resist pulling out prints and framing them as if they were
the originals by the great masters. Sadly, this example
like most if ever found, lacks three examples.
.
The work contains seventeen fine examples of woodcut prints
lightly tipped in as published. Each print is full page,
many are folding, either in vertical for horizontal format.
Many are lightly colored in the tradition of the old
masters.
.
***
THE ART OF THE PRE-EARTHQUAKE WOODBLOCK PRINTED BOOK:
.
In 1923, the Kanto Earthquake and ensuing conflagration
consumed most of Tokyo, including its publishers, woodblock
carvers and stock of prints and books. The fire destroyed
most of the books, woodblock prints and their woodblocks. A
substantial part of these artistic works were forever lost.
After 1923 there was an effort to re-carve blocks and
reproduce 'enhanced' versions of the pre-1923 works, which
were starkly different than the originals.
.
This work and its woodblocks like most others, were lost in
the fire. There were no reprints of this title or its
prints. This is the one and only original FIRST EDITION.
.
***
A RARE BOOK:
This is a superb example of Goyo's pre-1923 artistic work.
It is part of the larger Avant-garde movement of 1909-1937.
.
This and any other pre-1923 original Goyo work is RARE. This
title seldom comes to market, if found commonly lacks some
or all of the woodblock prints. The work was most likely
published in a small printing, of under 200 copies. The work
was self-published, producing a lovely "Livre d'Artiste."
Goyo had control over every aspect of the book, its paper,
binding and printing. He produced a book that satisfied his
own artistic needs. Few publishers could afford to publish a
book with all of these features.
.
THE BINDING:
This book is beautifully bound with cherry blossoms and
fern leafs on the covers, Goyo's Hanko [seal/chop] is
tastefully worked in to the lower center.
.
The front and back endpapers [by Goyo] are woodblock
printed, showing lovely white ducks with cherry blossoms in
water. The colophon is part of the inside back cover
endpapers, and matches the front. This shows the typical
usual bibliographic details, including the compiler's name,
Goyo.
.
The inside spine corners are bound with brocade silk [one a
bit rubbed]. The spine is tied in two places with matching
orange ribbon.
.
The entire book is printed on double-folding leaves, the
traditionally style of E-hon or any other book from the
earlier
periods.
.
***
THE PLATES:
Each plate represents an important early Ukiyo-e artist and
his interpretation of an event or historical and classic
event or turning point. Although the contents show a list of
twenty plates, three of which have been gently removed.
.
WORKS THAT INFLUENCE GOYO AND HIS ART:
Goyo wrote a six page after word, following the woodblock
print pages. Following this is his essay: "UKIYO-E SEI?XX
YAMATO NISHIKI E EDO MAKI JIDAI covering 10 pages. He
addressing six past Nishiki-e grand masters, noting their
style, artistic technique, and composition. Followed by
Goyo's list of plates and his analysis and description of
each work. He also covers the historical setting, milieu,
commentary on subjects, the period, and cultural forces.
This work clearly imparts to the reader, evidence of what
earlier artists and historical forces influenced Goyo's own
artistic works. This is a very important biography of Goyo's
artistic journey and insight to his artistic appreciation.
.
***
THE ARTIST: HASHIGUCHI GOYO [?1880-1921]:
Author and co-compiler:
.
Is best known for his stunning Shin-Hanga style portraits of
Japanese Bijin [beautiful women], and a few landscapes.
.
Hashiguchi was born Kagoshima Prefecture. His father was a
Samurai and amateur painter in the Shijo style. His father
hired a Kono-style painter to teacher Goyo painting in 1899
he was only ten years old. He took the name of Goyo while
attending the Tokyo School of Fine Arts, from which he
graduated best in his class in 1905. The name Goyo was
chosen because of his fondness for the five needle pine in
his father's garden. He is known as an excellent master
painter, woodblock print artist & printmaker.
.
CO-AUTHOR: KABURAGI Kiyokata [1878-1973]:
Co-compiler, was a Japanese style painter, studied Ukiyo-e
under Taiso Yoshitoshi, later studied with Mizuno Toshikata
retaining his style in his own work. From 1901-1912, he was
the leading figure in the Ugohkai. In 1917 he helped found
the Kinreisha. Exhibited with the Teiten, was a member of
the Art Committee of the Imperial Household and of the Japan
Art Academy. In 1954, he received the Order of Cultural
Merit. He also used the "Go" of Kaburaki. .
.
He was a genre painter, working also in the style of color
woodcut prints of the Edo period. For that reason, Goyo
enjoyed collaborating with him to produce this book, a work
of 'like-minded artists,' both of whom expressed nostalgia
and respect for the art of the Edo period.
.
Kiyokata further specialized in Bijin-ga [prints of
Beauties], and portraits, personalities of the Meiji era, is
well collected by world museums.
See Roberts below for more.
.
***
CONDITION:
The work is very clean and sharp in the original binding.
There is a very minimal amount of edge rubbing, normal for a
small folio of this size. The binding is firm, and solid,
corners nice, not bumped.
.
The Covers:
The front covers are quite clean, there are a few very tiny
pin size spot to the lower left corner, else the cover has a
bit of 'dustiness' to the spine area, minor edge wear. With
the title slip.
.
Rear Covers:
The rear covers have a few very tiny small brown spots to
the center area, minor edge wear.
.
By and large a clean, solid and nice item, with pristine
contents, no issues.
.
***
BIBLIOGRAPHY:
.
MERRITT, Helen.: MODERN JAPANESE WOODBLOCK PRINTS: The Early
Years, 69-75 + many other entries in the index.
*
MERRIT, Helen and Nanako Yamada.: GUIDE TO MODERN JAPANESE
WOODBLOCK PRINTS 1900-1975.
*
PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, p.40. Goyo
is well collected by world museums. " "The last great
Ukiyo-e artist." "His prints technically among the finest
ever made..."
.
Kiyokata entry see p.63.
*
Wikipedia:
https://en.wikipedia.org/wiki/Goy%C5%8D_Hashiguchi
*
"Livre d'Artiste:" Artists' books [or art books] are works
of art that utilize the form of the book. They are often
published in small editions.
https://en.wikipedia.org/wiki/Artist%27s_book
*
TINDALE, Thomas K. et al.: THE HANDMADE PAPERS OF JAPAN.
First & Only Limited Edition of 250 Copies.
.
***
website.
A FAMOUS COLOUR MAP BY SADAHIDE-STAR PUPIL OF KUNISADA
133 HASHIMOTO, Gyokuransai. [UTAGAWA, Sadahide.]
MUTSU DEWA KOKUGUN KOOTEI ZEN ZU: COMPLETE MAP OF MUTSU AND
DEWA PROVINCES WITH HALF OF ECHIGO PROVINCE.
N.p. [1868], Gyokuransai. A large color woodblock printed
map, 1 meter 45.5 x 92 cm.,minor old worming, else very good
hand-printed woodblocks, pastel vegetal dyes, handmade paper
symbol key, beautifully executed with superb charm. R A R E
Sadahide [1807-1873] was an excellent artist and stylist. He
was an Ukiyo-e painter who dogged foreigners in Yokohama,and
made large numbers of "Yokohama E" or prints of foreigners;
he was also know for his lovely landscape prints often done
in a series of three single but matching prints ie tryptich,
that again connected to other groups of three to form a long
panoramic panel of views of famous sights & Shogun or Imperial processions. He lived in Edo & worked under the master
painter & Ukiyo-e print-maker Kunisada I. He was a prolific
print maker and cartographer. His "Bird's Eye View" maps are
among the most spectacular and decorative ever done in the
mid 19th century, and show a high degree of artistic skill,
understanding of composition and three-dimensional drawing.
He was truly a unique and creative artist and far ahead of
his time.
*
This map is a prime example of his keen ability to
imagine, or project himself above the land, as if he were
floating in a balloon, while he sketched the country side.
Per Namba..."maps of Mutsu & Dewa [provinces] in the Northeastern part of Honshuu, were not published at all until
$326
1868 [first year of the restoration of the Meiji Emperor to
the seat of power], the last year of the Edo period, when
the Shogunate collapsed." This most charming map shows the
coast, mountains, rivers, lakes in a pictorial and highly
artistic manner.
*
WHO WAS HASHIMOTO GYOKURANSAI:
His works are always graphically pleasant to view and have
a magical charm. His use of delicate and pastel vegetal
colors was a confirmation of his committment to the use of
traditional coloring, while many of his contemporaries
were enthralled with the new aniline or foreign pigments,
that made so many Meiji prints garish and bright.
This work is truly superb for and ready framing and library
display. All of his maps are quite R A R E ! Cited and illustrated on 4 full pages in color in in M. Namba: OLD MAPS IN
JAPAN as plate #46 pp.86-89, with text on p.190. Due to the
very large nature of this map, and difficuly to get a good
digital photo we have also posted a scanned from the above
book, which shows this map in all its color, large size and
glory. Sadahide was also one of eleven Japanese
woodblock print-makers who presented their artistic
examples at the Paris Exposition of 1866, receiving the
Legion d'Honneur. This map folds down to about 18 x 26 cm.
*
BIBLIOGRAPHY:
*
L. Roberts: DICTIONARY OF JAPANESE ARTISTS: p.135. [A major
woodblock print artist of the mid-19th Century. Well
collected by world museums & collectors.
*
*
KOBE CITY MUSEUM. EZU TO FUKEI, E NO YONA CHIZU, CHIZU NO
YONA E: BETWEEN LANDSCAPE PAINTING AND PANORAMIC MAPS.
[Literal Title: PICTURE MAPS & LANDSCAPES, PICTURE-LIKE MAPS
AND MAP-LIKE PICTURES.]
*
HASHIYAMA, Takashi. et al. BAKUMATSU MEIJI BUNMEI KAIKA:
The Westernization of Japan in Ukiyo-e.
*
This is one of the best monographs on Sadahide, showing a
large variety of his color woodcut prints and books.
KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN. YOKOHAMA UKIYOE TO
SORATOBU ESHI, GOUNTEI SADAHIDE: SPECIAL EXHIBITION:
YOKOHAMA UKIYOE: LIFE AND WOODCUT WORKS OF GOUNTEI SADAHIDE.
*
A BRILLIANT EARLY STUDY OF FOREIGNERS IN YOKOHAMA, 1862
$2725
134 HASHIMOTO, Gyokuransai. [UTAGAWA, Sadahide]
YOKOHAMA KAIKO KENBUNSHI: RECORD OF SIGHTS AND SOUNDS OF
THE OPENING OF YOKOHAMA.
[Yokohama 1862]. Blue blind-stamped stitched wrs.,very good,
covers oxidized, contents very clean, a bit of old worming
on a few pages, else nice, clean, 3 vol. set:19+21+31 double
folded leaves, 17.5 x 24.5 cm. R A R E FIRST & ONLY EDITION
***
***
***
.
.
. A FABULOUS EARLY LOOK AT FOREIGNERS THROUGH JAPANESE EYES
.
.
.
This is a fabulous look at the first foreign visitors to
Yokohama. The lively activities of the American, British,
Chinese are recorded in much detail by Sadahide who was one
a very few keen observers of foreigners in Yokohama. He
produced some of the best and most memorable views of
Yokohama both in terms of maps, "Bird's Eye" maps, prints
and books and portraits of foreigners and their way of life.
His solid contribution to how foreigners looked to Japanese
is typical and a valuable historical insight to the quickly
changing times in Japan, when all things foreign were
respected and studied under the microscope.
.
***
This set of books reflects the keen insights Sadahide made
on all things foreign. Their ships, Indonesian & Chinese
servants, horses, customs, dress, activities, food, way of
life and the whole genre.
.
***
Excellent examples of lots of Americans, cigar smoking men,
riding horses, American women in elaborate dresses,
pool playing, and just cavorting drunk !
.
***
The 3 volumes are profusely illustrated with 2 large folding
plates in the beginning of volume 1 which shows the whole
port of Yokohama and its bund. In all, there are 174 full
single page illustrations, plus the two large folding
double-page illustrations. There is a colored frontis at the
beginning of volume 1. This shows a composite of foreign
flags with the author's [artist] name & book title
superimposed over the flags. Text in Japanese.
.
***
The work was issued in two parts, volumes 1-3 in 1862, parts
3-6 1865, but they are seldom found complete with all six
volumes together.
.
A VERY SIMILAR COLOR WOODBLOCK BY SADHIDE:
Please see our color photo image illus04.jpg posted to our
website. This shows an excellent perspective from the front
of Mitsui shop at Yokohama Honcho of 1-Chome, past Kanagawa
Suzaki Shrine toward distant point of the ferryboat landing,
which is similar to his color print found in Kanagawa
Kenritsu Hakubutsu Kan book below, page 21.
.
***
THE ARTIST HASHIMOTO GYOKURANSAI [1807-1873]:
Gyokuransai, or better known commonly as Sadahide
and Gountei. He was first known as Utagawa, and also used
several other "Go" [studio names]. He was the star pupil of
Kunisada, prolific printmaker and illustrator, and was
fascinated with Westerners and drawing them at Yokohama.
.
He did many Yokohama prints, as well as "Bird's Eye" views
of Yokohama, Black Ships, and other places throughout Japan.
.
He was among eleven Japanese artists who exhibited at the
Paris Exposition in 1866, for which he received the Legion
d'Honneur for his stunning and unique color woodblock
prints. He is often referred to as being the leading member
of the "Yokohama School."
.
He is well collected by world museums. He exhibits a unique
charm in capturing the essence and flavor of his subjects.
See Roberts below for more details.
.
***
CARVER:
The inside of the front cover shows the carver as Nakamura.
.
***
CONDITION:
The blind-stamped covers are all original and a bit
oxidized which is usual for a book of this age. The books
are solidly string bound, and stable. The contents of each
volume are remarkable clean internally. Each is tight,
solid, and without any worming whatsoever. Each page is
nicely printed with sharp and clear woodblock printed
images. An early pull of the blocks which likely yielded
about 200 copies.
.
There is some of the usual "thumbing" in the corners that
has some minor discoloring, again usual. The indigo-blue
Chitsu folding case has some wear on the edges, some cracks
in the hinges [mended], one edge faded, else solid. By and
large, this is a sharp and nice copy of a very rare book.
.
***
BIBLIOGRAPHY:
H. Kerlen: CATALOLGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS
IN PUBLIC COLLECTIONS IN THE NETHERLANDS, no. 1879, p.793
*
TODA, Kenji. DESCRIPTIVE CATALOGUE OF JAPANESE AND CHINESE
ILLUSTRATED BOOKS IN THE RYERSON LIBRARY OF THE ART
INSTITUTE OF CHICAGO: p.446.
*
L. Roberts: DICTIONARY OF JAPANESE ARTISTS: p.135.
*
KOBE CITY MUSEUM. EZU TO FUKEI, E NO YONA CHIZU, CHIZU NO
YONA E: BETWEEN LANDSCAPE PAINTING AND PANORAMIC MAPS.
[Literal Title: PICTURE MAPS & LANDSCAPES, PICTURE-LIKE MAPS
AND MAP-LIKE PICTURES.]
*
HASHIYAMA, Takashi. et al. BAKUMATSU MEIJI BUNMEI KAIKA:
The Westernization of Japan in Ukiyo-e.
*
KANAGAWA KENRITSU HAKUBUTSU KAN. comp.: SHUTAISEI YOKOHAMA
UKIYO-E. COMPREHENSIVE CATALOGUE OF YOKOHAMA UKIYO-E PRINTS.
p.21.
.
KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN. YOKOHAMA UKIYOE TO
YOKOHAMA UKIYOE: LIFE AND WOODCUT WORKS OF GOUNTEI SADAHIDE.
[A Woodblock Print Artist of the Mid-19th Century].
Note: This is one of the best monographs on Sadahide,
showing a large variety of his color woodcut prints and
books.
*
KSM: Fuzoku, Chishi, vol.7, p.897
*
Kraft. vol. 1, no. 7 92
*
Color of this and most other items are posted to our
website.
FOLIO SIZE, WITH EXCELLENT COLOR WOODCUTS & COMPOSITION
135 HATTORI, Torazo.
YAMATO-E MONYO SHUN KA SHU JU: JAPANESE DESIGNS OF SPRING,
SUMMER, AUTUMN & WINTER.
[Kyoto 1934, Uchida]. Stiff board covers, folio 30.5 x 42.5
cm., 10 fine color woodcut color prints tipped in, pristine
condition prints, cover edges worn, else a very nice solid
copy of a rare book.
FIRST & ONLY OBSCURE EDITION
$8301
A STUNNING WOODBLOCK PRINTED "ART DECO" "AVANT-GARDE" ALBUM
.
.
A folio sized large color-printed woodblock accordion folded
album with ten stunning "Art Deco" Japanese prints with
creative and skilled composition and fantastic color
use, reflecting the "Avant-Garde" movement.
.
.
***
CONTENTS:
.
Title page in Japanese listing ten print titles. Each print
is lightly tipped in to the album at the top edge, each
21 x 31.7 cm.
.
Each woodblock print is printed in stunning polychrome or
multi-colors. Each is a masterpiece work, with excellent
registry and color, each is flawless, no issues.
.
THE WOODCUT PRINTS:
.
1. Depicts a bird with cherry blossoms and Yanagi [weeping
willow] tree.
.
2. Shows a large paulownia floral Mon on a grand-size
textile partition, indicating the Imperial family home, with
white pear blossoming tree.
.
3. A stunning iris with bamboo lattice, colorful flowers and
leaves.
.
4. Illustrates a pair of water-foul in the river, with a
double cherry blossom on the shore and three rocks, gentle
flowing wave patterns.
.
5. Two bamboo stalks and a new bamboo shoot, eight bamboo
leaves in purple, red and green. Fascinating composition.
.
6. A stunning scene showing a blue butterfly hovering over a
wheat-like flower head, with red and green leaves, with a
pale yellow flower in bloom. There is some crushed mica used
to pattern of the wind in the background, flowing behind the
flowers and butterfly. The use of mica is the most difficult
and complicated form of woodblock printing ever used in
Japan. It is a special technique, involving the use of mica
crushed into a "glittering" ink-like color, reflecting
silver color. Indicative of a master artist and superb block
printer at his best. Seldom used technique due to its high
level of application difficulty.
.
7. An owl in a cypress tree, with black and white trunk and
leaves. The owl has brown outer feathers, pale cr�me chest
feathers with a blue-black beak and large eyes with gray
outline. The background in a diagonal purple within a gray
sky, impressive image and composition.
.
8. Weeping willow sprig in the foreground, a traditional
Japanese bridge with its red-lacquer posts and rail, topped
with a bronze miniature Buddhist pagoda. In the background
are two round bamboo baskets, each a different color:
foremost is gold with gray background, the second is purple,
both sit before a powerful indigo-blue "V" shaped
background, with a pale blue-silver second background from
the upper left corner progressing through the left half of
the image to the lower right corner. A stunning composition
and creative use of color.
.
9. Two Peony flowers, one in white the other in crimson,
with black leaves, against a green-covered mountain with
oxidized copper-ochre background. Behind the two mountains
are two very tall and jagged mountains with two
streams of clouds in brilliant white moving half-way across
the sheet. Yet another stunning composition and imaginative
and very creative use of color and forms.
.
10. Pink flowers with tiny white stamens on a dark brown
twig, the background is a blue ocean with lovely
wave-patterns in silver, behind which is a green mountain,
and a silver background, again special and skillful use of
crushed mica to indicate the sea spray rising from the ocean
waves. The foreground has pale brown, beige and cream with
silver grass and twigs in a delicate pattern. Beautifully
executed composition and creative use of color
.
Please view the images posted to our website for this gem.
***
This is a stunning example of some of Japan's best "Art
Deco" and "Avant-Garde" work of the period.
.
***
CONDITION:
The front album cover is woodblock-printed paper, with a
purple floral pattern and black Sumi-ink Kanji titles. The
back cover is covered in a crepe-like embossed pattern in
beige. Both covers are well worn on the edges and just
inside from the edges, and the internal boards are showing
on the edges. The covers have performed their duty to
protect the contents.
.
The contents are exceptionally clean, if not pristine. The
front end papers are a gold-fleck hand-made Washi paper
covered thick board pages. Each page has a gauze-like cotton
hinge material inside and under the page covered paper. Each
page hinge is solid, intact and firm. Each page is covered
in a "gauze" pattern embossed paper laid down over the stiff
board pages. Each print is lightly tipped-in at the top
edge, the balance is loose, revealing the verso to any
interested observer.
.
There is a small amount of foxing to the "gauze" paper
covering and the title page. Otherwise each print is
exceptionally clean, no foxing or other issues whatsoever.
We do not like to use the word 'pristine' however in this
case it is the proper adjective to describe the flawless
condition of each print.
.
The book can and should be opened as the artist & publisher
intended, flat to show two lovely images in juxtaposition.
.
The last print is facing the colophon.
***
By and large an excellent example of mid 1930's Japanese
"Art Deco," artistic compositions, "modern" and "creative"
use of color, design and artistic concepts of "modernity."
***
$1307
136 HAYABIKI SETSU YO.
HAYABIKI SETSU YO: DICTIONARY OF QUICKLY FOUND WORDS.
Japan n.d. ca.1820. Blue stiff stitched wrs., no title slip,
very good, covers dusty, bit soiled, contents clean, solid,
135 double leaves, woodblock printed by hand on hand-made
mulberry paper, ca 9 x 15 cm., Japanese text.
An interesting pocket-size dictionary of Japanese words, arranged by the traditional "Iro-ha" sound system. Written in
period Japanese, with meanings, sounds and combination of
Kanji for more complex words. Scan examples can be sent by
email.
ONE OF THE MOST FAMOUS CATALOG OF SUPERB ASIAN ANTIQUITIES
137 HAYASHI, T[adamasa.]
LA COLLECTION HAYASHI: Dessins, Estampes, Livres Illustres.
OBJECTS D'ART ET PEINTURES DE LA CHINE ET DU JAPON.
Paris 1903, n.p. Stiff brown decorated paper wrs.,vol.2 of 2
327p., many engraved plates, index of artist names, French
text, 1743 items described, 22 x 20.8 cm., solid copy, spine
restored, contents very clean, no marks or issues. R A R E !
***
****
***
.
. THE FAMOUS AND GREATLY CELEBRATED HAYASHI COLLECTION OF
.
.
IMPORTANT JAPANESE, CHINESE & KOREAN ART OBJECTS
.
.
This legendary work covers: Japanese, Chinese & Korean:
Buddhist sculpture, sculptures, bronzes, paintings, lacquer
ware, bronze masks, porcelains. Netsuke in ivory & wood &
buttons. Also Inro, embroideries, religious textiles,
diverse metal objects, ceramics, arms, armor, swords, Tsuba,
smoking utensils [Kiseru], combs, Ukiyo-e paintings &c., &c.
.
***
FIRST AND ONLY LIMITED EDITION IN TWO VOLUMES:
.
The work was issued in a Limited Edition, in 2 volumes,
$68
bound in decorated brown stiff paper. This work is by and
large one of the most valuable illustrated reference
resource of the early 20th century.
.
***
WHO WAS HAYASHI TADAMASA [1853-1906]:
.
Hayashi was a famous and outstanding Japanese art dealer
with a gallery in Paris. From 1878 until his death, he
organized and supported several large auction sales from his
inventory. He was also an exhibitor at the international
Paris Exhibition of 1900. He engaged art connoisseur M.S.
Bing to write the text to this and other auction sales
catalogs. This and other auction sales were Sales were done
at the L'Hotel Drout over several days.
.
Hayashi contributed significantly to the formation of French
taste and knowledge of Japanese art in the late 19th
century.
***
RARE HELIOGRAVURE PLATES: BY HELIOG P. DUJARDIN, A FAMOUS
PHOTOGRAPHER:
.
Volume 1 contains 1646 fine examples, well described and
cataloged by M.S. Bing. The work was originally bound in the
brown decorated stiff paper covers. Illustrated with 31 fine
full-page heliogravures executed by Heliog P. Dujardin,
with tissue guards before each of the heliogravures
.
We now offer volume 2 only:
Volume 2 contains 27 full-page, finely executed monochrome
Heliogravure plates by Heliog P. Dujardin, a famous
photographer of Japanese art objects, ivories, Netsuke,
Ojime, and Sagemono in the 1880's.
.
***
ARTIST INDEX:
Contains a copious index of artists found in this catalog.
***
RARITY:
This book seldom comes to market, and when found is
usually lacking many of the rare heliogravure plates, see
above.
.
***
CONDITION
Volume 2:
Binding: The work is in the original brown-decorated stiff
paper. The spine has been restored with cloth, over which
the old spine was laid down and mended. The book is solid
and firm. Several pages are uncut, as issued. Covers show a
very minor bit of wear to the extremities as usual, else
clean, solid and firm. The tissue guards over each of the
engraved illustrations are present. Complete as issued. We
note others selling single plates from this work for about
$100, each by Dujardin.
.
Contents:
The contents are very clean and solid, there are no marks
or issues with the plates or text.
.
***
Color scans of this and most other items are posted to our
website.
$400
138 HAYNES, Robert E.
EXHIBITION CATALOG #08.
[Including Important 19th & 20th Century Japanese Woodblock
[San Francisco 1984, Haynes].Color pictorial stiff wrs., 208
pages, many b.w. photos, glossary of armor and sword furniture,terminology, sword characteristics & Tsuba, price list,
711 lots, as new copy.
An auction catalog of Tsuba, Menuki, Kozuka, Fuchi-Kashira,
& important 19th & 20th century Japanese woodblock prints &
books. An excellent reference for students and collectors.
***
$75
139 HAYNES, Robert E.
EXHIBITION CATALOG #09.
[Japanese Swords, Armor, Tsuba, Japanese Woodblock Books
[San Francisco 1984, Haynes]. Stiff color wrs., very good,
207p., many b.w. photos, results of sale #7,8,9, price list,
524 lots, as new copy.
An excellent reference source, covering masterpiece & highly
imortant Tsuba, Menuki, Kozuka, Fuchi-kashira from eminent
collections in America, England, France & Japan. Also
woodblock printed Japanese books [E-hon], Jidai, &c.
***
CATALOGUE ABOUT ALL FORMS OF JAPANESE CHILDREN'S BOOKS
$75
140 HERRING, Ann.
THE DWAN OF WISDOM: Selections from the Japanese Collection
of the Cotsen Children's Library.
Los Angeles 2000, Cotsen Occasional Press. Stiff pictorial
wrappers, bibliography, 136p.,fold out color plates, profuse
color plates, about A4 size or 21 x 29 cm., edited by Don J.
Cohn, clean, bright "AS NEW" copy.
"The Cotsen Children's Library is home to one of the finest
and most comprehensive collections of Japanese children's
books and printed materials outside of Japan. At present,
this remarkable and constantly expanding corpus consists of
over 10,000 items, including not only books and documented
discussion of an unfamiliar form of publication."
*
A SUPERB REFERENCE ON HOKUSAI E-HON OR WOODCUT COLOR BOOKS
141 HILLIER, Jack.
THE ART OF HOKUSAI IN BOOK ILLUSTRATION.
[London 1980], Sotheby. Orange cloth,very clean, dj., 288p.,
glossary, index, appendix of 272 titles , bibliography, 40
color 200 b.w. photos, large, 24 x 31 cm., printed on heavy
paper, bright solid copy in nice dj.
FIRST & 0NLY EDITION
This is the first monograph to deal exclusively with Hokusai
illustrated books. As the most admired Japanese woodcut artits & book illustrator this work is so devoted to his
copious list of works. Covering 272 books, described and
cataloged. These works were produced over a period of 70
years, tracing the evolution of his print designs for every
conceivable type of book: cheap novelette, literary classic,
craftsmen's pattern book, erotic, travels, how-to-draw,
heroes, military, Mt. Fuji, and a host of other great
masterpieces.
*
An essential reference tool for any collector, student,
$44
library or museum curators. Truly a treasure trove,
profusely illustrated. Well organized resource, by the
leading exponent on Japanese woodblock printed works.
*
$48
A SUPERB REFERENCE ON HOKUSAI E-HON OR WOODCUT COLOR BOOKS
142 HILLIER, Jack.
THE ART OF HOKUSAI IN BOOK ILLUSTRATION.
[London 1980], Sotheby. Orange cloth,very clean, dj., 288p.,
glossary, index, appendix of 272 titles , bibliography, 40
color 200 b.w. photos, large, 24 x 31 cm., printed on heavy
paper, bright solid, book plate, nice dj.
FIRST & ONLY ED
This is the first monograph to deal exclusively with Hokusai
illustrated books. As the most admired Japanese woodcut artits & book illustrator this work is so devoted to his
copious list of works. Covering 272 books, described and
cataloged. These works were produced over a period of 70
years, tracing the evolution of his print designs for every
conceivable type of book: cheap novelette, literary classic,
craftsmen's pattern book, erotic, travels, how-to-draw,
heroes, military, Mt. Fuji, and a host of other great
masterpieces.
*
An essential reference tool for any collector, student,
library or museum curators. Truly a treasure trove,
profusely illustrated. Well organized resource, by the
leading exponent on Japanese woodblock printed works.
*
ONE OF THE MOST VALUABLE COLOR ILLUSTRATED BIBLIOGRAPHIES
$60
143 HILLIER, Jack.
THE ART OF THE JAPANESE BOOK.
[New York 1987,] Sotheby's. Gray cloth, 2 vol. set, 11026p.,
225 color, 704 b. w. photos, 24 x 33.56 cm., a small folio,
dj. in mylar, the author's SUI GENERIUS, beautifully done,
contained in a grey cloth slipcase.
A major resource for any serious dealer, library,
museum, collector or student of E-hon [Japanese woodblock
printed illustrated books]. This substantial reference work
is Hillier's single and most valuable contribution to the
study of E-hon.
*
Hitherto there has not been any single resource in English
to cover this subject with the breath and the depth found
here. Hillier's long experience with Japanese woodblock
printed books and prints was legendary. His extensive
knowledge gave him insights and perspectives seldom found by
others.
*
This work surveys the whole genre from the 1600 and
addresses the beautiful works from the major artists, down
to 1951, selecting from the most prolific artist to show
them at their most typical and impressive best.
*
The artistry and techniques of book designers, artists,
block-cutters & printers are all examined, based on
specimens of optimum condition and un-faded color. Hillier
shows the delicate relationship between the craftsmen and
artists as they worked in concert to produce fine artistic
works with the most delicate of carving techniques,
polychrome printing and production techniques of the time.
*
Over 900 fine examples are represented, covering all genres,
including erotic books [Shun-ga or Haru-bon]. Copious and
valuable glossary, chronology, bibliography, index of
Japanese artists named in the text, index of Japanese
illustrated books [E-hon] referred to in the text [titles],
general index [names]. A grand work completed just before
Hillier's untimely death.
*
BINDING:
The set is bound in heavy cloth, designed to contain a large
and heavy book. With dust jackets in mylar protectors, all
enclosed in the gray-cloth covered slipcase. A lovely
production. Hillier's SUI GENERIS !
*
EXTRA SHIPPING:
This is a large and heavy item, extra & appropriate packing,
insurance and shipping charges will apply.
*
$359
144 HILLIER, Jack.
HOKUSAI: Paintings, Drawings and Woodcuts.
New York [1978], Phaidon. Black decorated cloth, 136p., 18
color, 142 b.w. plates, bibliography, chronology, list of
woodblock printed books illustrated by Hokusai, very good,
3rd ed., 22 x 29 cm., as new, bright clean copy.
This text describes expertly the slow unfolding of this artist's gifts as a print designer and book illustrator. A
highly authoritative work, supported with profuse illustrations. Also covered are his brush drawings, paintings most
of which are little known. A comprehensive and fully illustrated reference work. Essential for students or collectors.
$26
145 HILLIER, Jack.
THE JAPANESE PICTURE BOOK: A Selection from the Ravicz
Collection.
New York 1991, Abrams. Green cloth, 74 color, 53 b.w. photos
136p., dust jacket, very good, list of artists, bibliography
list of exhibitions. A useful and valuable reference source.
Superb survey by one of the world's foremost experts on Japanese prints & woodblock printed Japanese illustrated books.
Coverage begins in the 17th century, illustrating the impact
of Chinese culture on the art of Ukiyo-E to 20th century
pieces that reflect the influence of Impressionism and Art
Nouveau. This is also the catalogue of the Robert Ravicz's
personal collection of illustrated woodblock printed books.
HOW TO MEDICALLY TREAT SAMURAI AFTER THE BATTLE
$39
146 HIRANO, Genryo.
GUNJIN BIYO KYUKYU TEKIHO: EMERGENCY MEDICAL TREATMENT
FOR MILITARY PERSONNEL.
[Tokyo 1853-56, Izumiya].Yellow stitched wrs.,complete 2 vol
set, 40+49 double folded leaves, or 178 pages in all,25 wood
block printed illustrations, Japanese text, printed on handmade Washi paper, 12.5 x 18.5 cm., very clean.
R A R E !
Well illustrated with woodblock prints of medical & surgical
treatment.
.
Shows medical instruments for removing bullets, needles for
suturing, bandages, swabs, and a very rare illustration of a
dislocated shoulder being "re-aligned."
*
Other illustrations of various plants, herbs, showing the
medicinal or pharmacopoeia of medicine making.
*
Japan was in various military battles for over four-hundred
years. It was a common theme of war lord against war lord or
Shogun against other Lords throughout Japan. Samurai were in
uncountable battles, and many sustained life-threatening
wounds. Therefore military medical treatment was paramount
to a Samurai's survival. Books of this subject were commonly
coveted and secreted from opponents and other competitors.
*
An in-depth and copious medical treatment and medicine
resource.
***
CONDITION:
The work is bound in the original yellow paper-covered
boards, solidly stitched. There is some old dustiness to the
covers, a couple of small stains, else clean with the
orignal title lsips. Contents is very clean, no worming, the
paper is bright and clean, no issues.
***
REFERENCE:
***
MESTLER, Gordon E.: A GALAXY OF OLD JAPANESE MEDICAL BOOKS
WITH MISCELLANEOUS NOTES ON EARLY MEDICINE IN JAPAN. See
p.157, where he cites this as "...the last of the military
surgeries of the Chinese school, a one-volume work ..."
.
The work was issued in 1853 as a one volume title, then
three years later in 1856 there was a supplementary volume
issued, that Mestler was unaware of. Volume 1 contained a
lot of illustrations and text. Volume is mostly text with a
few illustrations near the rear of botanical examples and
places for acupuncture. Both are cover labeled "Zen" or
"Complete" meaning each was complete in itself. Even though
issued at different dates. Both are uniform in size, yellow
covers & with the same title page.
***
A SUPERB ALBUM OF COLOR WOOODCUT PRINTS FROM THE SERIES
147 HIROSHIGE Tokubei. III
TOKYO MEISHO ZU E: THE PICTURES OF FAMOUS & SCENIC
PLACES IN TOKYO.
[Tokyo 1869-1870, Marutetsu]. Brown silk covers, accordion
folded album, 43 Oban color woodcut plates, printed on handmade Hosho paper, Japanese cartouche, ca. 24.5 x 36.5 cm.,
very good copy, excellent images & registry.
S C A R C E
This lovely album was drawn by Hiroshige II. This wonderful
color series is with title: TOKYO MEISHO ZUE and depicts
versatile places in all seasons in the Tokyo area and
environs, and has the usual Aratame or censor seal dates
from January 1869 through March 1870. [See Ishii below].
*
The titles of the forty-three [of 50] prints are: Gofuku
Bridge gate, The parade in Nihonbashi, Takanawa Okido, The
inside of Sakura, Sukiyabashi gate, The fireworks at
Ryogoku, The full bloom, Train station, Matsuhanada
mountain, Tokugawa Hachiman shrine, Horikiri Country, The
stone bridge, A snow field of the ferry, A big gate of
Shiba, Inari, The sandbank of Okawa Bridge, Sakamoto town,
The picture of the hotel mansion, Eitai Bridge, The gate of
Shiba Zojyo shrine, The waterfall in Oji, The evening scene
of sails, The country of sundown [Nippori], The shell
gathering in Suzaki, The field of Ueno Gate, A scene of
Mizono, Honjyo Eko In, Tshukiji hotel mansion, Tsukuda
Island, The inside of Saiwai Bridge Gate, The view of Atago
Hill, The night view of New Shimabara Naka street, Shinobazu
Hill, Tsukiji hotel mansion, Sarugaku town, The night view
of Yanagibashi, The Takanawa English mansion, The end of the
year market in Konryuzan, Ueno Hirokoji, Suzugamori, The
view of cherry blossoms of the Nakano street of New
Yoshiwara. The people in the pictures are the local people
$544
wearing Kimono and Ijin [foreigners].
*
The work is lively, capturing the mood, culture and tone of
the Tokyo with a good look at what made Tokyo [aka Eastern
Capital] famous. Superb insight to the costume and scenery
of the area, how the people lived, worked and celebrated
festivals.
*
PUBLISHERS:
The work was published by Marutetsu.
*
BIOGRAPHY:
Per Roberts below,"Pupil & adopted son of Ando Hiroshige
[ie Hiroshige I], probably assisted in some of the late work
of his master...when his master died in 1858 [he] married
his daughter and took his name. About 1865 his marriage was
dissolved, [he] retired to Yokohama...his paintings almost
as fine as Hiroshige's." Well collected by world museums.
*
BIBLIOGRAPHY:
OCLC locates copies of several prints from this series.
*
*
T. Ishii: NISHIKI-E NO ARATAME-IN NO KOH-SHOH: A book that
reads censor seal dates, Section 7, p.28 dates: 1869-70 by
the months, exact match.
*
MORRISON: vol.2.
MEISSNER
NONOGAMI
TAKAHASHI
TAMBA
*
$4080
148 HIROSHIGE, Ando. I [Utagawa]
TOKAIDO: HAMMATSU.
[Japan c 1920's]. Color woodcut of Hamamatsu station, very
very clean, good registry, Chuban size: 18.7 x 12.3 cm.,
excellent impression. Shows travellers and boats with pines,
from the TOKAIDO series.
A lovely small size example from Hiroshige's most famous ser
*
$85
A FAMOUS & STUNNING COLOR WOOKBLOCK PRINTED ALBUM
149 HIROSHIGE, Ichiryusai. [Hiroshige III]
FUJI SANJU ROKKEI & EDO YONJU HAKKEI: THE THIRTY-SIX VIEWS
OF MT. FUJI & FORTY-EIGHT VIEWS OF EDO.
[Edo 1891]. A brocade silk covered album, Oban size, all
edge gilt, with a total of 65 fine color prints, including 2
title pages, and one dedication print, book size 24.5 x 35.5
cm., 4.15 cm. thick. A stunning group of his most famous
prints well represented. Hiroshige II [1826-1869] and III
[1843-1894] were one in the same, a pupil of the most famous
& great Ando Hiroshige. Using his master's name plus his old
name Ichiryusai, he was the adopted son of Hiroshige I and
was a very skilled painter, who actually painted along side
& with the master until his master's death in 1858. After
that, Ichiryusai specialized in railroad prints depicting
these new innovations recently imported from the West around
Yokohama, as well as issuing many series of beautiful
prints. In his later years, he executed a most beautiful and
exquisite set of his own interpretation of his master's most
well-known series of prints showing Mt. Fuji & the celebrated places around Edo. This was not done to merely copy the
master's works, but rather as a sincere Confucian tribute to
his adopted father [& now father-in-law] and master. He took
each of the master's views & repainted them in pastel colors
with great control & precision. Some of the more delicate
places such as rainbows and clouds behind a flock of birds
were actually brushed on by hand, a technique rarely ever
done. The wood blocks used were of the highest quality, a
majority of which were center cuts & these have left a most
beautiful wood-pattern in the print. This example shows 28
prints from the Fuji Sanju Rokkei and 35 from the Edo Yonju
Hakkei series, with the title page from each present. There
is a dedcation & memorial print to Hiroshige I from his faithful son and pupil. This print is most similar to one found
as the frontispiece to the book by E. F. Strange: THE COLOR
PRINTS OF HIROSHIGE, London [1925].Its clear that this print
by Kunisada [who is Toyokuni I] was used as a model by Ichiryusai, as it differs in what the master is holding.Kunisada
shows him holding his rosary beads, while Ichiryusai shows
the master with his Fude [brush pen] and paper in hand.Ichiryusai and Kunisada had collaborated to issue a series of 36
prints:EDO JIMAN or THRIY-SIX PLACES OF WHICH YEDO IS PROUD.
Ichiryusai has taken much care to represent the most wonderful views of Fuji & Edo with great skill.A majority of these
prints are certainly well-known to the art world at large,
as well as to Japanese print collectors.Many of these prints
prints show up in the usual references. Some of the more
famous Edo views are showing a falcon in winter, rain on the
river bridge,storks, cat view in Asakusa,busy street scenes,
Asakasa temple & lantern in snow, river scenes &c. Some Fuji
views show many snow scenes, seasonal views,cherry blossoms,
a majority show water and mountains, charming set of prints.
Alternate title is MEISHO EDO HYAKKEI. See L. Roberts: A
DICTIONARY OF JAPANESE PRINTS ARTISTS p.44-45 for background
on Hiroshige I,II & III. R. Lane: IMAGES FROM THE FLOATING
WORLD p.232-254, most all of the prints in this album are
listed under Hiroshige I's series: MEISHO EDO HYAKKEI: ONE
HUNDRED FAMOUS VIEWS OF EDO. Beautifully bound in traditional brocade silk-gilt brocade, with prinnts on both sides of
an accordion folded album.
A L W A Y S
R A R E !
SUPERB COLLABORATION BETWEEN HIROSHIGE AND KEISAI
150 HIROSHIGE, Ichiryusai. II et al.
UKIYO GAFU: Sketch Book of the Fleeting World.
Alternate Titles: UKIYO RYUSAI GAFU & or KEISAI UKIYO GAFU.
[Edo c.1830-44 Suwaraya]. Stiff orange stitched wrs., covers
worn, thumbed, 29 double folded leaves, [58]pages, profusely
illustrated in 3 colors Sumi, black & pale pink, vol. 2 only
of a 3 volume set, 16 x 23 cm.,back covers inked. FIRST ED.
Delightfully interesting subjects, portrayed with a strong
pen. Sketches of human figures, landscapes, flowers, birds,
insects, animals of all varieties, done in light tints. The
work is reminiscent of Hokusai's most celebrated book series
THE MANGA.
*
THE ARTISTS:
Executed in a collaborative effort by two famous artists:
Hiroshige I [Ichiryusai 1797-1858] aka Ando and Keisai Eisen
[Yoshinobu 1790- 1848]. Working in concert they produced a
lovely set of books with superbly charming and quaint
illustrations. A fine example of the best of Japan's great
master artists.
*
SUBJECT OF THE ILLUSTRATIONS:
The work reflects all genres and subjects of life, work and
$20400
leisure in Japan during the mid-1800's. Its a virtual
dictionary of human and animal activity. This encyclopedic
work gives us an insight to what most Japanese saw and were
familiar with during their life-time. Illustrated in shades
of Sumi gray, black and pastel orange.
*
PUBLISHERS, PLACES & DATES:
Not all volumes state the publisher, per Kerlin, a 'second
copy' was published in Nagoya by Eirakuya, and was a Meiji
period reprint. One can conclude that Kerlin's observations
were limited to those he found in the Netherlands, which was
void of a matching set published in Edo by Suwaraya. Inside
covers show adverts for Hokusai books, inside back cover
shows adverts for various Edo, Osaka publishers and adverts
for Keisai books. The place of publication is not cited, nor
are any dates, therefore we support the dates found in
Kerlin on p. 756 and other references cited below to be ca.
1830-1844].
*
NOTE ON CONDITION:
The "very clean set" has a large amount silver transfer on
the back of vol. 3 covers, and a very minor amount of the
same on the back of vol. 1; the contents of vol. 1 & 2
remain exceptionally bright and clean, else "as is."
*
BIBLIOGRAPHY:
PUBLIC COLLECTIONS IN THE NETHERLANDS, pp.756-757, no. 1800.
He cites publication dates for the various volume numbers
from ca. 1830-1844. He gives good bibliographical details
for each of the 3 volumes in the series.
*
L. Brown: BLOCK PRNTING AND BOOK ILLUSTRATION IN JAPAN:
p.194 and gives ca. 1836 as the approximate publication
date. [See Kerlin for better dates].
*
H. Bartlett & H. Shohara: JAPANESE BOTANY DURING THE PERIOD
OF WOOD-BLOCK PRINTING, p.222, exhibit 85, with illustration
from vol. 3.
*
K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHLINESE
ILLUSTRATED BOOKS, pp.300 & 303. The entry on p.300 matches
what we believe is the correct author & title, but lacks any
information regarding the co-illustrator Keisen Eisen, and
seems to be confused with a work of similar title on p. 303
KEISAI UKIYO GWAFU, which was a variant of volume one of the
series we catalogue here. Again see Kerlin 1800 for clarity.
Toda seems to think that this was a 10 volume set, lacking
from 2-9 when in fact it was a 3 volume set per our
description.
*
J. Gyer. comp. ASIATIC BOOKS: A Priced, Indexed Catalogue of
Books Relating to the Orient Offered for Sale 1949-1952.
Dawson's Book Shop, Los Angeles 1952. See item 666, cited as
3 volumes, "originally published ca. 1836...this set is
probably a second edition. Nagoya, n.d." He cites the
authors
as being Hiroshige [Ryusai] & Keisai Eisen.
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS ...V & A
Museum, HSMO 1972. Page 178 KEISAI UKIYO GWAFU "In
collaboration with Hiroshige, note variant title again he
repeats Toda's error in assuming correctness as a 10 vol.
set, again he only has volume 1 ! [E14832-1886]. Also see
p.179, and makes the same error assuming its a 10 vol. set
having volumes 1-3, E.6944-1916, but does acknowledge that
it was "with Keisai Yeisen ?".
*
S. Sorimachi: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS AND
MANUSCRIPTS IN THE SPENCER COLLECTION OF THE NEW YORK PUBLIC
LIBRARY: p. 128, no. 561. Per Sorimachi, "vol.1 & 2 was
illustrated by Eisen Keisai and the third by Hiroshige. "
*
Forrer: 244-246
*
KSM [kaiga] 1-356-4
*
Kraft: vol.1: no. 26; vol.2: no. 543; vol.3: no. 763.
*
SUPERB COLLABORATION BETWEEN HIROSHIGE AND KEISAI
151 HIROSHIGE, Ichiryusai. II et al.
UKIYO GAFU: Sketch Book of the Fleeting World.
Alternate Titles: UKIYO RYUSAI GAFU & or KEISAI UKIYO GAFU.
[Edo c.1830-44 Suwaraya]. Stiff orange stitched wrs., covers
worn, thumbed, 29 double folded leaves, [58]pages, profusely
illustrated in 3 colors Sumi, black & pale pink, vol. 3 only
of a 3 volume set, 16 x 23 cm.
FIRST EDITION
Delightfully interesting subjects, portrayed with a strong
pen. Sketches of human figures, landscapes, flowers, birds,
insects, animals of all varieties, done in light tints. The
work is reminiscent of Hokusai's most celebrated book series
THE MANGA.
*
THE ARTISTS:
Executed in a collaborative effort by two famous artists:
Hiroshige I [Ichiryusai 1797-1858] aka Ando and Keisai Eisen
[Yoshinobu 1790- 1848]. Working in concert they produced a
$544
lovely set of books with superbly charming and quaint
illustrations. A fine example of the best of Japan's great
master artists.
*
SUBJECT OF THE ILLUSTRATIONS:
The work reflects all genres and subjects of life, work and
leisure in Japan during the mid-1800's. Its a virtual
dictionary of human and animal activity. This encyclopedic
work gives us an insight to what most Japanese saw and were
familiar with during their life-time. Illustrated in shades
of Sumi gray, black and pastel orange.
*
PUBLISHERS, PLACES & DATES:
Not all volumes state the publisher, per Kerlin, a 'second
copy' was published in Nagoya by Eirakuya, and was a Meiji
period reprint. One can conclude that Kerlin's observations
were limited to those he found in the Netherlands, which was
void of a matching set published in Edo by Suwaraya. Inside
covers show adverts for Hokusai books, inside back cover
shows adverts for various Edo, Osaka publishers and adverts
for Keisai books. The place of publication is not cited, nor
are any dates, therefore we support the dates found in
Kerlin on p. 756 and other references cited below to be ca.
1830-1844].
*
NOTE ON CONDITION:
The "very clean set" has a large amount silver transfer on
the back of vol. 3 covers, and a very minor amount of the
same on the back of vol. 1; the contents of vol. 1 & 2
remain exceptionally bright and clean, else "as is."
*
BIBLIOGRAPHY:
PUBLIC COLLECTIONS IN THE NETHERLANDS, pp.756-757, no. 1800.
He cites publication dates for the various volume numbers
from ca. 1830-1844. He gives good bibliographical details
for each of the 3 volumes in the series.
*
p.194 and gives ca. 1836 as the approximate publication
date. [See Kerlin for better dates].
*
OF WOOD-BLOCK PRINTING, p.222, exhibit 85, with illustration
from vol. 3.
*
K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHLINESE
ILLUSTRATED BOOKS, pp.300 & 303. The entry on p.300 matches
what we believe is the correct author & title, but lacks any
information regarding the co-illustrator Keisen Eisen, and
seems to be confused with a work of similar title on p. 303
KEISAI UKIYO GWAFU, which was a variant of volume one of the
series we catalogue here. Again see Kerlin 1800 for clarity.
Toda seems to think that this was a 10 volume set, lacking
from 2-9 when in fact it was a 3 volume set per our
description.
*
J. Gyer. comp. ASIATIC BOOKS: A Priced, Indexed Catalogue of
Books Relating to the Orient Offered for Sale 1949-1952.
Dawson's Book Shop, Los Angeles 1952. See item 666, cited as
3 volumes, "originally published ca. 1836...this set is
probably a second edition. Nagoya, n.d." He cites the
authors
as being Hiroshige [Ryusai] & Keisai Eisen.
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS ...V & A
Museum, HSMO 1972. Page 178 KEISAI UKIYO GWAFU "In
collaboration with Hiroshige, note variant title again he
repeats Toda's error in assuming correctness as a 10 vol.
set, again he only has volume 1 ! [E14832-1886]. Also see
p.179, and makes the same error assuming its a 10 vol. set
having volumes 1-3, E.6944-1916, but does acknowledge that
it was "with Keisai Yeisen ?".
*
MANUSCRIPTS IN THE SPENCER COLLECTION OF THE NEW YORK PUBLIC
LIBRARY: p. 128, no. 561. Per Sorimachi, "vol.1 & 2 was
illustrated by Eisen Keisai and the third by Hiroshige. "
*
Forrer: 244-246
*
KSM [kaiga] 1-356-4
*
Kraft: vol.1: no. 26; vol.2: no. 543; vol.3: no. 763.
*
$609
A STUNNING BOOK OF NATIVE JAPANESE DESIGNS
152 HIROTA, Ihei.
KODAI KARAKUSA MOYOU SHU: COLLECTION OF ANCIENT ARABESQUE
DESIGNS FOR TEXTILES.
Tokyo [1885], Okura. Blue stitched wrs., woodblock plates,
printed by hand on hand-made Washi paper, 15 x 22 cm., 59
clean, bright copy. 29 double-leaves [58p].
FIRST EDITION
A great work, shows traditional designs and patterns.
A designer's wish book !
*
A GRAND MAP OF ALL JAPAN IN ITS VARIOUS HISTORIC PERIODS
$211
153 HIYAMA, Yoshichika.
HONCHO OKO ENKAKU ZUSETSU: ATLAS OF ANCIENT EVENTS OF JAPAN,
With Descriptions, Historical Maps of Japan.
[Edo 1815, Kitajima Choshiro]. Original blue covers, tall
accordian folded, ca. 22 x 31 cm., very good, entirely woodblock printed in color, with 11 double page maps 31 x 44 cm.
with accompanying Japanese text, complete.
FIRST EDITION
An excellent historical atlas, showing Japan and its fiefs
by the various years, showing the changes in fiefdoms by the
results of military action and political changes.
.
This group of maps shows the evolution of change for the
years: 1184, 1337, 1392, 1467, 1509, 1556, 1568, 1577, 1582,
1586 and 1615, eleven double-page color woodblock printed
maps.
.
Each province or fiefdom is shown in a different color with
the current administrative name, the names of the Daimyo at
the top of the page, along with the date. Each has neatly
written "A.D." and the date penciled in blue by a former
owner.
***
The work consists eleven double-page color maps, and nine
double-pages of text. The text follows each map with an
in-depth discussion of who, how and the results of each
period
change.
.
RARE EXAMPLE:
This atlas is quite rare and seldom found. It an excellent
historical reference, illustrating the changes and rulers of
all of the fiefs throughout all of Japan, during the 12th 17th centuries.
***
CONDITION:
The front and back covers are in the original pale blue
paper covering, with blind-stamped pattern. There is some of
the usual fading, rubbing/scuffing to the surface and edges.
The title slip is present and complete. Contents: the maps
are very clean and solid, without worming, a few pages have
the blue pencil dates per above.
***
REFERENCES:
.
BEANS, George H.: A LIST OF JAPANESE MAPS OF THE TOKUGAWA
ERA, this map is listed in "LIST," 1951, p.33, under 1815.
***
$1700
BASED ON THE FAMOUS ENGLISH MISSIONARY-PHYSICAN'S WORK
154 [HOBSON, Benjamin].
FUEI SHINSETSU: NEW THERORIES ON GYNECOLOGY.
[Pinyin Title: FU-YING XIN-SHUO]
[Kyoto 1859, Tenkodo]. Yellow stitched stiff wrs., 2 vol.
set, very clean, bright copy, 35+27 double-folded leaves, 41
fine woodcut engravings, 18 x 24. cm., title slips, obscure!
FIRST EDITION
An excellent example of a Western text brought to China,
then to Japan. This work addresses midwifery and pediatrics.
There are stunning illustrations showing the states of fetal
growth, sections of the pregnant uterus with views of the
growing child. Various 'presentations' prior to birth of
the fetus, and other anatomical views.
.
This work shows the female pelvis, with measurements from
the sacrum to the uterus, and in the pelvic girdle for
estimate of fetus size for birthing.
.
A very good look at the fallopian tubes, uterus, external
female organs. Also excellent graphics of a fetus at 2 and 3
months in the uterus, presentation for birth with baby's
head down, afterbirth, the progression of the baby down the
birth canal, breech, and other presentations, difficult
deliveries, twins, the top of the baby's head and the
location of the bones. With a very good look at the
circulation system.
*
This work was based on an unnamed English genealogical text
imported to China by Hobson. It eventually it made its way
to Japan. While in Canton, Hobson, worked in concert with a
Chinese to translate this and several other works into
Chinese. Hobson's Chinese name was written in this an all of
his other works in Chinese characters. See below for his
Chinese name.
.
The features of the baby are clearly [foreign] or English,
rather than Asian, thus proving the original work was
English or European.
***
THE ILLUSTRATIONS:
The fine detail of the illustrations were carefully copied
from the original copper etchings, and converted into
woodcut examples. The high-quality of these graphics are a
tribute to the great skill of Japanese carvers. This
excellent illustrated treatise gave Japanese physicians and
medical students an early look at European gynecological
reference sources. This can be considered an early resource
for the Japanese to observe drawings taken from human
cadavers. This shows in much fine detail, bones, muscles,
ligaments & structures of the female pelvis area, as well
as good view and cut-away views of the tissues.
.
The Japanese were isolated from the world until the 1850's
when Perry opened Japan. Before that the Dutch provided the
Japanese with rudimentary texts on anatomy and medicine, but
these were all in Dutch, and the Japanese had to scramble
for
several years to learn enough Dutch to correctly read,
translate and print Japanese language versions.
.
What sets this example apart, is that it was already
translated into Chinese from English, which was a language
the Japanese could read with care. This work is written in
Kambun, an old form of Chinese which was understood by
educated Japanese physicians.
*
An excellent illustrated resource, with superbly carved
woodcut examples in much detail.
***
WHO WAS BENJAMIN HOBSON:
Benjamin Hobson [1816-1873] was a Protestant Christian
missionary who served with the London Missionary Society
during the late Qing [Ching] Dynasty China. He was a medical
missionary who arrived in Macao in 1839 and served about
twenty years in China in hospitals in Macao, Hong Kong,
Canton and Shanghai. After the death of his first wife,
Hobson in 1847 married the daughter of Robert Morrison, the
first Protestant missionary to China. He was also known as
Hexin his Chinese name.
.
CHINESE TITLE & AUTHOR'S NAME:
Hobson's Chinese name was Ying-guo I shi Ho Xin Shi Chu.
or also known in China as Ho Xin.
.
This book's Chinese title: Ping-an tian xiang tang
tsang-pan.
.
Works authored or edited, He published five medical books in
Chinese with Kuan Mao-tsai in the 1850's. Some of these made
their way to Japan, where they were copied and Kambun
[Japanese reading of Chinese interposed on the characters].
***
CONDITION:
The work is bound in its original yellow blind-stamped
swastika pattern. The covers & text is exceptionally clean,
bright and with out any old worming or other issues. There
is a bit of a mild stain to the top one-quarter of the front
covers of volume 2, which penetrates the first few pages at
the top margin, no text is affected. Else the set is solidly
stitched-bound. By and large an excellent bright copy.
***
ALTERNATE PUBLISHER
Alternate copies pubished by Yorozuya.
***
REFERENCE:
.
WALRAVENS, Harmut.: CATALOGUE OF CHINESE BOOKS AND
MANUSCRIPTS IN THE LIBRARY OF THE WELLCOME INSTITUTE FOR THE
HISTORY OF MEDICINE, see p.18, #35 II, figure 33ic for
details & illustrations.
*
See: https://en.wikipedia.org/wiki/Benjamin_Hobson
*
http://www.ncbi.nlm.nih.gov/pubmed/23553744
*
Not in:
MESTLER, Gordon E. A GALAXY OF OLD JAPANESE MEDICAL BOOKS
WITH MISCELLANEOUS NOTES ON EARLY MEDICINE IN JAPAN.
However, Mestler lists other works by Hobson on pp.306, 127.
*
Not in:
WHITNEY, Willis N. NOTES ON THE HISTORY OF MEDICAL PROGRESS
IN JAPAN.
*
Not in:
***
AN EARLY JAPANESE TRANSLATION OF A BRITISH PHSICIAN'S BOOK
155 [HOBSON, Benjamin.]
SEI I RYAKU RON: THEORIES OF WESTERN MEDICINE [SURGERY].
Chinese Title: XIYI LUELUN.
[Kyoto 1858, Tojuen Zoshi]. Stitched yellow wrs., 4 volumes
bound in one, very good, reprint of Shanghai 1857 edition,
179 double leaves, 396 fine medical illustrations, woodblock
printed on hand made paper, ca. 18 x 26 cm. in cloth case.
Hobson [1816-1873] an English physician who practiced in
Canton as a medical missionary from 1839 for some twenty
years. This was first published in Shanghai in 1857, and was
instrumental to introduce formally Western Medicine into
China. It was reprinted the next year in Japan. He was also
known as Hexin his Chinese name
*
The Jesuits attempted to introduce Western anatomy to
$806
Chinese learned circles in the early 17th century but met
with no success.
*
Hobson's books were the first Western medical texts to be
translated & printed in Chinese. They were widely circulated
and accepted in China. The original work "PRACTICE OF
SURGERY IN THE WEST."
*
A thoroughly complete resource, with a copious index in
both English & Chinese which covers: a general discourse on
the healing art, Eastern & Western practice compared,
symptoms & diagnosis of disease. Nature & properties of
medicines, diet and regimen, causes of diseases,
inflammation, suppuration and abscesses, ulceration & ulcers
mortification, burns and scalds, wounds: incised, contused,
gun-shot and hemorrhage. Aneurysm, tumors, cancer, fever,
ague. Diseases of the bones, joints, on fractures,
dislocations, wounds of the head & brain, apoplexy &
paralysis, inflammation of the brain, and in children.
Injuries to the spinal cord. Diseases of the eye &
eyelids, outer ear, nostrils, mouth & tongue. Wounds of the
chest, abdomen, breast, hernia, anus, urinary organs,
scrotum hydrocele.
*
Casualties: hanging, drowning & poisoning.
Tonics: stimulating tonics, stomachs, general tonics.
Depressants: diaphoretics, emetics, diureticsasperients,
removing blood, water, phlegm.
Astringents: restraining, internal secretions, styptics.
Diminishing pain, irrigation, destroying worms,
demulcents.
External remedies: rubefaciants, counterirritants, cautery,
cutting & acupuncture, escharotics, fomentations. Ointments:
simple, resin & a host of many others.
*
Pills, powders, infusions, tinctures, oils show a very wide
variety of choices and varieties.
*
The detailed illustrations show many of the diseases and
operations, some use block and tackle to assist in
dislocations & resetting of broken bones. There are also
some illustrations of medicinal plants & insects, including
one of a leech, used to "cleanse" wounds.
*
Also a section devoted to medical instruments are described
& illustrated.
**
The
work is written in Chinese, [Kambun to the Japanese] and was
most readable by educated Japanese, with the minor addition
of grammatical Japanese characters to the original text.
Many Chinese texts were brought to Japan and read by this
technique.
*
An exceptionally rare example of a most important &
influential early medical text. With profusely illustrated
sections, showing examples & methods of surgery.
An historic & valuable medical "FIRST" Western medical book
introduced to China.
Exceptionally rare resource.
***
REFERENCES
P. Ho & F. Lisowski: A BRIEF HISTORY OF CHINESE MEDICINE
AND ITS INFLUENCE, p.57, figure 14.
*
Gordon E. Mestler: A GALAXY OF OLD JAPANESE MEDICAL BOOKS
also cites items by Hobson on pp.306, 323 & 127, with
substantial commentaries on Hobson and his historic
translations.
*
H. Walravens; CATALOGUE OF CHINESE BOOKS & MANUSCRIPTS
IN THE LIBRARY OF THE WELLCOME INSTITUTE FOR THE HISTORY OF
MEDICINE, pp.ix, page 1 for related items by Hobson, and
other details on Hobson's historic translations into Chinese
& Japanese editions as well.
***
A SUPERB CHINESE CONFUCIAN CLASSIC ILLUSTRATED BY HOKUSAI
156 HOKUSAI, Katsushika.
EHON KOKYO: THE CANON OF FILIAL PIETY ILLUSTRATED.
[KOH-KYOH = HSIAO-CHING in Chinese.]
[Edo 1850, Suharaya]. Original grey stitched wrs., 2 vol.set
grey covers, title slips faint, Takai Ranzan commentator and
author, vol.1: pp.2-28; vol.2: pp. 29-49,title page supplied
in facsimile, vol. 1, as is, 15.5 x 23 cm.
Third Edition
The famous and celebrated Confucian classic, HSIAO-CHING was
a well-know treatise in Japan, and it was imported to Japan
over the centuries. The original classic was done in Chinese
in one volumes with 18 chapters. The contents are the
teachings of Confucius on filial piety, given as a talk with
his pupil Tseng Ts'an. It is thought that the work was
written by some pupils of Confucius, listening to his
master's talk with Tseng Ts'an. [Liberally quoted from
Toda.]
*
TITLE:
The alternate title as per Kerlin is EHON KOBUN KOKYO. The
wood blocks were carved by Egawa Sentaro. The work was
compiled by Goshatei Kizan. The Chinese title is HSIAO
CHING.
*
SIGNATURE:
The work is signed Zen Hokusai I-itsu ga.
*
ILLUSTRATIONS:
The work has 25 illustrations in vol. 1 and 20 in vol. 2.
For exact collation see Kerlin & Toda.
*
EDITION:
The first edition was issued in 1834, and is very difficult
to obtain. The contents of the first and third editions
of 1850, remain the same, as for the second edition we can
not state anything about this one as we have not examined
it. See Dr. Lane who refers to the 1864 [second edition] on
p. 308, item #241 per citation below. In any case
the first and third editions are identical, in size,
illustration count.
$3400
*
CONDITION:
This set is with original well-rubbed covers and soiled.
Contents dusty, thumbed, some old worming mostly in margins,
illustrations are by and large not affected. Vol. 1 a few
pages have a few small worn holes, not major, vol. 2 last
two illustrations have 3.4 cm. worm in lower part of page.
With a facsimilie of the title page sewn in to volume one,
new end papers inside front covers, as is.
*
BIBLIOGRAPHY:
ILLUSTRATED BOOKS, p.265, bottom of page.
*
H. Kerlin: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS...see item
number 281,
*
KSM [kyokun, kyoten] 1-493-1
8
*
J. Hillier ART OF HOKUSAI BOOK ILLUSTRATION: item #242,
no. 142, p.108 plate 190 shows the title page of this book,
now provided from this resource in facsimile. Text begins on
p. 208-208. Per Hillier: "...a few brilliant improvisations,
including the charming title-page, with opposing panels of
crows on a plain ground and plovers in reserve on a black
ground." He continues on p.208-209: "One of them
[illustrations] is Basho, showing the great haiku poet
standing on a dangerous cliff-ledge path leading to the
infamous Hanging Bridge of Kiso. He is in the very pose,
bent over a supporting stick, that Hokusai adopted in a
famous self-portrait, and the haiku by Basho..." Basho is
illustrated as plate 191 on p.209.
*
Kraft: vol.2, no. 72 [1864 edition; vol. 3, NO. 110
*
Richard Lane; HOKUSAI LIFE AND WORK, plate 315 on p.247; pp.
248, 308 #241,
A MARVELOUS ACTION PACKED SAMURAI WARRIOR EPIC
EHON MUSASHI ABUMI: PICTURE BOOK 'THE STIRRUPS OF MUSASHI.'
[Edo 1836, Nishimiya]. Original green stitched covers, very
good, 58p. woodcut illustrations, 32 double folded sheets,
strong impression, recent blue cloth case Chitsu, the usual
wear to edges & corners, a bit thumbed, 16 x 22 cm.FIRST ED.
$1863
In this sequel to Hokusai's companion work, EHON SAKIGAKE,
his warrior series, Hokusai again explains in the preface
his goal to express the freedom of movement of the human
body under heavy armor.
*
A very nice example of some of Hokusai's best warrior
drawings and action-packed-sword wielding Samurai defending
against enemy attacks. Done at age 77, Hokusai signed this
work: "The Old Mad of Painting."
*
Musashi takes on his advisories, fights the great carp, pays
homage to the great serpent, rides his fearless steed into
war, sword fights, against the forces of evil, and saves the
helpless and meek. Stunning period work covering the
exploits of Musashi the Buddhist warrior monk.
&
Original FIRST EDITIONS of this vintage are RARE. This
example represents a "by-gone era" of this fine caliber of
artistic creation. Seldom found for sale in a complete and
solid state with an early & strong impression.
*
Inquire for our complete list of other original Hokusai
E-hon [illustrated books], and references on this celebrated
Japanese original artist. We often have many of the below
cited references.
*
BIBLIOGRAPHY:
J. Hillier: HOKUSAI, p. 227-232.
*
Toda: p.263.
*
Dawes pp.55-57.
*
Kerlen #295 for much bibliographic detail.
*
James S. DE BENNEVILLE: SAITO MUSASHI-BO BENKEI: TALES OF
THE WARS OF THE GEMPEI...Saito Musashi-bo Benkei the Warrior
Monk.
*
WONDERFUL & CHARMING DESIGNS BY JAPANS'S GREATEST PAINTER
EHON TEIKIN OHRAI: THE ILLUSTRATED 'COMMUNICATION OF HOME
PRECEPTS.'
[Edo c.1874, Yoshikawa]. Stitched wrappers, 3 vols.,complete
set, 30+30+30p., 166 woodcut illustrations, covers with some
$3740
small chips, corners, bit rubbed, contents clean, no worming
very good impression,16 x 23.8 cm.,blue Chitsu folding case.
THE ARTIST/ILLUSTRATOR:
The work was illustrated by Hokusai, and reflects all charm
and skill that he is famous for. Hokusai has captured the
flavor and charm of his genre, reflecting a lovely panoramic
view of the Japanese and their life, set during the 18301840's towards the end of the Tokugawa period. A delightful
and most light-hearted illustrated book, typical of Hokusai,
who enjoyed poking fun at the irony of daily life and its
parade of characters.
****
THE AUTHOR:
The text was written by Gene Hohshi [?-1350] a Buddhist
priest of the Tendai sect, wrote the text in the 14th
century, see Hillier p.200 for more.
*
THE SUBJECT:
A popular work during the late Tokugawa period, it was also
used in the Ashikaga period, as a text for writing by the
literati classes. An eclectic and superbly illustrated text,
shows the activities of all classes of Japanese. Tradesmen
at their hard toil, paper makers, the daily activities of
women, artists and artisans, cultured classes, warriors,
Buddhist priests, Lords, and a host of other charming
drawings. With a number of natural history illustrations:
fish, birds & animals.
*
Hokusai books are always RARE & highly desirable. They
reflect a charm, showing the artist's humor and compassion
for life, his talented gift to record for all posterity. A
lovely and sympathetic view of what Japan was truly like
during his times. His works are celebrated as the best
Japanese painter and illustrator of his era. S U P E R B !
******
PER HILLIER:
[See entry in Bibliography below]
"It was the first book of what might be termed a serious,
didactic type that Hokusai had been called upon to
illustrate during his long career..." Page 198.
*
"Hokusai's book is ingeniously designed, with pages divided
in two, and text and illustration separated by a dividing
line, but the positions of each part, and their proportions,
varied from page to page. ...but seizes upon some incident
or object mentioned by the author and builds a drawing
around it, situation his pictures in contemporary Edo and
his figures in 'modern dress.'" Page 200-201.
*
"One illustration [plate 181] gives us a picture of another
famous publisher's bookshop...it is the premises of
Nishumura Eijudoh, the publisher of the TEKIN ORAI, his sign
and name being emblazoned on the Noren [or curtain] and on
the lantern outside the premises. Another illustration is of
Benkei, with his armoury of fearsome weapons, standing on
Gojo Bridge." Page 200-201, plate 181, 182.
******
EDITION:
This is the Meiji reprint of the first issue, 1828.
*
CONDITION:
The work is printed with good registry and excellent key
block line and images are solid. The binding is tight with
some minor splits to where the stitching is at either the
top or lower edges, some very minor chipping to edges of
covers. The set is contained in a recent indigo-blue Chitsu
case with bone clips.
*
BIBLIOGRAPHY:
K. Toda: THE RYERSON COLLECTION OF JAPANESE & CHINESE
ILLUSTRATED BOOKS IN THE ART INSTITUTE OF CHICAGO, p.258.
*
E. Dawes: p.57.
*
H. Kerlen: CATALOGUE OF PRE-PRE-MEIJI JAPANESE BOOKS & MAPS
IN PUBLIC COLLECTIONS IN THE NETHERLANDS, p.137, #335.
*
J. Hillier: THE ART OF HOKUSAI IN BOOK ILLUSTRATION: p.277,
item number 230, the 1828 edition, and pp.198, 200, 201;
illustrations 181, 182.
*
STUNNING CHINESE POEMS ILLUSTRATED BY THE EMINENT HOKUSAI
EHON TOSHISEN GOGON ZEKKU: SELECTIONS OF ILLUSTRATED
TANG POEMS [618-907] IN THE 'GOGON-ZEKKU STYLE.'
[Tokyo 1833, Kosanbo]. Stitched blue wrs., covers rubbed,one
title slip in facsimile, 2 vol. set: 19 + 18 double leaves,
56 + 53 illustrations [109] in all, woodblock printed, very
good impression, 16.5 x 24 cm., unnumbered volumes. R A R E
STYLE OF THE PAINTINGS:
Zekku [Chueh-chu]; Ritsu [lu]; Ko-shi [ku-shih]; Zekku
consists of four verses, please see Toda for more details
on the structure of these Chinese poems of the Tang dynasty.
The Japanese admired and idealized Chinese art, poetry and
emulated many of their most famous works. This is a superb
example of Hokusai's respect and appreciation of Chinese art
and poetry.
*
HOKUSAI:
This title is signed "Zen Hokusai Iitsu." Per Roberts,
Hokusai used over 50 studio names [Go], see below for
additional notes.
***
CHINESE Pinyin:
Artist's Name in Chinese: QIAN BEI SHU [WEI YI WENG HUA.]
Chinese title: HUA BENG TANG SHI XIAN WU YUAN JUE JU.
***
OBSCURE EDITION:
$6249
This title as drawn by Hokusai is not clearly documented in
this edition except where referred to by Kerlin. There does
not seem to be any other citation to the Meiji edition, and
the other bibliographies only cite earlier editions, but
with very little reference to Hokusai's contribution to two
of the volumes in the larger set drawn by other artists.
We believe that our set published during the Meiji period
represents a "lost work" of Hokusai illustrated books.
***
CONDITION:
The volumes are bound in the original blue paper covers.
There is ample rubbing to the covers, one volume has the
title slip in facsimile. The contents of volume 1 from the
6th leaf to the end being with mild stain, getting stronger
by the end, with some old mildew throughout. Purple mildew
begins from leaf 6 and gets worse towards the end.
Volume 2 also has a similar stain from leaf 12 to the end.
Regardless of the condition, this is an exceptionally
R A R E book with strong registry and excellent printing.
This title has seldom come to market.
*
ORIGINAL PRINTED PAPER SLEEVE/COVERS:
There is a very rare woodblock-printed protective sleeve in
which these two volumes were originally containd when issued
from the publisher. There are mends where the papers were
joined and then separated when originally made. There are
substantial purple mildew and other stains on both the front
and back. Else complete as issued. See our website for an
image of this as illus12.jpg.
*
*****
BIBLIOGRAPHY:
PUBLIC COLLECTIONS IN THE NETHERLANDS, number 1769,
p.742-744. He cites this Meiji edition as illustrated by
Hokusai. We can not find very many other bibliographic
citations for this edition elsewhere, only other similar
titles per below.
*
ILLUSTRATED BOOKS, p.174 cites "Yehon Toshi-sen THE
ILLUSTRATED TOSHI-SEN," see the last paragraph about this,
where in Toda states: "This is an early Japanese publication
of this book in an illustrated form. There were many "Yehon
Toshi-sen" published later. One illustrated by Hokusai is
the most famous."
.
This citation refers to the book we here describe. Toda then
refers to "Yehon Toshi-sen" on page 259 from the top. "The
series which we have here, is a later publication, and
undoubtedly, the best Japanese work of this kind." He
described a 6 volume set, not illustrated by Hokusai. Then
on page 259-261 Toda lists several of this s ame title by
other artists.
*
Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA,
SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A Bibliography,
pp.535-536, for related editions.
*
J. Hillier: THE ART OF HOKUSAI IN BOOK ILLUSTRATION: see
index on p.287 entry: TOSHISEN EHON GOGON-ZEKKU; see also
p.278, #238, for edition published in 1833 in 5 volumes;
then see text pages 232-234, with plates 216-218
illustrating a double-page from this title [though these
plates are not in our set] they came from the 1822 edition.
Hillier further states on p.234 "It was at this date [1832]
that Hokusai was invited to illustrate the two final parts
of the monumental publishing undertaking." [meaning to
publish this title by other artists in 5 volumes]. The
seventh and final parts probably meaning the last 2 volumes
after volumes 5 were by illulstrated by Hokusai. Our copy is
a later edition of these two volumes.
*
Holloway pp.13-14, see illustration #114
*
KSM: Kanshi, Kaiga 67-49-4
*
Kraft. vol. 1, no.747
*
L.P. Roberts: DICTIOMARY OF JAPANESE ARTISTS, p.48-50
*
R. Lane. HOKUSAI LIFE AND WORK: pp.248,251,308/234, and the
illustration # 312.
*****
HOKUSAI'S MOST CELEBRATED BOOK ON SACRED MT. FUJI
FUGAKU HYAKKEI: THE HUNDRED VIEWS OF MT. FUJI.
[Nagoya 1875, Tohekido]. Blue stitched stiff wrs.,3 vol. set
woodblock printed on hand-made paper, very good,leaf 15 from
vol. 2 lacking, else contents complete, clean, clear images,
in tones of grey, Sumi, black, indigo blue, 164 x 24 cm.RARE
Perhaps Hokusai's [1760-1849] most famous work in book form,
illustrating a profusion of views of Mt. Fuji from all
perspectives. This was also the prototype for his great
color print series on Mt. Fuji. A delightful & impressive
work, used as a standard for over a hundred years by
artists, designers and collectors. This monograph is devoted
to Japan's most sacred Mt. Fuji in all its glory, portrayed
in various seasons and as seen by common folk as they go
about their daily lives & occupations.
*
The volumes are 22.5 x 15.5 cm., with 25+25+25 double folded
leaves or 150 pages in all, with illustrations of Mt. Fuji
on 144 of the pages, 6 pages of Japanese text. The history
of the various editions are complex, suffice to say that the
work was originally issued in two volumes [it could be that
the whole work was simply bound within two covers]. Then
$3662
there were basically two main editions: the first being
published in 1834-5, and reprints of this the first edition
in pink covers called "FALCON FEATHERS," later ones in
yellow covers. Another in 1875, in black stiff covers. The
contents in all cases identical, the size varied by only a
few centimeters, essentially all are identical.
*
The introduction consisting of the first two pages in volume
one were actually written by Hokusai.
*
The work is marvelous, and shows how Mt. Fuji was portrayed
in the life of the Japanese. How in the spring time people
sat outdoors and viewed the cherry blossoms with Mt. Fuji in
the background. The theme is how Mt. Fuji was always present
in their daily lives as a background. The artistry and skill
of Hokusai is without parallel, he illustrated using his
keen ingenuity at drawing skills. He put the sacred mountain
in the picture in a myriad of ways. The mystical quality of
Mt. Fuji is illustrated and conveyed by his acute
composition, insight and visionary-like avant-garde skills
which were head and shoulders above most all other artists
of his time. Hailed as perhaps Japan's greatest artist of
the 19th century. All of his original woodcut books are rare
and of great value.
*
REPRINT EDITION:
The 1948 reprint edition was an exact woodblock-printed
edition of the earlier edition and has all of the same pages
and illustrations found in earlier editions, with a paper
Chitsu or folding cover, nicely done, good registry, color,
the exact same size as earlier editions.
*
AN ENGLISH TRANSLATION:
If you are interested in the English translation of each
page of this set, please inquire with us for this title. It
is a superb work, giving valuable insight to the texts found
in this stunning work. It bears the title: FUGAKU
HIYAKU-KEI: ONE HUNDRED VIEWS OF FUJI BY HOKUSAI. See
bibliography below.
***
CONDITION NOTE:
The 1877 edition has a small mend at the last page, the
colophon in vol. 3, else very clean, nice.
***
BIBLIOGRAPHY:
*
. for more bibliographic details, item #396, pp.163-166.
*
H. Smith: HOKUSAI ONE HUNDRED VIEWS OF MT. FUJI, pp.21-22
. outline the editions.
*
. ILLUSTRATED BOOKS, p.263.
*
*
"
"
HOKUSAI: no. 110
. 195-208
*
*
R. Keyes: EHON: The Artist and the Book in Japan: pages
218-223, i.e. exhibit #54, color plates: fig 54.1-54.5.
*
KSM: [Kaiga] 7-18-1
*
Forrer: 170-177
*
*
*
The British author F.V. Dickins did a book with the title:
FUGAKU HIYAKU-KEI: OR A HUNDRED VIEWS OF FUJI [FUJISAMA] BY
HOKUSAI. It was an interesting edition of the book issued
in London in 1880, with English commentaries & translations
by F.V. Dickins. This book contained an actual and original
woodcut illustrated edition of Hokusai's book bound in with
the English translation of the Hokusai text. We do have this
in stock from time to time, if interested, please inquire.
*
*
Tokyo 1877, Hayashi. Black stitched stiff wrs., 3 vol. set,
woodblock printed on hand-made paper, very good, vol.1 cover
edges bit worn, contents clean, clear impressions, tones of
grey, Sumi, black, indigo blue Chitsu case. RARE
*
$2720
*
*
and of great value.
*
REPRINT EDITION:
*
bibliography below.
***
CONDITION NOTE:
***
BIBLIOGRAPHY:
*
*
*
*
*
"
"
HOKUSAI: no. 110
. 195-208
*
*
*
KSM: [Kaiga] 7-18-1
*
Forrer: 170-177
*
*
*
*
*
[Tokyo 1948, Oshima]. Yellow stitched stiff wrs., 3 vol. set
woodblock printed on hand-made paper, very good,clean,bright
set, contents very clean, white, clear impressions, in tones
of grey, Sumi, black, stiff buff paper Chitsu case. R A R E
*
$6120
*
*
and of great value.
*
REPRINT EDITION:
*
bibliography below.
***
CONDITION NOTE:
***
BIBLIOGRAPHY:
*
*
*
*
*
"
"
HOKUSAI: no. 110
. 195-208
*
*
*
KSM: [Kaiga] 7-18-1
*
Forrer: 170-177
*
*
*
*
*
A MOST STUNNING HOKUSAI EROTIC COLOR-BOOK
FUKUJU SOH: THE ADONIS PLANT.
[An Erotic Color Illustrated Woodblock Printed Book]
[Japan n.d. ca 1868]. Gold brocade green cloth covers, accordion folded, all edge silver gilt, album size 17 x 25 cm.,
contains 12 double page prints opening to 34 x 25 cm. Oban
$1836
size, plus an introductory illustrated page.
STUNNING !
This is a most famous book executed by one of Japan's most
famous painters and woodblock print artist, Hokusai [17601849], who was commonly known as the "Mad Man on Painting."
The original was printed in the late 1810's it was unsigned,
several variant editions are known, most copies were lost
or now unaccounted for. It is part of Hokusai's erotic trilogy. This posthumous edition has been meticulously carved
and printed with the utmost care and registry. The book used
some twenty different colors, each color printed by a different wood-block. An interesting proof of age, is found on
page [six], the rape scene. The girl's red under-Kimono was
printed from a color made from finely ground iron. The red
has now turned to an iron-red patina with a dark purple hue.
This common color was used at the beginning of the Meiji
period [1868-1912] for most solid reds. Humidity content
determines the amount of time it takes to give this patina,
on the average, about 100-135 years for this reaction to
change the properties of the iron, forcing it to oxidize and
change into and achieve this marvelous color and affect [see
#6 scan]. While the book has a proper title slip, it was
intentionally left blank. The over all condition of the book
is quite good with very minor reservations. A small amount
of foxing, more on some, less on other prints, some are
even approaching fine. On page #11, the print is about 5
mm. shorter at the bottom, but this does NOT affect the
overall value of the image as it is insignificant. A small,
faint amount of transfer from the black is evident with
close scrutiny. Overall the work is quite lovely, and the
viewer is soon distracted to the subject of the images
rather than the minor flaws. A truly magnificent and unusual
example of early Meiji polychrom printing. Most of the Shun
Pon [erotic books] of this period show small images, drawn
from a distance, with room decorations, food, bedding, flowing robes, furniture and outside scenery. This by stark contrast has directed the viewer to the real point of Shun Pon
[literally Spring Book Pictures...after all, spring in Asia
means a new beginning and the opening of a New Year...return
of nature from a winter's sleep, what better things to think
of and do for a good New Year start if not sex !] is to stimulate and enhance the act of making love. The book begins
sans title page nor artist's name recognition. Many books
of this subject were clearly executed by some of the most
famous artists of the period. It was a quick source of cash
for starving artists. The work starts out with a double-page
showing sliding Fusuma doors, an invitation to voyeurism.
The doors are subtly decorated giving no clue to the true
nature of the contents, useful for coercing young virgins
to have a look...also the reason for no title slip. Each of
the subsequent 12 double pages are devoted to the real subject of this book. The joy, art and pleasure of love- making.
From the beginning of recorded time the Japanese were not
a prudish people. In fact, they held strong beliefs in and
worship of inanimate sexual objects such as trees, rocks
and other things that showed a natural resemblance to the
genitalia. These objects were collected & placed in shrines.
Later, some were carved from wood and stone and placed
in special "fertility shrines" in Japan. Barren women often
visited these shrines offering prayers to the Gods for fertility and evoked charms. Stories passed down over the centcenturies, that some of the keepers of these fertility shrines, or their priests were willing "assistants" of these
"Gods" & gladly inseminated such vulnerable women. The Japanese had an affinity with the natural expression of passion
passion and lust. Rape of women alone along a pathway, or in
their own room was not uncommon. While some may truly object
others feigned objection while in ecstasy [see page #6]. The
book therefore beings when the first page is turned to page
number one.
*
* Page one shows a very young woman. She has mounted an unseen suitor, while she sits upon his gigantic penis, her
eyes are closed in the throes of ecstasy, her lips are red
with excitement and a very pale but obvious pink flush envelops her face. On the floor is the usual package of Chirishi
or toilet paper used to wipe the aftermath. The male's organ
is huge and the veins are blue and popping, her very excited
vulva takes on the color of deep red and faint purple, displaying the maximum color of excitement. While fully clothed,
her Kimono is open just enough to accomplish the act of
love. To the Japanese partially clothed women with their
genitals exposed was more erotic than a full nude...after
all they did mixed public bathing for centuries.
*
* Page two shows a couple, she is almost nude, with just her
red under Kimono draped over her stomach, while he exposes
his organ as he enters her from the "X" angle, he cradles,
her from behind while holding her left breast. She pulls him
from behind the neck to be close enough to share a tongue
kiss, rarely shown in Japanese prints. He inserts his tongue
into her willing mouth, as she holds his cheek fast. Her
long and flowing hair is still tied with a black ribbon at
the bottom suggesting that she is some kind of royal person.
She also shows a pink flush to her mouth and vaginal lips.
*
*Page three shows newlyweds. The woman still wears the traditional head gear of a bride. She holds a package of Chirishi in her lips ready for the flood of love juices that are
already flowing out. The man enters her from the top, while
she willingly spreads her legs wide open.
*
* Page four shows the woman on top in a contortion, revealing the organs involved in love-making.
*
*Page five shows the influence from an earlier Utamaro work
a classic. The woman is on the bottom, pulling the covers
over her lover's bare back-side, while they are making love
in the winter. Her wooden platform pillow is ready as the
are hidden from view by a small folding screen to keep out
the cool draft. Her vermilion under Kimono is tangled with
her outer Kimono.
*
*Page six shows a ruffian raping a young girl. He is likely
a common coolie, all he wears is a "Fundoshi" or loin cloth
which was easily moved to reveal his huge and erect penis.
He has tumbled this innocent girl by pulling her foot from
under her; then with his other hand, inserts his organ into
her. She is pushing his cheek away, and attempting to pull
his hand off her foot. What is ironical is that her face is
flushed pink, and her face shows no frown of rejection, but
her eyes are almost closed as she secretly anticipates the
oncoming pleasure. For sure, she must resist being innocent,
young, coquettish and demure in an attempt to save face. It
is important to note at this time, that there exists a most
similar print by Utamaro showing this very scene. Surely
Hokusai was so impressed, that as a tribute to Utamaro he
utilized this stunning image in his own work, the old adage
"Copying is the greatest compliment." See more below re: #6.
*
*Page seven shows an unabashed nude couple enjoying a fully
adult pleasure of making love without any restraints. In
fact this must the a second or third time as the amount of
expended Chirishi has been thrown about after the last joys
of love-making pleasure. It is known in Japan, that after
the first round of love-making if the couple can clean up
the love juices promptly enough, a new erection can be achieved, and the drying of the vagina will give the next round
of love-making a new and more pleasurable sensation. In this
view the man enters from the rear while holding her fast,his
right foot is set for maximum traction !
*
*Page eight shows another couple engaged, the woman on top
but with her back side facing him. Vis-a-vis each other to
observe each other thus increasing the erotic passion. A
tiny bit of silver color has accented her Kimono, highly unusual in any woodblock print. Of note, her toes are curled
curled down in a fit of ecstasy.
*
*Page nine shows one of the most fascinating of all prints
in this series. In the traditional sixty-nine position, he
has his tongue in her very excited and swollen purple-red
vulva. She tries with difficulty to contain his very large
penis, also with a dark pink-purple flush, as she curled her
toes in painful ecstasy, her expression shows her eyebrows
in a frown, as she enjoys the agony and ecstasy of this wonderful pleasure.
*
*Page ten shows a mature couple nude, she holds the tie-died
head band in her mount, to silence her cries of joy, while
she embraces her lover's neck. The spectacular view of the
genitals fully engaged is stunning. The penis has its veins
popping out, while the lips of her vulva are flushed bright
red, the love juices flowing out. Her breasts are pointed
downward, revealing that she has given birth previously. Her
her toes are curled in a passionate dream of pleasure. The
pair both display a pink flush to their faces with very
bright red lips. It is not common to see this in men.
*
*Page eleven shows a couple preparing to make love. The man
who is on top displays a very large and erect penis, while
he sucks on her upturned breast; she is being manipulated to
move her left leg up so he can then enter her open and waiting vulva. She clutches a handful of Chirishi in preparation
for the flood. Her eyebrows are shaved, but a faint pink
flush just above her eyes has emerged.
*
*Page twelve shows a most unusual scene in the world of
Haru Bon. While lesbianism is not unusual, openly depicting
girls at such play are. This shows two ordinary nude women,
likely being bored or abandoned by their male suitors, have
taken to the mutual pleasure of dildo play. One wears a huge
and most black penis tied about her waist. The other reveals
her open and moist vagina, clutches the penis while holding
a few Chirishi sheets. The other opens a tiny container with
some sort of stimulating potion. This will either be applied
to the dildo or her partner's vagina. It seems clear, the
two girls have already shared this joy before and could be
that the girl grasping the penis has already applied it to
her partner,and is now awaiting her turn to be "penetrated."
*
Books of this subject, quality, nature and rarity are truly
most difficult to acquire on the open market. Superbly colored in pastels, prior to the very garish and bright advent
and use of aniline dyes imported from Europe. Because Hokusai had lived during the life-time of Utamaro [1754-1806] he
was influencd by this great master. The most vivid example
of this invluence is found in number six [above], the rape
scene. The original inspiration for this print was done by
Utamaro in his most celebrated erotic album: UTA MAKURA:
PILLOW OF SONG, dated 1788..."Utamaro's masterpieces...most
impressive ...series of twelve prints ...this is one of the
most dramatic scenes: a plebeian maiden being attacked by a
middle-aged laborer and putting up stiff resistance" See R.
Lane: IMAGES OF THE FLOATING WORLD, page 140, plate 140 for
a most similar example. The original Utamaro shows the exact
same action, with nearly identical composition; the man supresses the girl by holding her left leg, while she pushes
his cheek away with her right hand...clearly Hokusai was so
impressed with this superb composition and subject that he
utilized it in his own masterpiece. Note how even the man's
"Fundoshi" [loin cloth] is in the exact format, draped over
his stiff penis. This is no coincidence ! This series and a
few similar prints illustrated also in T. Evans: SHUNGA: The
Art of Love in Japan, page 249 for the text; illustrations
6.83, 6.85 and 6.86; 6.88 is an exact match for our number 9
above. A stunning and most fantastic piece of color erotica
by Japan's master painter.
JAPAN'S MOST FAMOUS ILLUSTRATED BOOK OF COMIC CARICATURES
HOKUSAI MANGA, 15 VOLUME SET: HOKUSAI'S CARICATURES,
THE COMPLETE WORK.
$16320
Nagoya 1812-1849 Eirakuya. Stitched replacement blue stiff
wrs., 15 vol. set, 411 woodblock illustrations in pastels,
very good, bit of lower corner of vol. 2 worn away but illus
not affected, else good, cloth case, clasps.
FIRST EDITION
***
***
***
.
.
THE HOKUSAI MANGA
.
.
. IS ONE OF THE MOST FAMOUS ILLUSTRATED BOOKS OUT OF JAPAN
.
.
IN THE EARLY TO MID-19TH CENTURY
.
.
. HOKUSAI'S MONUMENTAL 15 VOLUME ILLUSTRATED GENRE BOOK
.
.
REMAINS ONE OF THE MOST FAMOUS & RECOGNIZABLE BOOKS
.
. FROM JAPAN'S MOST CELEBRATED AND HUMOROUS MASTER ARTIST
.
A MONUMENTAL WORK, COMPLETE IN 15 VOLUMES:
.
This is a monumental work of art! It is probably the most
famous of Hokusai's illustrated books. The main feature of
this book is an encyclopedic demonstration of Hokusai's
great ability in depicting all things Japanese found in
daily life.
.
SUBJECTS OF THE MANGA:
People, fauna, flora, landscape, the past, grotesque,
technical, architecture, comedians, average people at work,
play and mischief.
.
Covering a host of figures, animals, flowers,
birds, landscapes, people, miscellaneous items, historical
figures, Buddhist and Shinto temples, religious icons,
military arts, Samurai, famous Japanese sights, Japanese and
Chinese deities, architecture, a host of fish, landscapes,
great and common people at their work, horses, humorous
figures and a host of other sketches to tickle the
imagination. Some of the illustrations are pastel colored
in pink and light blue, the outlines are all are done in
Sumi-black.
*
A wealth of superb art and excellent examples of Hokusai's
best drawing and painting skills. Of all books ever done in
Japan, it is this set that has captured the imagination of
its viewers more than any other single book. It has also
portrayed Japan to the world in graphic terms that anyone
can understand.
*
The Manga has always been the most desirable & collectible
of all of Hokusai's books. Seldom found in its complete
state of 15 matching volumes. Each volume addresses a
different aspect of Japanese life, the themes are highly
creative and his unique ability to express humor is widely
appreciated as his gift to the world at large.
*
He has always been the most ingenious of all Japanese
artists, expressing a true native ability to record the
essence of Japan and the Japanese character. The pictures of
a giant octopus pouncing on a lonely spectator, the
elongated limbs of his humorous characters tickle one's
fancy. Chopsticks protruding from a man's nose...zany!
*
An important reflection of Japan, Japanese culture and daily
life before the advent of Western influence. HOKUSAI'S SUI
GENERIS !
.
***
NOTES ABOUT THE Nagoya 1812-1849 Eirakuya Edition:
This set has the title pages for volumes: 3, 7, 8, 10, 12,
13,14, and the standard two-page introduction by Hokusai in
volumes 1-14, volume 15 did not come with this page.
.
Else the set is complete with all pages, illustrations,
publisher's catalogs and colophons, where cited.
.
***
BIBLIOGRAPHY:
.
Toda: RYERSON LIBRARY OF THE A.I.C. p.254-5.
*
J. Hillier: ART OF HOKUSAI IN BOOK ILLUSTRATION pp.96-112.
*
*
H. Kerlin: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS, p.226-239,
item #546 for most all editions & variants.
*
HILLIER, Jack. :THE ART OF HOKUSAI IN BOOK ILLUSTRATION
p.186.
.
***
JAPAN'S MOST FAMOUS ILLUSTRATED BOOK OF COMIC CARICATURES
$13743
HOKUSAI MANGA, 15 VOLUME SET: HOKUSAI'S CARICATURES,
THE COMPLETE WORK.
[Tokyo 1875]. Stitched stiff wrappers, very good, usual wear
to corners/edges, contents very clean,15 vol. set,411 double
page illustrations by color-tinted woodblocks, title slips a
bit worn as usual, each bound in a different color. COMPLETE
***
***
***
.
.
THE HOKUSAI MANGA
.
.
. IS ONE OF THE MOST FAMOUS ILLUSTRATED BOOKS OUT OF JAPAN
.
.
IN THE EARLY TO MID-19TH CENTURY
.
.
. HOKUSAI'S MONUMENTAL 15 VOLUME ILLUSTRATED GENRE BOOK
.
.
REMAINS ONE OF THE MOST FAMOUS & RECOGNIZABLE BOOKS
.
. FROM JAPAN'S MOST CELEBRATED AND HUMOROUS MASTER ARTIST
.
A MONUMENTAL WORK, COMPLETE IN 15 VOLUMES:
.
This is a monumental work of art! It is probably the most
famous of Hokusai's illustrated books. The main feature of
this book is an encyclopedic demonstration of Hokusai's
great ability in depicting all things Japanese found in
daily life.
.
technical, architecture, comedians, average people at work,
play and mischief.
.
Covering a host of figures, animals, flowers,
birds, landscapes, people, miscellaneous items, historical
figures, Buddhist and Shinto temples, religious icons,
military arts, Samurai, famous Japanese sights, Japanese and
Chinese deities, architecture, a host of fish, landscapes,
great and common people at their work, horses, humorous
figures and a host of other sketches to tickle the
imagination. Some of the illustrations are pastel colored
in pink and light blue, the outlines are all are done in
Sumi-black.
*
A wealth of superb art and excellent examples of Hokusai's
best drawing and painting skills. Of all books ever done in
Japan, it is this set that has captured the imagination of
its viewers more than any other single book. It has also
portrayed Japan to the world in graphic terms that anyone
can understand.
*
The Manga has always been the most desirable & collectible
of all of Hokusai's books. Seldom found in its complete
state of 15 matching volumes. Each volume addresses a
different aspect of Japanese life, the themes are highly
creative and his unique ability to express humor is widely
appreciated as his gift to the world at large.
*
He has always been the most ingenious of all Japanese
artists, expressing a true native ability to record the
essence of Japan and the Japanese character. The pictures of
a giant octopus pouncing on a lonely spectator, the
elongated limbs of his humorous characters tickle one's
fancy. Chopsticks protruding from a man's nose...zany!
*
An important reflection of Japan, Japanese culture and daily
life before the advent of Western influence. HOKUSAI'S SUI
GENERIS !
.
***
NOTES ABOUT THE Nagoya 1812-1849 Eirakuya Edition:
This set has the title pages for volumes: 3, 7, 8, 10, 12,
13,14, and the standard two-page introduction by Hokusai in
volumes 1-14, volume 15 did not come with this page.
.
Else the set is complete with all pages, illustrations,
publisher's catalogs and colophons, where cited.
.
***
BIBLIOGRAPHY:
.
Toda: RYERSON LIBRARY OF THE A.I.C. p.254-5.
*
*
*
H. Kerlin: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS, p.226-239,
item #546 for most all editions & variants.
*
HILLIER, Jack. :THE ART OF HOKUSAI IN BOOK ILLUSTRATION
p.186.
.
***
HOKUSAI MANGA. Vol. 11.
[Tokyo 1878, Katano]. Pink stiff stitched wrappers, very
good, 29 double folded leaves, [58 pages], profusely illustrated in black, white, pastel pink & Sumi colors, bit of
worming to front label, cover dusty, contents clean, nice++!
technical, architecture, forerunners:
.
A charming work, with characters, portraits, Sumo wrestlers,
people going about daily activities, games, play time, land-
$11944
scape, scenery, hunting with a rifle, cannon & other arms,
pistol, archery equipment, shrines, Gods &c.
*
Very delightful!
***
BIBLIOGRAPHY:
Toda, Kenji: DESCRIPTIVE CATALOGUE OF JAPANESE AND CHINESE
INSTITUTE OF CHICAGO, p.254-5.
*
*
*
H. Kerlin: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN
PUBLIC COLLECTIONS IN THE NETHERLANDS, p.226-239, item #546
for most all editions & variants.
*
J. Edgren: 285#874
*
Hickman 33, #83
***
$680
HOKUSAI'S SHUU GA ICHIRAN. With An Annotated Description of
Hokusai's Shuu-ga Ichiran by O. Ouwehand.
[Netherlands 1991, SJA]. Stiff color wrs., very good, 36p.,
51 b.w. plates, introduction by Jack Hillier, addendum. The
usual wit, humor & charming sketches & drawings, enjoyable.
An excellent reference to one of Hokusai's more humorous
illustrated books. With translations and loaded with photos.
FASCINATING DESIGN BOOK FOR CRAFTSMEN & TEXTILES BY HOKUSAI
KODAI SHIN GATA KOMON CHOH HOKUSAI: ALBUM OF ANCIENT DESIGNS
NEWLY DONE.
[Tokyo 1824, Shinbi Zuzoh]. Stitched blue wrs., very good,
small size, 12 x 18 cm., calligraphed title slip, 25 double
pages, [52]p. in all, Japanese text, 46 full page b.w. woodcut illustrations, slight brown tinge to exterior margin.
This very obscure Hokusai book seems to have eluded the usual bibliographers. Consisting of two individual designs per
page in a circle, themes on the Buddhist Swastika, wave patterns, lattice-like work, chicken-wire patterns, complex
weave, textile & bamboo patterns, plus a host of others that
one can not name. Suffice to say, this is a prime example of
his most creative talent in designing things Japanese for a
host of occasions and craftsmen & textile designers. Many of
these patterns are found on sword furniture, military clothing, lacquere ware, ceramics, furniture, Rama in houses and
$31
so many others. Scans
can be
sent by e-mail. QUITE
SCARCE
$1632
MANJI-OO SOOHITSU GAFU [Sumi]. HOKUSAI MANGA: SOOHITSU-NOBU [Colour Printed]. AKA: HOKUSAI GAEN.
Edo 1843, Suwara-ya]. Orange stitched wrs., very good, supplement complete vol. 3 of 3, complete in itself, 17 double
pages of color illustrations, 2p. text, some double pages
mended glue shows through in margin, no loss, as is.
Listed in J. Hillier: THE ART OF HOKUSAI IN BOOK ILLUSTRATION, p. 279, #257. Also in L. Dawes: CATALOGUE OF JAPANESE
ILLUSTRATED BOOKS, London 1972, p.49. This work is composed
of 3 independent volumes, each complete in itself. They are
signed: Hokusai Manji-oo, and was issued in 1820, 1843 & in
1877 under title: HOKUSAI GAEN. The contents consists of his
celebrated cariactures from as drawn on from daily life. A
wonderful genre book, capturing the flavor & spirit of Japan
during this period. This superb work is devoted to the natural subjects as themes found in nature. Covers landscapes,
sea, rivers, waterfalls, Mt. Fuji, Samurai & warriors battle
dress [Yori], horses in all forms of relaxation, cranes and
other birds, crabs, shell-fish & other crustations, flowers,
soy beans, fruit &c. Color scans can be sent by e-mail. This
superb work is fairly obscure now.
$748
A MOST OBSCURE HOKUSAI ILLUSTRATED BOOK
FROM HOKUKSAI'S BRUSH: A MARVELOUS LOOK A THE LIFE OF BUDDHA
SHAKA GOICHIKI DAI KI ZUE: The Story of Shakyamuni The Lord
Buddha.
[Osaka 1845, Kawachiya]. Orange stitched wrappers, 6 vol.set
very nice copy in original and worn blue silk Chitsu, clips
lacking, original title paper slip case used as inside cover
to the Chitsu, 17.5 x 25 cm., 25+38+38+37+35+34+29+36 double
leaves Japanese text, 33 single & double page illustrations
by the master signed: Zen Hokusai Manji Rojin. Excellent and
strong impressions, marvelous Buddhist illustrations, text
by Yamatoya Keizo. Profusely illustrated with some of
Hokusai's best & most famous illustrations of the Buddha's
life.
*
This work is written in a Jataka [stories of rebirth]
like format, or true from stories from the Buddha's pasts.
They show by example to the Sangha [the Buddhist community]
what the "Righteous Path" is by telling stories with
examples; showing right from wrong. Dukkha [suffering]
is one of the main themes, and the associated punishments
for "wanting, greed, wrong livelihood, and other sins" are
herein illustrated. Most of the scenes are set in a tropical
background, with banana and other warm climate plants. Since
the Buddha was from tropical India, this work shows the
Japanese idea of that setting. Sanskrit is also written
appropriately, but the Japanese text is for a lay public.
*
Great serpents and daemons are illustrated as omens, many of
the people illustrated are in lavish Chinese or Korean
gowns, showing the movement of Buddhism from India through
China & Korea, as it progressed to Japan.
*
Vol. 1 begins with illustrations of the
Gods of the
Elements: Sky, Earth, Wind, Water, Fire and a picture of the
Lotus, a flower that grows in the most filthy of atmospheres
but sends up the most beautiful & fragranced flower,
representative of human life.
*
Vol. II shows a great gathering of the Sangha as they see
the young Shakyamuni standing on a lotus blower as the
Heavenly Two-Headed Dragon blows his powerful breath upon
the Buddha giving him life. Other great and holy Gods in
the Heavens also look upon the Buddha as he is born of the
Lotus. Later the powerful and older Buddha suppresses a wild
elephant, fights great horse-mounted warriors.
*
Vol. III shows the Buddha as he is seated beneath the
Bo Tree [ficus religiosa] as he speaks to disciples. One
impressive illustration shows Shakyamuni as he meditates
on a craggy rock, with a gigantic
four-eyed daemon who tries to distract him.
*
Vol. IV shows Shakyamuni as an itinerant priest, another
shows great warriors with spears and lances being fended
off by the Master's great radiant powers, later one
shows a Heavenly Demon holding a lance with a small lantern
suspending a Sake bottle with a Swastika [Buddhist] design,
under which are two naked and highly emaciated men who
float in black space likely for drinking too much...the
last one show a sinner with face to the floor as each arm
is held fast by the feet of two stick wielding Boddhisatvas
as they thrash his backside as Shakyamuni looks on.
*
Vol. V starts with a great prayer meeting of the Sangha
as Shakyamuni displays two Mudras as two disciples sit on
either side of him on a high pedestal while other
Boddhisatvas look on; one beats the prayer drum & another
hits the bronze gong while the others bow their heads in
obeisance, one single Bodhisattva looks to the sky as a
great and Terrible Dragon flies over the whole Sangha.
The next shows Shakyamuni on a great cliff, while the
Wind God does his best to blow the small Sangha away. In
the next we are presented with an example of those that
have been re-incarnated as half animal and human. The
Shakyamuni looks upon a man with the "right livelihood" who
is bone thin, but is a Mochi maker [rice pounder], but does
not eat animals, while in the background sheep-faced animals
with human bodies look on, in the distant background is a
man & woman that have human heads on horse-like bodies, they
are sinners. The last dramatic illustration has a black
background with a warrior costumed Shakyamuni holding a long
lance [Naginada] as he spears & tumbles a three-eyed demon
in the night.
*
Vol. VI shows the aftermath of a battle with broken arrows,
spears and two young women half naked--one is pulled by her
Chignon and is about to be raped, the girl is limp and
clearly dead, who is being hoisted by a warrior; many
Naginada lances in the background. The next shows fourteen
Boddhisatvas suppressing a gigantic fish as they thrash it
with long poles...their hair style implies the Buddhist
image. Next shows the God of Wind as he tries to evoke a
Typhoon. The last shows a gigantic elephant as it carries
a lotus with a small shrine on its back while being lead by
attendants.
***
STUNNING ART WORK & COMPOSITION BY HOKUSAI'S GENIUS:
This work was inspired and superbly executed by Hokusai who
was a devout Buddhist. He creates and expresses his faith by
the stunning art work not found in any of his other works.
Hints of this greatness were littered throughout his
production of prints and books, but this book exemplifies hi
greatest artistic effort and supreme skill. He remains
Japan's best and most uniquely creative artist.
*
This is an exciting and great Buddhist work showing the
stories and experiences of the Buddha as he went out into
the world. An impressive and great artistic work by the old
master, [1760-1849]. It is observed that near the end of
Hokusai's life, this work was one of the last twenty books
he illustrated.
*
In some way like so many Japanese of his time, at age 81
he began to think of Buddhism, and of his own life, and
where he wanted to go after he died. Eighty one was indeed
ancient during this time. In a way this is possibly his
own testament to becoming a Buddhist, or a way to prepare
himself for death All Japanese are born under Shinto
Gods, but die as Buddhist, and assume Buddhist names
posthumously. Hokusai had already signed his name:
Manji Rojin [Manji = Swastika a Buddhist symbol, Rojin=an
old man]. Hokusai first used Manji in 1836, then with
the publication of this work added Rojin to his name. This
is significant. This work was originally issued in 1841,
but re-issued in 1845. The re-issuance is also significant,
for Hokusai seldom re-issued many of his books. This is
his only full study of Buddhism & clearly came at a time in
his live when it was meaningful to his own future. Hokusai
poured his heart and imagination out, and this is a major
success.
*
Wonderful representations of the Life of the Buddha, of
Hell, Temptation & the Eight-Fold Noble Path.
*
RARITY:
One of Hokusai's more obscure titles, seldom found on the
market. Today, this remains one of Hokusai's rarest books
when found complete and in good condition. Exceptionally
rare.
*****
BIBLIOGRAPHY:
L. Roberts: DICTIONARY OF JAPANESE ARTISTS p.48-9.
*
Jack Hillier: THE ART OF HOKUSAI IN BOOK ILLUSTRATION p.279,
#253 Note, the typo in the romanization of title: Shaka Go
Icki [should be Ichi] Dai Ki Zue.
*
K. Toda: DESCRIPTIVE CATALOGUE OF JAPANESE & CHINESE
INSTITUE OF CHICAGO, p.263.
*
H. Kerlen: CATALOGUE OF PRE-MEIJI BOOKS & MAPS IN PUBLIC
COLLECTIONS IN THE NETHERLANDS p.605-6, #1464.
*
S. Sorimachi: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS &
MSS. IN THE SPENCER COLLECTON OF THE N.Y. PUBLIC LIBRARY,
p.131, #594.
*
Not in: Dawes, Edgren or Mitchell.
*******
$8500
A CLASSIC WORK ON JAPANESE ARCHITECTURE & ART DESIGN
SHOHSHOKU EHON KATSUSHIKA SHIN HINAGATA: PICTURES OF NEW AND
ORIGINAL DESIGNS, ARCHITECTURAL PLANS & WORKING DRAWINGS FOR
Kyoto 1836, Sandoshurin. Stitched blue wrs., very good, but
covers bit worn, scuffed, title slip top missing, contents
clean solid, bit dusty, old thumbing in lower margin, 26
double folded leaves, 18 double-page & 42 illustrations.RARE
This work was woodblock printed, and contains some 50 plates
illustrating architectural themes for craftsmen. The building of traditional Japanese structures has been a highly
guarded and most secret set of tradesman's techniques. These
were never shared with strangers or competitors. These
techniques were passed from journey man to his disciples.
Therefore when Hokusai attempted to draw the methods and
construction techniques he met substantial opposition from
those who were the builders and designers. Because of his
personal fame he was allowed to sketch these for the purpose
of "painting" rather that construction. This work then shows
a good number of hitherto guarded subjects, now exposed for
the first time in print.
*
Hokusai takes us on a guided tour of some of Japan's most
traditional and typical buildings. Covering the likes of
what the builder and architect looks like, his tools,
methods of using a compass, how to draw and make things
square, basic carpentry tools, as well as the proper attire
of head designer and architect. The offering to Shinto
gods for a successful and lucky construction. Then the work
delves into the actual design of tile roofs, Buddhist themes
in architecture, bell & the bell tower, building guardians
or "Fu Dogs," ocean wave patterns, shrine Gods, symbols
of longevity, floating and rope bridges Swastika and other
Buddhist patterns, other protectors of buildings found
in mythological animals, dragon, demons, and a handsome
horse.
*
A famous work, used by artisans
for making art works. A valuable example of Japanese art and
craft work at its best !
*
VARIANT READINGS OF THE TITLE:
There are variant readings of the title, each bibliographer
has selected his own way to read the full title.
*
BIBLIOGRAPHY:
J. Hillier: ART OF HOKUSAI IN BOOK ILLUSTRATION, p.188, and
illustrates 2 full-pages from this work as plates #169, 170.
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, p.56 for
2 entries.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, p.619, #1497.
*
ILLUSTRATED BOOKS, p.262.
*
ONE OF HOKUSAI'S MOST IMPORTANT AND FAMOUS BOOK OF HEROES
[WAKAN] EHON SAKIGAKE: PICTURE BOOK OF LEADERS OF CHINA AND
JAPAN. Alternate Japanese Title: EHON SAKIGAKE.
[Edo 1836, Kozanbo]. Original stitched green
wrs., very
good, 31 woodcuts prints, 15.5 x 23.5 cm., blind-stamped
covers a bit scuffed, contents clean, NO WORMING, solid, a
variant with uncolored frontis. FIRST EDITION
S C A R C E
This important work shows the human body moving under the
heavy armor, and the flow of Hokusai's [1760-1849] skilled
and fluid brush. An exciting and action-packed Samurai
illustrated book. Shows a number of Japanese and Chinese
heroes as they struggle to suppress evil and encounter overwhelming robust and fierce opponents. Toki Kintaro struggled
with a giant bronze-casted Buddhist temple Bell; other
heroes struggle and fight with Inoshishi [wild boar]; tiger;
suppressing a great wild stallion and huge spider; a
giant dragon-snake; devils; Sumo; butchering one's enemy;
haunted by living Yurei ghost; ogres; Fu-dog, and one bloodcurdling scene of a person holding a newborn baby by the
feet over a boiling cauldron while he split it's stomach
shows the blood flowing into the "soup" while a colleague
looks on in delight; Buddhist saints and Goddess; seeking
salvation, refuge and Nirvana under a freezing cold
waterfall in fervent prayer; suffering a barrage of arrows
and assailants.
*
A most dramatic and emotional work, of the strongest Heroes
and most powerful warriors as they wield their all-mighty
Samurai swords. Executed with the greatest of skill, as
only Hokusai could do. Contains one double-page preface,
thirty double-page and two single illustrations. The entire
book printed on double-folded leaves, by woodblocks,
printed on hand-made Washi paper.
*
$2312
Showing Hokusai's brilliant imagination and ability to
fantasize. Books of this high caliber and unique subject,
condition and vintage are always S C A R C E.
*
BIBLIOGRAPHY: A famous work, cited in many standard
reference books, a few are cited below:
*
J. Hillier: THE ART OF HOKUSAI IN BOOK ILLUSTRATION,
plates: 209, 210, 212, 214, 215; text on pp.227-231. Because
Hiller understood this book to be of exceptional importance,
has devoted substantial space to this title, which is part
of a major trilogy on the subject of great Japanese and
Chinese heroes. This genre was called the "Toshisen" and
done in the final decade of Hokusai's artistic life
1840-1849. There are two versions of the First Edition
relating to the first illustration, opposite the title page:
a. Sumi-zuri or black and white, uncolored plate.
b. Saishiki or colored version. The Saishiki type was
strictly a made-to-order version for wealthy merchants; the
Sumi-zuri being the more common of the two variants.
*
VIS-A-VIS THE VARIANT EDITIONS:
We have become aware of the fact, that there is a strong
possibility, that each of the two variant copies may have
slightly different plates. For example, the current copy in
hand does not have plates 212 nor 214 as cited in Hillier
above. One needs to have the luxury of having both variants
on their desk and compare page by page to note actual and
complete differences. Our copy is consecutively numbered per
Kerlen, and so we know that it is complete, but a variant to
what Hillier saw in one of the museums cited on his
"Acknowledgement" page. All other illustrations he cited are
present.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, item #312,
p.126-127.
*
ILLUSTRATED BOOKS, p.263.
*
KSM (KAIGO) 1-494-2
*
Kraft: vol. 1, no. 125
*
J. Hillier: no. 245, p.278
*
AN EXCELLENT REFERENCE ON JAPANESE WOODBLOCK BOOKS OR E-HON
$2091
173 HOLLOWAY, Owen E.
GRAPHIC ART OF JAPAN: The Classical School.
London 1957, Tiranti. Black cloth, 135+121p., 5 color, 135
b.w. plates. Excellent source for landscape albums, wood
block printed books, bird & flower pictures. FIRST EDITION
This invaluable text gives a keen insight into some of the
more interesting woodblock print & book artists of the Edo
period. Devoted to the other than sheet printed works, with
a focus on Kyoto & Osaka art of the early 18th century. Social structure of Japanese taste, Chinese culture in Japan,
Kyoto, what is graphic art? Medium & method of the classical
school. What are brush stroke & engraved 'line'? Graphic art
& the brush original, landscape, landscape in the albums,
visual & verbal art, figure studies, the albums of figure
subjects, bird & flower pictures, list of chief albums of
the classical school. With copious descriptive notes to the
plates.A very useful reference or illustrated books & albums
of the time. Valuable for students, dealers and collectors.
Illustrating examples from Kishi Empu, Ki Baitei, Kameda
Bosai, Kawamura Bumpo, Yosa Buson, Ki Chikudoh, Onishi Chinnen, Cho Gessho, Matsumura Goshun, Tsuji Hozan, Niwa Kagen,
of the time. Valuable for students, dealers and collectors.
Illustrating examples from Kishi Empu, Ki Baitei, Kameda
Bosai, Kawamura Bumpo, Yosa Buson, Ki Chikudoh, Onishi Chinnen, Cho Gessho, Matsumura Goshun, Tsuji Hozan, Niwa Kagen.
$44
AN EXCELLENT EARLY MONOGRAPH ON THIS FANTASTIC ARTIST
174 HOLMES, C.J.
HOKUSAI.
New York 1901, Longmans. White half cloth over boards, 48p.,
4 color, 16 b.w. plates, very good. Edited by Laurence
Binyon.
R A R E
An excellent monograph on this celebrated artist, using 2
examples of his work for discussion points. With a biography
of his life, essay on his prints & drawings, as a landscape
painter and characteristics of his work. A useful reference.
A JAPANESE CLASSIC ON HAND-MADE JAPANESE PAPERS OR WASHI
$65
175 HORIKOSHI, Jusuke.
KAMI KOSHII CHOHO-KI: DIARY OF JAPANESE WASHI PAPER MAKER.
[WASHI is Japanee for Hand-Made Native Paper]
[Tokyo 1925, Sanseido]. Green stitched stiff wrs.,very clean
Chuban 15.5 x 23 cm., woodblock printed, 20p.+7p. supplement
& 29 illustrations, 5 b.w. collotype photos, reprint of the
1798 First Edition,in recent blue cloth folding Chitsu case.
AN IMPORTANT PRIMARY RESOURCE ON JAPANESE HAND-MADE WASHI
PAPER-MAKING:
.
THE EDITION:
This is the 1925 reprint of the 1798 original woodblock
printed edition. It is printed on double-folded leaves to
look like the original, including the period style stitched
binding.
*
This work outlines graphically the whole hand-made process
of Washi papermaking. From collecting of the plants to the
final trimming of the dried paper sheets.
.
This excellent example shows the whole & complete process of
hand-made Washi papers. Beginning with selecting the plants
used, harvesting & culture, separating the fibers, hauling
by horse, river washing, scraping by hand, boiling process,
alternate & supplemental plants used, beating the fibers,
and screening the fiber solution into paper. The native
tools used, drying, cutting, bundling & preparation for
market.
***
WINTER OCCUPATION OF JAPANESE FARMERS - PAPERMAKING:
Japanese farmers had little to do during the cold, snowy
winter months. Washi papermaking became a useful and
productive enterprise in rural Japan.
.
The process of hand-made paper in Japan was strictly a
winter home vocation. The farmers had to immerse their
hands
in the bitterly cold water to do much of this process. It
was not easy work, and most papers were made in the extreme
cold of northern Japan where Kozo and other fiber-containing
plants grew.
*
The work is lavishly illustrated, it actually shows the
complete process of this early technology. The same basic
process was followed for hand-making papers in China and
Korea as well.
.
A charming and wonderful work, with additional commentaries
on the papermaking village. A most fascinating period work,
always R A R E.
*
*****
THE PERSONAL COPY OF THOMAS K. TINDALE:
This is the personal copy of Thomas K. Tindale, and bears
his blind-stamped, embossed seal in the lower edge of the
first blank leaf. Tindale was the author of THE HANDMADE
PAPERS OF JAPAN, perhaps the best book on Japanese Washi
papers. It included a stunning collection of samples and
other valuable essays, resources and examples. Contains a
white 3 x 5 inch typed card, with pencil notes in Tindale's
hand giving bibliographical information on this book.
.
Please inquire with us as we may have other items from his
library, and about Washi papers and sample books.
***
CONDITION:
This copy is in superb collector's condition, solidly stitch
bound, no worming or other defects.
*
CHITSU FOLDING INDIGO BLUE CASE WITH CLASPS:
This work is contained in a recent indigo-blue folding
Chitsu, in superb condition, with hand-made Washi stencil
inside papers, 2 bone clasps.
***
REFERENCES:
TINDALE, Thomas K. et al.: THE HANDMADE PAPERS OF JAPAN.
*
Color scans of this and most other books are posted to our
website.
AN IMPORTANT & EARLY JAPANESE BUDDHIST MAP OF THE WORLD 1710
$250
176 HOTAN, Priest. [ZUDA ROKASHI]
NANSEN BUSHUU BANKOKU SHOHKA NO ZU: BUDDHIST MAP OF THE
UNIVERSE According to Zuda Rokashi [aka: Monk/Priest Hotan].
[Kyoto 1710, Nagata Chohbei]. Blue original paper covers,
title slip, covers rubbed: some blue loss, woodblock printed
1 m. 44.5 x 1 m. 20 cm. accordion folded, very good impression, excellent registry, white hand-made paper,clean solid.
An excellent fine early example of a woodblock printed map,
with Chinese text. This is the first Japanese world map
drawn according to Buddhist cosmology & the prototype for
all other later Buddhist world maps done in Japan until the
end of the 19th century.
.
***
THE ARTIST AND AUTHOR:
Hotan [aka Zuda Rokashi 1654-1728], was the author, artist,
editor, scholar and Buddhist priest, he was also the famous
founder of Kegonji Buddhist Temple in Kyoto. He was an
eminent Buddhist priest and scholar who reconciled new
information from the West with Chinese sources. The work is
signed "Rokashi," which means "mapmaker and editor."
.
***
This map gave the hitherto isolated Japanese "a way to see a
wider view of the world, but one that they could easily
understand...his map was widely acclaimed for the
numerous place names he furnished for Indian & Asian areas..
very rare in Western maps..."
Quoted from Namba, see below.
.
***
The map is centered on Jambudvipa the mythological heart
of Buddhist cosmography in India. This very vital spot is
noted by a horned animal who's breath is a long spiral of
flame emanating from the most sacred & holy Buddhist place
on the earth. Europe appears as a string of islands. A land
bridge connects China with an unnamed continent to its
East, which "must undoubtedly be a reflection of America" in
the opinion of the celebrated Japanese scholars.
.
***
Per Rudolph [see below], on p.92, she states: "This map is
descended from a line of Japanese manuscript maps based on
the journey of the Chinese priest Xuangzang's pilgrimage to
India in search of scriptures. Scholars believe that the
maps were originally copied out as a from of devotion--a
pilgrimage of the spirit if not the body--and that later
versions like this, which includes South America,
demonstrate an attempt to reconcile sacred geography with
the examples of European cartography that were reaching
Japan through Dutch traders and, via China, Jesuit
missionaries."
.
***
WHAT ONE MODERN CARTOGRAPHIC SCHOLAR SAYS:
Cartographic scholars Prof. Oda discuss the Northern most
Japanese island of Ezo where the Ainu lived is located on
this map just slightly South of the mystery continent which
is actually American. Africa is a diminutive land mass. To
the far West is a small island empire identified as "Country
of Western Women" along with other mountainous island
kingdoms, likely England, Scotland and Ireland. The map
text includes a list of Buddhist Sutras, Chinese histories,
literary classics &c. All drawn by Hotan, which "Illustrates
the fusion of Buddhist dogma and Western geographical
knowledge." See Oda below.
.
***
PROTYPE MAP:
The basic outlines of the map are copied from a Buddhist
prototype, the Gotenjiku Zu [MAP OF THE FIVE INDIES], whose
characteristic features was the shield-shaped continent of
Jambu-dvipa. Jambu-dvipa was the habitable world according
to the Buddhist cosmographical view. In this example the
sacred lake of Anavatapta can be seen in the centre, from
which flow four rivers in a whirlpool pattern. Jambu-dvipa
can be equated topographically with the Indian peninsula,
Lake Anavatapta symbolizes Lake Manasarovar in the Himalayas
and the four rivers represent the Ganges, Oxus, Indus and
Tarim. In order to preserve the traditional Buddhist
outlines and at the same time incorporate the new knowledge
of Western geography, the European and American countries
are shown as small islands on the periphery of
Jambu-dvipa. Although an amalgam of discordant ideas, the
map became one of the most popular and widely circulated
works of the day and served as a model for all later
Buddhist maps." Quoted from Jones, see below.
.
***
RARITY:
This is the first Japanese map to show Europe, Africa and
America.
.
This is an important early Buddhist relic and classic,
considered a land-mark of early Buddhist cartography. Maps
of this subject and Deluxe size are RARE and were seldom
printed, they are not commonly found on the open market.
Early Buddhist maps of this Deluxe grandeur and caliber are
always quite R A R E !
.
***
CONDITION:
By and large, very good condition, a few old tiny worm
holes, most neatly mended, two very small and faint stains,
otherwise a very clean solid copy. Entirely hand-printed
by woodblocks on very white hand-made Kozo fiber Washi
paper. In the original covers, scuffed and edges worn, but
the subtle original blind-stamped traditional Buddhist
swastika design still there. Printed on several sheets of
Japanese Washi, hand-made paper, then joined to make a
Deluxe and grand size work. Folded by the publisher.
.
***
.
BIBLIOGRAPHY:
Being a famous work there are many scholarly studies and
cartographic references on this marvelous Deluxe size map.
*
Shintaro Ayusawa: WORLD MAPS MADE IN JAPAN'S AGE OF
NATIONAL ISOLATION, in Imago Mundi 10, [1953], pp.123-8.
On page 124 he cites the map and says " World maps
representing Buddhist cosmology. The earliest map of this
type is the NANSENBUSHU BANKOKU SHOKA NO ZU" and is also
illustrated as his figure 2, which is this exact map we now
offer.
*
BEANS, George H. A LIST OF JAPANESE MAPS OF THE TOKUGAWA
ERA. LIST item 1710.1, and the illustration facing
p.21 matches this exact item.
*
H. Cortazzi: ISLES OF GOLD, p.38 and plate 48 again matches
ours, but that one he cites found in Kobe City Museum is
with [later] hand-coloring and is a poor and stained copy
with loss. Ours is a much better copy.
*
Muroga and Unno: IMAGO MUNDI, vol. 16, 1962, pp.49-69,
illustrated as figure 9, Hotan p.62-63..
*
K. Unno, Cartography in Japan, 1994, pp. 346-477 and
illustration 11.59.
*
M. Namba et al.: OLD MAPS IN JAPAN, p.13, plate 8.
*
Yolande Jones et al: CHINESE AND JAPANESE MAPS: In a British
Library Exhibition 1974, see 2nd page of Japanese listings,
and J3.
*
T. Oda et al.: THE WORLD IN JAPANESE MAPS UNTIL THE MID-19TH
CENTURY, plate 6, page pp. 20-21.
*
THE COMPASS FOR MAP COLLECTORS, an antiquarian map dealer's
catalogue, February 1988 as item number 1.
*
J.B. Harley & David Woodward: CARTOGRAPHY IN THE TRADITIONAL
EAST AND SOUTHEAST ASIAN SOCIETIES, volume 2, book 2:
pp.427-429, fig. 11.59 & color plate #29. Ahead of title:
The History of Cartography.
*
K. Yamashita, JAPANESE MAPS OF THE EDO PERIOD, pp.32-33,
+ illustration.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, p.19, no. 44.
*
M. Ramming: Imago Mundi, v.10, pp.123-127, [1954],
"Remarks to reproduced Japanese maps", Imago Mundi, v.10, p.
128. The map reproduced as fig. 2, facing p. 124. Map is
described as " ... prototype of Buddhist world maps." on
p.124 "... whose main distinctive feature is their
completely unscientific character." see p.128.
*
Ayusawa Shintaro: THE TYPES OF WORLD MAPS MADEIN JAPAN'S AGE
OF NATIONAL ISOLATION. [Imago Mundi GAI I31, v.10:
p.123-128]; the last page has an article by M. Ramming: note
2 discusses this map, He notes the map was reprinted by the
"book dealer Bundaiken Uhei...another almost analogous
edition of the same map, also dated 1710, but published by
Chobei Nagata in Kyoto is reproduced in Beans List, 1951..."
XVIIC.
*
KSM: Chizu.
*
Deborah Rudolph: IMPRESSIONS OF THE EAST: p.92., illustrated
as NANZENBUSHU BANKOKU SHOKA NO ZU, 1710.
*
KOBE CITY MUSEUM. [KOBE SHI RITSU HAKUBUTSU KAN.]: AKIOKA KO
CHIZU KOLEKUSHYON MEI HIN TEN: EXHIBITION OF THE AKIOKA:
COLLECTION OF FAMOUS OLD MAPS: plate number 2, page 45.
*
BRITISH MUSEUM; maps 5.d.11 for another example.
*
[JONES, Yolande]. et al. CHINESE & JAPANESE MAPS: An
Exhibition Organised by the British Library at the British
Museum 1 February-31 December 1974, item J3,
*
FRENCH, Calvin L.: THROUGH CLOSED DOORS: Westerm Influence
on Japanese Art 1636-1853 figure 3, p.11.
***
Not in L. Roberts: A DICTIONARY OF JAPANESE ARTISTS.
***
.
Color scans of this and most items are posted to our
webstie.
THE 1854 RUSSIA GUNBOAT VISIT TO MANILLA
$57076
177 HOTHAM, Charles. [Lieutenant-General Sir]. et al.
RUSSIAN SQUADRON AT MANILLA.
Melbourne 1854, Legislative Council. Single blue sheet, printed on both sides, 305 x 255 mm. or 9 x 12 inches,very good
quite OBSCURE !
Bulletin issued by the Legislative Council notifying Australian officials of two recent articles of news from neighbouring countries. Firstly that a Russian armed squadron of
four ships under the command of Admiral Pontaine had sailed
from Japan & arrived in Manilla. Secondly that the American
Commodore Matthew C. Perry had taken posession of the Loo
Choo Islands a Japanese territory. Commodore Perry had just
secured the first foreign trade treaty with hitherto closed
Japan with his 1852-1854 voyages. Perry used "Gunboat Diplomacy" forcing the Japanese to "open" their country & forever
abandon its feudal economy & to begin trading with the West.
The Bulletin reproduces the dispatches fo the Duke of Newcastle, W.B. Hamilton of the Admiralty, Fleetwood Pellew the
Vice-Admiral and Commander-in- Chief at Panarouta, Point de
Galle, and J.W. Farrow of the British Consulate in Manilla.
A very rare ephemeral piece, historic in nature.
SUPERB EARLY MAP OF 1859 YOKOHAMA BAY & THE AMERICAN FACTORY
178 ICHIKAWA, Yoshikazu.
ON KAIKO YOKOHAMA NO ZU: A PICTURE MAP OF THE OPENING OF
YOKOHAMA BAY.
[Japan 1859]. Large single sheet woodblock printed color
map of Yokohama harbour, 67 x 46 cm., very good, a bit of
minor foxing, top margin bit soiled, otherwise the map is
very good, hand-printed by hand-carved woodblocks.
R A R E
An early map of Yokohama harbor, the quays and surrounding
areas. There are five large foreign vessels at anchor in
Yokohama Bay: 3 American, 1 English and another without an
identifying flag. Along the quay foreign consulates are
$264
located by their respective flags flying and names in
Japanese: Holland, France [2], Portugal, England [2] &
America. Along the quay and the waterfront are Japanese
villages, rivers & bridges.
*
Conveniently located adjacent to the quay, is the
infamous Yoshiwara or the prostitution quarters, which is
situated with a small moat surrounding it; one of the most
prominent names is cited called Yujo-ya [Prostitute
House].
*
A very good bird's eye view of the whole coastal line, where
foreign graves, including two American and one Chinese are
noted. Next to the wharf is a directional compass in
Japanese.
*
This work was published in Yokohama, per the colophon at
Yokohama on Honcho or the Main Street, at address: 2 Chome.
*
The map has been folded five times, reducing it down to 12 x
23.5 cm., and is a lovely and most early color rendering of
the harbor and environs.
*
Maps of this period and subject are quite obscure and now
rare. Historical record of early foreigners in Japan.
***
CONDITION:
The map is in excellent condition, with a bit of the usual
dustiness, and a few Washi paper & rice glue mends on the
verso, now stable, solid. A lovely work !
***
BIBLIOGRAPHY:
This famous map is cited in K. Nonogami: COLOR PRINTS OF THE
LATE TOKUGAWA & EARLY MEIJI PERIODS IN THE NONOGAMI
COLLECTTION, see p.9, color illustration #1., p iii #1 &
p.iii #1.
Nonogami believes this to be published Ansei 6th [1859].
A large and early panoramic view of the harbor & it's
facilities.
***
A LOVELY PERIOD ALBUM WITH JAPANESE WOMEN AND CHILDREN
179 IKEDA, Terukata.
BIJIN: JAPANESE BEAUTIES THROUGHOUT THE FESTIVAL SEASONS.
Japan n.d. ca 1900-3. Calico cloth covered accordion folding
album, all edges silver gilt, Chuban, 12 x 17.5 cm., 12 fine
$4168
color woodblock prints, hand-printed on hand-made paper each
is a double-page, or 23.5 x 17.5 cm, nicely done. UNUSUAL !
The complete title can not be read as its written is the
"running grass" style or Shosho. Our colleagues in Japan
found it most impossible to read, except for the last two
characters "Bijin" or Beauties. Thus the work contains a
lovely set of 12 views of Japanese women and children during
the festivals of the four seasons. This work relfects the
"fin-de-secle" feeling. The women and children are nicely
clad in beautiful and most colorful Kimono, with elaborate
coiffeur, reflective of the late Meiji-early Taisho period.
The twelve veiws have a cartouche in the upper right. Subjects covered: 1: A woman is seated on a large Zabuton or
cushion, along side a Hibachi or brazier, while she awaits
the arrival of a friend. 2: Two women sit outside, one
drinks tea while they both view the lovely plum blossoms. 3:
A teen-age girl plays with her younger sister as she holds a
sprig of cherry blossoms, while under a blossoming cherry
tree. 4. Spring outing shows a lovely beauty seated on a
cloth with two umbrellas while she looks at butterflies. 5:
A young woman looks out of a round window on to the blooming
iris garden. 6: Rainy day shows the beauty going out with
her umbrella. 7: Shows the beauty seated on a balcony with
bamboo screens to keep the mosquitos away, she looks wistfully outside at dusk. 8: Tsuki-Mi or Moon Viewing festival
in August, shows a mother and daughter with food offerings
on trays and a lovely flower arrangement dedicated to the
Gods placed on the Engawa [outer porch], with a moon high in
the sky. 9: Omatsuri or summer festival, shows a large Mikoshi or portable shrine is in the background while three
beauties observe the festivities from a large platform with
lanterns. 10: New Year's offerings, shows a father, mother
and daugher who holds a sprig of bamboo with offering poems
tied to it as they go out side to celebrate. 11: Shows a
serving girl at a Sake shop, others prominade in the background. 12: Shows the last day of the year, the mother is
wearing wintery Kimono and a head cover scarf tied around
her neck, while her daughter carries New Year's decorations
and a kite with a Daruma face, others prominade in the background. A truly lovely work, covering the seasons & festival
season in Japan. A good reference book on this period & type
of woodblock color prints with examples can be found in Amy
Stephens: THE NEW WAVE: 20TH CENTURY JAPANESE PRINTS FROM
THE ROBERT O. MULLER COLLECTION. Terukata is also listed in
K. Brown: TAISHO CHIC: Japanese Modernity, Nostalgia, & Deco
pp.42, 43, 88 for other fine color examples & essays on him.
A GRAND BLACK-WHITE WALL MAP OF THE PROVINCE
$546
180 IKEDA, Toori.
ECHIGO NO KUNI SAIKEN OOEZU: LARGE DETAIL MAP OF ECHIGO
PROVINCE.
Kyoto 1842, Omiya Sataro. Blue stiff covers, woodblock map,
very good, no worming, clean, 185.5 x 93, folds down to
19 x 31 cm., title slip.
FIRST EDITION RARE
This work shows mountains, small villages, ocean & coast,
boats, rivers, main and tributary roads, directional
characters detail names of cities, mountains, rivers,
villages &c.
*
HUGE GRAND WALL SIZED WOODBLOCK PRINTED MAP:
A spectacular view of the province, suitable for framing and
display. A dramatic work,
***
CONDITION:
There is a small, minor & subtle damp stain to lower part
[see photo posted to our website], 17 x 5 cm., this is a
faint stain. Else, a VERY NICE WORK !
*
BIBLIOGRAPHY:
BEANS, George H.A: LIST OF JAPANESE MAPS OF THE TOKUGAWA
ERA. LIST "A": p.22 as 1842.5.
*
A GRAND COLOR MAP OF KYOTO, THE ANCIENT CAPITA OF JAPAN
181 IKEDA, Toritei.
TENPO KAISEI SHINZOH [HOSOMI] SAIKEN KYO EZU DAIZEN:
DETAILED MAP OF KYOTO: NEWLY REVISED & SUPPLEMENTED IN THE
Kyoto 1835, Takehara. One of two colorful covers,very clean,
minor old worming, folds restored, reinforced with acid-free
Washi paper & rice glue, now solid, folds down to 15 x 21.3
cm., opens to 74.5 x 10 cm.
R A R E
A very nice color city map of Kyoto. A charming example,
suitable for display & framing. The top is dominated by the
huge and impressive Kiyomizu-dera [temple]. The only cities
in Japan oriented neatly with streets going east and west,
north to south were Nara and Kyoto, based on the Chinese
model classical model of Xianthe ancient capital of China..
It also shows Nijo castle, the Imperial Palace, where the
Shoguns resided.
*
With large directional characters, at each edge, rivers in
$581
blue, the city was surrounded by a wall. Various colors
differentiate the streets, rivers, moats and earthen
embankments, all of which were built in 1591 by the Shogun,
the most famous Toyotomi Hideyoshi.
*
THE CORRECTOR/AUTHOR/EDITOR:
The editor Ikeda Tooritei [1788-1857] was a Kyoto author who
also wrote guide books to Kyoto. He was also a celebrated
and accomplished calligrapher.
*
ARTIST:
The artist's name is found in the colophon in the lower left
corner, reads Nakamura Yurakusai, a.k.a. Nagahide was his
major "studio name" and he flourished ca. 1804-1848, was an
Osaka-Kyoto Ukiyo-e printmaker. His works are well collected
by world Museums, for more information, see Roberts below.
*
TITLE:
As was common of the time such a famous city as Kyoto needed
no title to inform viewers of the name of this all important
capitol of Japan. The name was later added by
bibliographers, who likely found it inscribed on the covers,
or a paper envelope which most likely originally contained
the map. Bibliographers below have rightly named it. The map
was partially named for the era in which it was published,
being Tempo [1830-1844] per Beans, p.21, supplement A.
See Beans below for more bibliographical information
*
REFERENCES:
ERA: lists this map on p.35, entry 1831.1 as KYO MACHI EZU
HOSOMI TAISEI: DETAILED MAP OF THE CITY OF KYOTO, the artist
was Nakamura Yurakusai, corrected by Ikeda Toritei of Edo,
published by Bunsodo Takehara Kobei, Kyoto, Tempo 2 [1831],
color printed, states size was 104 x 177 cm. It is important
to point out, that Beans only listed items that had a date
written on them. In our example, there is no title, no date,
no censor's seal to indicate a date, so one is led to
believe that the copy Beans inspected had a date. He never
broke his own rule of only listing dated items.
*
NANBA, Matsutaro. ed. et al. OLD MAPS IN JAPAN: illustrates
this exact maps, as a color foldout at the read of the book
and has text on p.220 item, plate #90. He clearly states his
copy to be "newly revised and supplemented in the Tempo Era
by Ikeda Toritei, published by Takehara Kobe, in Kyoto, ca.
1835.
*
CORTAZZI, Hugh. ISLES OF GOLD: ANTIQUE MAPS OF JAPAN: this
exact map is color illustrated as his example #56, on pp.
128-9. Cortazzi mistakenly attributes this work to the
publisher: Takehara, while Namba [see below] correctly
attributes this work to Ikeda Toritei, and was published per
Namba to Takehara Koabe in Kyoto, ca 1835.hara Yoshibei, who
was the publisher
see p.129.
*
ROBERTS, Laurance P. A DICTIONARY OF JAPANESE ARTISTS
PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER: see page
115, lower right column. He also used the "studio name"
Chooshuu among several others including Yurakusai. His
actual name per Roberts was probably Nakamura Aritsune or
Arichika.
*
$1343
A FAMOUS WOODBLOCK ILLUSTRATED CLASSIC OF RIBALD
182 IKKU, Jippensha.
HIZAKURIGE: SHANKS' MARE, OR ON FOOT ON THE TOKAIDO HIGHWAY:
Being a Translation of the Tokaido Volumes of Japan's Great
[Kobe 1929, Chronicle Press]. Red cloth, spine paper label,
411 p., 16 parts in one vol., 9 color wood cuts 25 x 16 cm.,
41 b.w. illustrations, book size: 18 x 25.5 cm., translated
by T. Satchell.
LIMITED EDITON OF 500 NUMBERED COPIES
.
A GREAT CLASSIC OF JAPANESE NON-FICTION
.
.
TRAVEL ON THE TOKAIDO HIGHWAY
***
THE EDITIONS:
.
THE KOBE 1929 EDITION:
.
This early edition includes 9 Chuban color woodcuts after
Hiroshige I of the Tokaido serie, size ca. 25 x 17.5 cm.
Notes, illustrated in full color reproductions of a rare
version of the famous series of woodblock prints by
Hiroshige I, The 53 Stages of the Tokaido. A robustly,
salty, endless joy. Covering the travels along the great
Tokaido Highway from Edo [old Tokyo to Kyoto originally done
in 1802. Great reading! Nicely done.
.
*
THE TUTTLE REPRINT EDITION DETAILS:
.
The Tuttle reprint edition has full title:
SHANKS' MARE Being a translation of the Tokaido volumes of
Hizakurige, Japan's great comic novel of travel & ribaldry
by Ikku Jippensha [1765-1831]. Illustrated with full-color
reproductions of a rare version of the famed series of
woodblock prints "The Fifty-Three Stages of the Tokaido" by
Ando Hiroshige I [1797-1858] & faithfully rendered into
English by Thomas Satchell.
***
A FAMOUS WOODBLOCK ILLUSTRATED CLASSIC OF RIBALD
$224
183 IKKU, Jippensha.
HIZAKURIGE: SHANKS' MARE, OR ON FOOT ON THE TOKAIDO HIGHWAY:
Being a Translation of the Tokaido Volumes of Japan's Great
Rutland [1960], Tuttle. Red cloth, 414p., 55 tipped in color
plates, 47 b.w. photos, end paper maps, very good,translated
by Thomas Satchell, dust jacket, slipcase, 15 x 23 cm.,extra
clean bright copy.
FIRST TUTTLE EDITION
.
A GREAT CLASSIC OF JAPANESE NON-FICTION
.
.
TRAVEL ON THE TOKAIDO HIGHWAY
***
THE EDITIONS:
.
THE KOBE 1929 EDITION:
.
This early edition includes 9 Chuban color woodcuts after
Hiroshige I of the Tokaido serie, size ca. 25 x 17.5 cm.
Notes, illustrated in full color reproductions of a rare
version of the famous series of woodblock prints by
Hiroshige I, The 53 Stages of the Tokaido. A robustly,
salty, endless joy. Covering the travels along the great
Tokaido Highway from Edo [old Tokyo to Kyoto originally done
in 1802. Great reading! Nicely done.
.
*
THE TUTTLE REPRINT EDITION DETAILS:
.
The Tuttle reprint edition has full title:
SHANKS' MARE Being a translation of the Tokaido volumes of
Hizakurige, Japan's great comic novel of travel & ribaldry
by Ikku Jippensha [1765-1831]. Illustrated with full-color
reproductions of a rare version of the famed series of
woodblock prints "The Fifty-Three Stages of the Tokaido" by
Ando Hiroshige I [1797-1858] & faithfully rendered into
English by Thomas Satchell.
***
AN EARLY TREATISE ON ACUPUNCTURE POINTS, TECHNIQUES & MOXA
184 IMAMURA, Ryoan.
SHINKYUU SHISHOH: PRINCIPLES OF ACUPUNCTURE & MOXABUSTION.
Kyoto 1864, Izumo. Stitched buff wrs., very good, 17 x 26 cm
complete in 1 volume, [22+3] double-folded leaves, 37 pages
$20
of woodblock illustrations, woodblock printed on hand-made
mulberry paper, very clean, minor old worming, but solid.
This excellent illustrated resource shows a wide variety of
good views to the human anatomy and where the vital acupunture and moxa "points" are located. Giving details of exact
measurements for locating the "points". Measurement of the
"points" are based on a the 2nd digit of the left middle
finger and called "Issun" and form the basis for all other
measurements per the book. The spinal column, head & facial
"points," hand, arm, rib cage, neck, foot, leg, thigh, fingers, shoulder, low back & hip areas are carefully illustrated & addressed with all "points" noted, along with what ailments are relieved by treatment. This work was influenced
by its Chinese physicians and is written in Kambun a form
of old Chinese used by the Japanese, with Furigana sounds
to give meaning for Japanese readers. A useful reference and
text for Japanese physicians and students of acupuncture and
moxa [artemisia vulgaris latifolia]. Moxa was also dampened
then formed on the end of needles already inserted in the
body. Then when dried, were lit to provide additional heat
and stimulus to the "point" for maximum results. Moxa was
also burned in small lumps on various parts on the body to
stimulate "points" & on occasion was burned after placing a
small slab of garlic on the body on the "point," then applying the moxa above that. Imamura [1814-1890] was a clebrated
physician & medical author, and is cited in Mestler on pages
169 & 297 and also lists his other titles. For additional &
useful discussion of this topic, see G. Mestler: A GALAXY OF
OLD MEDICAL BOOKS IN JAPAN, pp.468-480 et al. The first published writing on moxa was written T. Watare: KWANREI SOKYU
SHINSHO SHINSHO in 1534, and layed down the basis for all
future works on the subject. Scans can be sent by email.
EXCEPTIONALLY FASCINATING WORK WITH SEVERAL TITLES & PLATES
185 IMAYOH HYAKUNIN ISSHU AZUMA NISHIKI.
IMAYOH HYAKUNIN ISSHU AZUMA NISHIKI: MODERN BROCADE PICTURES
OF POEMS FROM A HUNDRED POETS IN EASTERN JAPAN.
[Nagoya, n.d. ca.1840-50, Eirakuya].Stitched color pictorial
covers, large size 18 x 25.5 cm. by 5 cm. thick, 6 color,
pagination: 22+20+50+50+3 of double-leaved pages, profuse bw
woodcut illustrated, Japanese text, small stains to leading,
top & upper edges of spine, does not affect text or
illustrations.
*
CONDITION:
Covers are color woodblock printed, with a red cloth label
$2108
in Kanji with Furigana sounds written, usual minor edge
wear, but is solidly sewn and bound. The above mentioned
stains are a pale indigo blue, but do not encroach into much
of the text nor illustrations. By and large a fairly good
copy of an obscure title.
*
THE CONTENTS:
The first section consists of six Nishiki-e, or "Brocade
Pictures" in full color. These are actually a two panel
prints that equal one art work on facing pages. The first
shows a woman holding a bamboo broom, with a crane in the
background and water with small sail boats. She is
accompanied on the left side with a man holding a bamboo
rake, these are symbols of the New Year season and good
luck. At the foreground in front of the man is a turtle with
a long tail, the "Longevity Turtle."
*
The next two pages show five Japanese women dressed in
elaborate Kimono, painting pictures.
*
The last two pages show women playing the game of "Go," on
the left panel, and a girl on the right side reads here
music from a book and plays the Koto [Japanese harp]. They
are also dressed in elaborate Kimono, the season is spring
with a cherry tree in full bloom.
*
The next section shows the pages divided into thirds, the
upper third shows elaborate Origami folding for New Years
decorations, the central or illustrated portion shows groups
of women celebrating the seasons, while the lower portion is
the text, which consists of some 19 pages. This contains
some classic stories, pictures of poem writing and court
figures in their royal attire.
*
Next section is varied, showing a group of "Jizo" or
Buddhist icons in stone, with their appropriate I-Ching
characters, at the bottom. The center shows a story about a
famous woman poet, while the upper third shows a different
story about court poets.
*
The next pagination beginning at page one through fifty is
the classic Imayoh Hyakunin Isshu Azuma story of poets and
their poems. The pages are divided into two sections the
top one-third shows the graphic part of the story with some
detailed texts, while the lower two-thirds show the text.
From the third page, the lower section also contains stately
court figures in their formal court attire, nicely
interspersed with the lovely calligraphic text. This is done
in the typical 17th century drawing style of the classic
artists of the period. Through page 50, this part of the
work shows an illustration on each page in the lower
two-thirds of the work. From page 14, the upper section
shows some part of the TALE OF GENJI story, with the usual
I-Ching characters and the matching text. The TALE OF GENJI
was the first novel ever written by a woman, so it remains
the "First" in history, written by Lady Murasaki Shikibu.
Please inquire with us for other copies of the TALE OF
GENJI.
*
Essentially the book consists of several titles, all
concerning poems, famous poets and the common thread that
binds all, the Buddhist theme. The work is profusely
illustrated in black and white throughout. We would estimate
well over one-hundred illustrations in all, plus the six
frontispieces in full color.
*
THE POETS:
This work covers the work of Jite Tenno, Kakinomotono
Hiromaro, Yamabeno Akahito, Onono Komachi, Tenji Tenno and
other exceptionally famous Emperors and other female poets.
*
CONDITION:
The original covers are color woodblock printed, with a red
cloth label in both Kanji with Furigana sounds written,
usual minor edge wear, but is solidly sewn and bound. The
above mentioned stains are a pale indigo blue, but do not
encroach into much of the text nor illustrations. By and
large a fairly good copy of an obscure title.
***
BIBLIOGRAPHY:
Not in:
a. K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE
ILLUSTRATED BOOKS.
*
b. H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS
IN PUBLIC COLLECTIONS IN THR NETHERLANDS
*
Kokkatoshokan.
*
$2091
186 INGA, doshi.
MIYAKO HANJO KI: SKETCHES OF KYOTO LIFE.
[Kyoto 1827, Rankei Doh]. Blue stitched wrs., very good, 30
double folded leaves [ie 60p.], very clean copy, no worming,
entirely hand woodblock printed on handmade Masa paper, no
illustrations, 15.5 x 22 cm.
A most unusual text, addresses the great prosperity of the
old capital city of Kyoto. Written in Kambun, with Furigana.
A HAND-COLORED COPPER ETCHED JAPANESE WORLD MAP
187 ISHIDA, Sai.
KAI CHUU BANKOKU YOOCHI SAI ZENZU: COMPLETE POCKET MAP
OF THE WORLD.
$102
Tokyo 1872, Murakami. Yellow paper covers, very good, a few
minor old worm holes, 48.5 x 36 cm., very crisp, handsome
compass, key, Japanese text, folds down to 6 x 12 cm., handcolored gouache.
SCARCE
A handsome map, delicately hand colored in pastels, title
& Japan done in red. A detailed map of the world, showing
each continent, oceans, cities, geographical features: roads
mountains,rivers, large Antarctic area, latitude & longitude
longitude given. Suitable for framing and display in any
library.
*
A MOST BEAUTIFULLY COLOR WOODBLOCK ILLUSTRATED WORK
188 IWASAKI, Tsunemasa.
HONZO ZUFU: ILLUSTRATED HERBAL, MANUAL OF MEDICINAL PLANTS:
Fungi. A Six-Volume Set of Color Mushrooms of All Varieties.
[Kyoto 1920, n.p.]. Stitched wrs., very good, 6 volume set,
double folded leaves, in folding slipcase, [196]p. profusely
illustrations by color woodcuts, descriptions of species,
Japanese text, Japanese-Latin index in each volume. R A R E
The illustrations are executed with fine line, vivid color,
& some Gauffrage, showing many species of mushrooms & other
fungi. Originally compiled in 1828 & first printed in 1884,
due to its popularity in the scientific world, both in Japan
& abroad, it was reprinted in 1920.
*
Each volume of the 1920 edition has supplementary pages by
M. Shirai and K. Onuma, giving the Latin names. A most
stunning and wonderful group of color woodblock printed
examples of fungi and mushrooms found in Japan, basically a
mushroom dictionary. Stunningly and beautifully color
illustrated by the celebrated Takemoto Sekite. A most famous
mycological reference, seldom found on the market and
always OBSCURE ! Complete monograph in six uniformly bound
volumes.
*
Books of this nature with the wonderful colour woodcut
illustrations are always RARE. Because they are printed on
woodblocks, only a very limited number of copies [ca. 200]
were possible due to blocks warping.
****
BIBLIOGRAPHY:
Bretschneider p.100.
*
H. Bartlett: JAPANESE BOTANY DURING THE PERIOD OF WOOD-BLOCK
PRINTING, p.135-7, exhibit #23 + figure 19. Bartlett has
$1263
rightfully recognized the true RARITY of this most excellent
Japanese illustrated history of botany. He states:
"...odd volumes only are available ...even odd volumes are
excessively rare...there was a complete printed edition in
1921 in 93 volumes, with two additional volumes of index by
the historian of Japanese science, Shirai... a pioneer
floristic work showing European influence and final
post-Meiji transition to Latin nomenclature and Western
format..."
*
Merrill and Walker: BIBLIOGRAPHY OF EAST ASIATIC BOTANY,
1938.
***
A MOST OBSCURE ILLUSTRATED RESOURCE ON CH'AN TEAISM
189 IWATA, Kahei.
HIGASHI YAMA CHA KAI ZU ROKU: TEA ASSOCIATION OF THE EASTERN
MOUNTAINS. [A Treatise on Chinese & Japanese Tea-Ceremony]
Kyoto 1908, Shu Chiku Do. Brown stitched wrappers, 4 volume
set, complete, double-page leaves: 29+27+27+31, 39 double
page illustrations, each sealed by the artist's chop in cinnabar, bound Chinese style, 11.5 x 19.5 cm., a bright copy.
A most lovely Japanese reprint of what is clearly a Chinese
text. The work is bound with silk thread, in the typical double hole-stitching technique found only in Chinese books,
corners protected with blue silk cloth. A most lovely work !
An anthology of writings and paintings by members of the Association. This charming set covers the aesthetics & methods
of how to establish the exterior and interior of a proper
tea-room [Cha-shitus]. Great attention is devoted to the interior and its design, the kind of alcove [Tokunoma], the
objects to be displayed include ancient Chinese bronze and
ceramic vessels, the selection and admiration of hanging scrolls, tea pot, warmer and cups, flower-arrangements, furniture, incense & incense burners, delicacies to eat, exterior
views of the tea-room. Volume one begins with the location
of The Tea Association of the Eastern Mountains nestled in
the vicinity of a Buddhist monastery and an offering to the
Gods upon establishment of the new tea-room, interior views.
Volume two: interior views, garden tea-ceremony, scroll appreciation and viewing. Volume 3: interior views, how to arrange the tea-room, vistas to the tea garden, vertical and
horizontol scroll viewing & arrangement. Volume 4: overview
of the Buddhist temple and monastery area, ancient bronze
vessels, interiors: Tokunoma decoration, tea garden view,
interior using scholar's rocks, sculpture, tea flower arran-
$4080
gements, garden entrance, outdoor tea-party. An exceptionally obscure & delightful resource. Ch'an or Chinese Zen Buddhism is the discipline that started the tea-ceremony in
ancient China. The Japanese during their period of borrowing
from the Asian mainland saw the importation of a multitude
of Chinese & Korean arts. Buddhism was the main vehicle that
brought in an uncountable amount of religious, cultural and
artistic traditions. The tea-ceremony was imported in conjunction with its austere aesthetics, tea-room architecture,
ceramics, appreciation and worship of ancient objects, art
art works, paintings, gardens and scholar's items. Charming
illustrations grace these pages, each done by a member of
the association, along with his calligraphy, signature and
red cinnabar chops [seals], most also have put their age.
The majority were in their seventies or even older. A fine
reference for any serious student of tea, tea-ceremony and
scholar's items. A truly wonderful and obscure illustrated
work. Very few surviving Chinese tea-ceremony books remain
from earlier periods. Conained in a new indigo-blue Chitsu
folding box, with clasps.
$2720
JAPAN GETS ITS FIRST VIEW OF GEORGE WASHINGTONS'S AMERICA
190 IYATAKA, Suzuki.
AMERIKA WASHINTON GUNKI: Wars fought by [George] Washington
of America.
[N.p.] 1866, Yamato-ya. Yellow/blue stitched wrappers,6 vol.
vol set, very good, woodblock printed by hand on handmade
paper, two maps, 1 folding colour outline, Japanese text.
This is a Japanese translation of George Washington's "War
Diary." Outlinging Washingtons fight against the Britith for
independence of America. Books of this subject in Japanese
of this period are very scarce. It showed the Japanese how
America came into existence, how and why Washington led the
colonists to triumph over the British colonials.
R A R E
$1360
191 JAPAN UKIYO-E SOCIETY.
UKIYO-E ART. Individual Journal Numbers.
Tokyo 1964.J.U.S. No. 7. Stiff wrs., very good, 26p., with a
rticle by Suzuki Juzo:AN ANALYTICAL STUDY OF UTAMARO'S ILLUSTRATED BOOKS, 37 b.w. photos, Japanese text.
This journal was under the directorship of Muneshige Narazaki, edited by Shigeo Miyao, international editoral staff
were J. Hillier, R. Paine, H. Stern, T. Volker, Dr. S. Takahashi president, C. Mitchell international editorial secretary et al. With fine and scholarly articles by leading exponents on all aspects of Ukiyo-e prints & E-hon [illustrated
books] of the Edo & other periods. A useful reference tool
for any collector or student. Good adverts are also part of
this journal giving a variety of dealers & publishers. Also
has news, book reviews, timely articles and controversial
subjects addressed.
$31
A STUNNING SUITE OF 24 EROTIC COLOR WOODCUT MINIATURE PRINTS
192 JAPANESE EROTIC WOODCUT ALBUM.
EROTIC MINIATURE WOODCUT ALBUM WITH TWENTY-FOUR POLYCHROME
PRINTS FROM THE 19TH CENTURY.
[Japan n.d. ca.1830-1880'S]. Green brocade silk covers, all
edges gilt, accordion folded, very clean, bright copy small
nick to bottom edge, else excellent, contents bright, clean,
24 color woodcut erotic prints, ca. 12.5 x 9.3 cm., Chitsu.
BY AND LARGE A MOST SUPERB EXAMPLE OF JAPANESE EROTIC ART
.
CONTENTS
The album contains two miniature polychrome woodcut print
series. Each print is well executed with excellent registry
and color, care was taken to print them with the utmost
quality and attention. This is not one of those quickly
produced items lacking quality or refinement. Each print and
series is a miniature work of erotic Ukiyo-e art.
*
The first series of prints are located on the verso or front
pages of the album and consist of twelve prints. They show
people from Edo period [1604-1868] and clearly from about
1840'S or so. Their hair style and Kimono fashion are of
those times. The are done in the colors from that period,
and appear to have oxidation commensurate with about 140
years or so ago, that would put their printing date at
around 1868. in the Meiji era. There is very little
background text at all, but there are cartouches in several.
Each print is clean and in excellent condition, flawless.
*
The second series found on the recto or back side of the
album and consists of twelve prints in all. The first three
have a most unique and stunning silver background, six with
beige, and 3 with indigo or "Aizuri" backgrounds. Each print
is uniform within a circular cartouche for the most part,
and each print is exceptionally clean, without flaw.
*
They reflect people of the late Edo or early Meiji
[1868-1912] period, printed about 1869-1870's. Number 2
shows a man with a huge phallus, his hand caressing her
vagina. No. 3 shows the couple fully engaged in love making,
she on top. No. 4 shows the man on top while she locks her
arms around him in an erotic embrace. No. 5 is fascinating
and rare. It shows a silken cord tied around his penis and
she holds the cord so she can control its action. This sort
of sexual "toy" is rarely shown in Japanese prints. No. 6
shows what appears to be a male Buddhist priest he is fully
engaged in licking her vulva as she consumes his penis.
*
COMMENTARIES:
It begins with a couple about to make love, he licks two
fingers in readiness to insert his huge penis into her
vulva, she says "Its embarrassing to become like this.." He
says "Why ? I am entering...." She covers her mouth with
here Kimono sleeve in shyness. She says: "Ready to put it in
[her mouth] glug, glug..." He says "Its coming out to no end
[of joy]." Numbers 7-12 show couples engaged in love-making
again all with fascinating and very legible
comments...."Hayaku soko...iku....["Hurry right there, I'm
coming" and the like.
There is lots of Chirishi [toilet
paper strewn around, indicating lots of love-making and love
juices freely flowing. This is a common symbol and theme
found in erotic Japanese prints.
*
RARITY:
The work is RARE ! During our tenure of over forty years, we
have seldom found such a lovely collection in complete and
marvelous condition. There are a number of very unique and
unusual views found in this remarkable erotic album.
series. The work was clearly kept in the best of condition
by some meticulous Japanese collector. Because the album
consists of two distinct groups of similar period prints, we
can only assume it to be the property of a discreet
collector from that period. The album matches that period of
old silk and paper.
*
THE GENRE OF JAPANESE EROTICA:
This kind of book was banned from being published by the
Tokugawa, Meiji and Taisho governments. Erotic woodblock
prints and Shumpon [erotic woodcut books] were drawn,
carved, printed and published "underground." People took
their chances when doing this sort of work and the
punishment was imprisonment and severe. All publishers had
to submit their proposed publications to the government for
the Kiwame or censor's seal of approval, which was then
carved into the block as visual proof of sanction. The fact
is that all Japanese erotic works completely lack official
approval. Given this fact, it is not surprising that the
artists never signed their real name, but commonly didn't
sign at all. If ever signed it was always some ironic or
cynical "studio name" was used, adding to the excitement of
the contents. Regardless of any lack of meaningful
signature, for most art historians and students of Japanese
woodblock art, it is not that difficult to make an "educated
guess" as to the actual artist's name by stylistic analysis.
Usually this was a giveaway !
Many famous Ukiyo-e artists disliked being controlled by the
government so they continued to produce erotic drawings for
publication regardless of the law as a means to supplement
their meager income. One can also assume the subject sold
well and made all concerned extra and easy money !
*
CONDITION/BINDING:
The album is contained in an indigo-blue Chitsu or cloth
folding case with ivory clasps, blank cover title slip, and
there is some old fading to the Chitsu cloth. The overall
size is 18 x 23.5 cm.
*
The green brocade-silk covered album is stunningly clean
and bright. There is a small nick to the lower edge, its
minor and does not encroach into the pages. The paper of the
album are very heavy, bright, clean and white, with no
foxing whatsoever. The 24 miniature woodcut prints are held
in place by black paper mounting corners so they can be
removed at will and are not laid down, Each print is
exceptionally clean and bright, excellent color and
registry. A couple have been mended in the past to restore a
few tiny old worm holes, now solid, these are of minimal
impact and barely noticeable. As is our habit, we are being
over critical.
***
SUPERB SET OF HAND-DRAWN COLOR FISH, FLOWERS AND BIRDS
193 JAPANESE NATURAL HISTORY HAND-PAINT 3 VOLUME SET.
a. KAI SEN GYO RUI HYAKUSHU: COLLECTION OF ONE HUNDRED RIVER
.
AND SEA FISH.
Japan n.d. ca.1840-50. Tan stiff stitched wrs., very good,
bright set of 3 volumes, hand-painted, each page with a full
page color painted illustrations of a named flower, bird and
fish, 18 x 25 cm. ORIGINAL HAND-PAINTED ART BOOKS.
OBSCURE
This is a lovely set of books, beautifully and skillfully
hand-drawn and painted in full color.
An unusual set of Japanese natural history color drawings.
The titles of the three volume set are:
1. KAI SEN GYO RUI HYAKUSHU: COLLECTION OF ONE HUNDRED
.
FISHES FROM RIVER AND SEA.
.
2. SO KA HYAKUSHU: COLLECTION OF ONE HUNDRED FLOWERS AND
.
GRASSES.
.
3. CHO KEI RUI HYAKUSHU: COLLECTION OF ONE HUNDRED BIRDS.
***
CONTENTS:
Each volume contains 25 double-folded leaves with paintings
$2910
on both sides, for a total of 50 color paintings per volume,
150 in all.
*
TITLE:
While the Japanese title reflects the common usage of the
word "Hyaku" [One Hundred] this was not meant to be take
literally, but rather to indicate a "large number" of
painting examples. Many Japanese books use this often.
*
UNIFORM SET:
Each volume is uniformly bound with the same covers and same
paper pages, in the same size.
*
CONDITION:
There are no major "condition" issues. Each volume is fairly
clean, there is some minor soil or dustiness to the white
paper title slips. A minor bit of wear to the exterior edges
of the covers. By and large quite nice. The contents are
essentially without flaw, no worming or stains. Two inside
end papers have wrinkles but are mostly flat now.
********
UNSIGNED ARTIST'S WORK
These books were not signed by the artist anywhere. The
title labels are written in both Japanese and English. The
volume on birds has a tiny bird drawing on the label, and
the volume on flowers has a small cherry blossom sketch in
pink, the volume on fish has no drawing on its label. Each
drawing page has the Katakana Japanese name written in
either the upper right or left margin.
***
LATE EDO PERIOD PAINTING
A lovely example of late Edo period meticulous art work, not
a "copy book" nor a "sample book" commonly done by students
of Japanese painting, but obviously executed by a very
skilled and experienced hand. The work has faithfully
recorded for posterity what the artist perceived as his
world of flowers, grass, fish and birds.
***********
A PILLOW BOOK WITH 17 LOVELY EROTIC VIEWS FOR NEWLYWEDS
$2501
194 [JIN, TAKU SAN-JIN]. [preface by].
HANA NO SATO: THE YOSHIWARA or TOWN OF PROSTITUTION.
[A Pillow Book for Japanese With One Rare Print of a
N.p. ca 1870, n.p. Blue cloth covers,accordion folded, title
slip, all edge silver gilt, 11 x 15.5 cm., covers bit faded,
contents clean, 17 color erotic woodcut illustrations, a
miniature album, complete as issued.
AN OBSCURE EDITION
This like other erotic albums of the time were not
sanctioned by the Shogun, nor were they authorized for
publication with the "censor's seal." These books were
printed and published secretly, issued in small numbers
and either sold or distributed discreetly.
*
"Shun-pon" or erotic books were used as gifts to couples on
their wedding night, commonly called "Pillow Books" or
"Makura Zoshiki." A euphuism for licentious books enjoyed
across all spectrum of Japanese society, commonly bought,
sold or traded on the "black" market. Because they were
officially "banned" by the Shogunate, artists, wood block
carvers and printers risked severe punishment if caught,
these books were driven "underground" but nevertheless
thrived during the Edo and Meiji periods, right down to the
Taisho and Showa times.
*
The preface was written by Jin Taku San-jin, and is undated.
The author's and writers of the text were often famous
artists or poets who assumed "studio" names of a political
nature to openly challenge and taunt the Shogunate.
*
This example consists of twelve double-page color
illustrations 22 x 15.5 cm. and five single page color
erotic images which are ca. 9.5 x 13 cm. The subjects are:
Title page
illustration number:
** Double-page illustrations:
1. Couple under the Futon engaged in love-making.
2. Couple love-making partially unclothed.
3. Couple about to make love, the man licks his fingers to
wet the vulva, she spread her legs exposing her genitals
in readiness.
4. Couple making love he is nearly nude.
5. Couple after making love, she is before the mirror
grooming herself, nude from the hips up, exposing her
vulva.
6. Couple fully engaged in making love on a mat, with lots
of Chirishi" [a kind of toilet paper] spread about, as
evidence of ample love juices.
7. Couple making love, she is on top in an unusual position.
8. Couple making love from the rear.
9. Couple making love while she rests on the Goh board.
10. Couple making love he mounts her from the top.
11. Couple engaged in love making, he inserts his penis, she
clings to him.
12. Newlyweds engaged in love-making, she wears the typical
bride's veil.
** Begin single-page smaller illustrations:
12. Typical Meiji period man with moustache masturbating his
lover, his huge penis at the ready as she caresses it.
13. Older couple making love from the rear.
14. Couple enjoying the pleasures of fondling her vulva, his
huge penis at the ready.
15. A sleeping woman nearly nude under the mosquito net is
being visited by her lover.
16. A couple prepared to engage in love-making, both are
red-faced and ready to start, with their genitals
exposed.
17. RARE print of a foreigner engaged in making love with a
Japanese woman, the surrounding text states: "Anata wo
suki...saa watashi mo iki soo...." [I love you, I am
ready to have orgasm." The foreigner's words are stated
in Japanese: " Watakushi mo oikimasu" meaning "I am
also ready to have orgasm."
*
WHY IS THIS EROTIC ALBUM DIFFERENT FROM MOST OTHERS ?
What makes this album exceptionally unusual and RARE is the
Romanized and Katana characters used for the "Seiyo jin" or
Westerner's words. That is to say, either the foreigner
could speak Japanese, or the author elected to simply use
Japanese to indicate the foreigner's willingness to enjoy
the pleasures of a Japanese woman and learned enough
Japanese to indicate his eagerness to concert with a
Japanese woman. In any case being written in Katakana also
indicates these are foreign words, or at least Japanese
words spoken by a foreigner which accents the whole print.
All Japanese could understand the dialogue, and surely some
foreigners could learn the words and sentence essential to a
successful night out on the town with Japanese prostitutes
in the Yoshiwara. The foreigner's Japanese is expressed in
quite a polite form, indicating at least he has learned
proper Japanese during his sojourn in Japan.
*
This is one of the rarest of all erotic prints of the Meiji
period, actually showing a Westerner engaging in sexual
pleasures with a Japanese woman. The woman wears a typical
high-neck Victorian dress, and still has on one sock. Her
coiffeur is Japanese and she has simply pulled up her dress,
revealing a red undergarment, suggestive of an "erotic
nature." The illustration is replete with foreign curtains
and they both lay on a foreign soft. Clearly the message was
that some houses of prostitution were well outfitted with
Western settings to give an extra level of "comfort" to
foreigners. Few if many exist showing foreigners in the
Yoshiwara with Japanese women.
*
The work is a typical "pillow book" but with the addition of
five other erotic prints, including the exceptionally RARE
print of a foreigner. While the occurrence of foreigners and
Japanese women making love were common-place in the mid-late
19th century Japan, woodblock color prints illustrating and
documenting this pleasure are clearly obscure and scarce,
few if any exist.
*
"Chirishi" was a kind of hand-made Washi paper tissue
commonly used in the toilet. It's presence in the bedroom as
depicted in erotic prints indicate a profusion of
love-making when thrown about the bedroom indicated evidence
of love juices. Its presence is both symbolic and practical.
*
Each erotic print commonly had a dialogue of the exchanges
between the man and woman, erotic words and sentences to
encourage or compliment the other, filled the backgrounds of
most prints. This album contains a large number of these
dialogues and are quite readable if not memorable, telling
him "what a large penis" he has, while he tells her what a
"strong vagina she has" &c...
*
The Japanese were extremely "natural" and open about
love-making, there was little stigma as found in Western
countries during the same period. Therefore the genre of
erotic books were less carnal and more concerned with the
natural aspect of love-making in an openly erotic manner.
Their healthy if not erotic aptitudes were the norm and
acceptable throughout all of Japanese society until the end
of World War II, when prostitution was still acceptable, but
continued under the guise of not being officially
sanctioned.
*
CONDITION:
The work is remarkably clean internally, with some minor
repair to the hinges, covers are mildly sunned.
*
The size of the album is important. That is to say, it was
small, discreet and of the size that could be easily kept in
the Kimono sleeve and carried to a waiting lover's room.
*
THE MOST VALUABLE STANDARD JAPANEWE REFERENCE SOURCE !
195 JOLY, Henri L.
$2040
LEGEND IN JAPANESE ART: Description of Historical Episodes
Legendary Characters, Folk-Lore Myths, Religious Symbolism,
London 1908, Lane. Red decorated cloth, 16 color, 700 b.w.
plates, bibliography, Japanese character index,all edge gilt
clean & solid copy, gold stamped titles. RARE FIRST EDITION
A detailed iconography, one of the first ever compiled on
Japan and still considered the best reference work. Devoted
to explanations of decorations on Netsuke, Inro, Tsuba and
other sword furniture, sculpture, prints, illustrated books,
paintings, etc. Illustrates pieces from the Behrens, Trower,
Gilbertson, Saltarel, Kawada, Brockhaus, Tomkinson, Collie,
Hawkshaw, Naunton and Victoria & Albert Collections, et al.
An indispensable reference work for collectors and students.
H. Joly died during the 1920's and was probably the greatest
European authority on Japanese sword mounts of his time.
*
By and large one of the most important Japanese art reference books of the 20th century.
$600
196 JOLY, Henri L.
London [1908], Kegan. New red cloth, 700 b.w. plates & illustrations, bibliography, Japanese index, very good, 16 color
plates in facsimile, a bit of pencil marginalia, very solid
as is.
FIRST EDITION
*
$600
197 JOLY, Henri L.
London [1908], Kegan. Red cloth, 16 color, 700 b.w. plates &
illustrations, bibliography, Japanese index, very good, new
cloth, original covers layed down, all edge gilt, minor
corner wear, else a clean solid copy.
FIRST EDITION
*
198 JOLY, Henri L.
London [1908], Kegan. Red cloth, 16 color, 700 b.w. plates &
illustrations, bibliography, Japanese index, very good, 2
vol. set, rebound in 2 parts, preserving the original front
covers, all edge gilt, else clean solid.
FIRST EDITION
$570
*
$570
199 JOLY, Henri L.
London 1908, Lane. Red decorated cloth, 16 color, 700 b.w.
plates, bibliography, Japanese character index,all edge gilt
clean solid copy.
FIRST EDITION
*
$570
200 JOLY, Henri L.
Rutland [1967], Tuttle. Red cloth, 16 color, 700 b.w. plates
& illustrations, bibliography, Japanese index,very good, dj.
large size, thick volume 21 x 29 cm., very clean solid copy.
FIRST REPRINT OF TE 1908 EDITION
*
$126
201 JOLY, Henri L.
Rutland [1979], Tuttle. Orange cloth, 16 color, 700 b.w.
plates & illustrations, bibliography, Japanese index, dj.,
very good, large size, thick volume 21 x 29 cm., clean solid
copy.
FIRST REPRINT OF THE 1908 EDITION
*
$65
SCHOLARLY ESSAYS ON SHUNGA & THE EROTIC THEME IN E-HON
202 JONES, Sumie. ed.
IMAGING READING EROS: Proceedings For The Conference,
Sexuality and Edo Culture, 1750-1850, Indiana University,
Bloomington [1996], Indiana Univ. Pink stiff wrs.,a new copy
unused, 21.3 x 27.3 cm., many b. w erotic illustrations, 29
essays, 161p.
FIRST & ONLY OBSCURE EDITION
***
***
***
.
.
This is the printed results of the:
PROCEEDINGS FOR THE CONFERENCE, SEXUALITY AND EDO CULTURE,
1750-1850 INDIAN UNIVERISTY,M BLOOMINGTON AUGUTS 17-20,
1995.
.
Below follows a brief list of the lectures and their
divisions in the contents. culture, features the keynote
lecture followed by articles. See scans of the contents
posted to our website for full list and details of all
essays and authors.
.
KEY NOTE LECTURE:
Introductory essay:
SEX, ART, AND EDO CULTURE: AN INTRODUCTION by Sumie Jones.
.
*
1. POSITIONING SHUNGA HISTORICALLY
With three essays.
.
2. EROS OF CONSUMERISM:
With four essays.
.
3. OTHERNESS WITHIN AND WITHOUT;
With four essays.
.
4. THE PLACE OFLOVE
With four essays.
.
5. CONFIGURATIONS OF GENDER:
With four essays.
.
6. THE RHYTHM AND PLAY OF FLESH AND WORDS:
With four essays.
.
7. DESIRE FOR NARRATIVE IN STORIES AND PICTURES:
With four essays.
*
With notes on the contributors: identification and brief
biography of the authors, scholars, curators
***
A RARE AND STUNNINGLY EARLY BEAUTIFUL BUDDHIST PRINT
203 [JORURI-JI TEMPLE.]
AMIDA NYORAI HYAKU BUTSUZOU: ONE HUNDRED IMAGES OF AMIDA
NYORAI: ONE HUNDRED IMAGES OF AMIDA NYORAI.
[Nara ca. 1100 A.D., Joruri-ji Tempe]. A Single sheet 33.3 x
46.8 cm. [backing size], rebacked on hand-made Washi paper,
print sheet size: 32.8 . x 45.6 cm., hand-printed woodblocks
on thin mulberry Washi paper, stunning work!
S C A R C E
THIS AN EXCEPTIONALLY RARE AND EARLY WOODBLOCK PRINT
*
"Although printing had been practiced in Japan as early as
the eighth century, the stamping or block printing of large
numbers of Buddhist images did not gain prominence until the
last half of the Heian period. The reception of images was
believed to be an effective method of accumulating religious
merit, and this stimulated the production of Buddhist
prints-often rather crudely made-in vast numbers. The blocks
or stamps most commonly used contained anywhere from a
single image up to a dozen identical units; large full-sheet
blocks, such as this one, seemed to have been used less
frequently." [quoted from Rosenfield, see below]
***
DETAILS OF OUR ITEM:
Our item is printed on high fiber Washi paper, quite bright
and still retaining its natural fiber color. There is some
loss to the lower margin but very little loss to the
printing. The upper left corner is gone and with it five
images are gone. There is a minor bit of left margin loss
but very little printing loss. The right margin is
excellent. The print was acquired from the late Richard C.
Rudolph of U.C.L.A., who had cut the print in half
horizontally. The two parts are now back together and has
been professionally rebacked on Washi paper, there is no
loss where they are rejoined. The hand-made Washi paper on
the right and left edges are a bit thicker than the rest of
the paper, perhaps there was an effort on the part of the
paper-maker to give strength to these edges. Our example is
exceptional when compared to other known copies.
*
ILLUSTRATED IN ISHIDA:
This excellent example illustrated in Ishida is owned by
$90
Joruri-ji Temple and has only 81 of 100 images, there was
loss to the margins. [see reference below]
***
PRINTING AS A DAILY DEVOTION:
Ishida points out on p.30-31, discussing the Heian practice
of worshipers printing a number of Buddhist images each day
or month to fulfill a religious vow. Printing these images
gave merit and virtue to the printer, thereby increasing
their position in the Buddhist Sangha [community]. Temples
encouraged the Sangha to print images as that aided in
soliciting donations. "Donors were allowed to pay for the
printing of Buddhist images to be placed inside of statues.
This served the purpose of temple finance in much the same
way as printed appeals for contributions. The images were
never distributed to the people but were instead stored away
in sculpted images." It seems little has changed in a
thousand years, as Buddhist priests still seem to offer
prints to donors even today. It is believed that the prints
were discovered in the 1960's and given to donors who gave
substantial sums of money for temple restoration.
.
Every morning as part of a daily regimen, women of the
Imperial court would print Buddhist images using woodblocks
on sheets of thin mulberry Washi paper as religious
observance, much like saying prayers every morning. After an
appropriate number of pages were printed, the sheets were
rolled and tied in bundles and then inserted into the hollow
interior of sculptures.
*
WOODBLOCK PRINTING TECHNIQUE:
This print was printed from a single woodblock containing
ten images in a row, with ten rows in all yielding some 100
images on a single sheet. See Baskett p.30 for additional
details. Rosenfield supports the idea of a single block
with 100 images carved on it. There is ample evidence to
support both Ishida and Baskett's idea that the print was
done by use of a single block containing 100 images stamped
on a single sheet of Mulberry paper.
*
RARITY:
The print is exceptionally RARE !
Only a few examples have been cited, published or
illustrated. Apparently this image only came to light in the
1960's and very few came to public view, those few that were
given to patrons eluded the usual scholars and their
publications. It was not uncommon for patrons of Buddhist
temples in Japan to covet and hold their gifts from the
temple for several reasons. Namely, the need and desire to
remain unknown to the general public for their donations,
which were done for the right reasons, avoiding any public
acknowledgement. Secondly, there are moral questions
vis-�-vis accepting "compensation/gifts" from monks for
donations. Above all, donors do not like others to know
their private business and so the prints given in
acknowledgement by monks commonly remains a private matter.
*
A QUOTE FROM JOHN ROSENFIELD:
Per Rosenfield: "The Main Hall [Hondo] of Joruri-ji, a
temple situated in the low mountains east of Nara, houses a
notable group of nine statues of Buddha Amida. During
restoration on the central image of this group some years
ago, many sheets of woodblock prints, among the one shown
here, were discovered inside the statue. The pages were
printed with rows of small Amida figures, each seated in
mediation. In this example one hundred images printed from a
single block of wood are arranged in ten horizontal rows.
*
The example illustrated in Rosenfield shows some loss to the
lower corner.
***
CONDITION:
The print was kept relatively safe inside a sculpture of
Amida Buddha for some 900 years. During that time natural
attrition rate to bugs or moisture has taken a toll on this
kind of print. It is therefore natural to see some loss and
other minor defects.
***
BIBLIOGRAPHY:
*
Rosenfield, John: JAPANESE ARTS OF THE HEIAN PERIOD:
794-1185: pages 74, illustration no. 29, text page 117.
*
Ishida, Mosaku et al: NIHON HANGA BIJUTSU ZENSHU, vol. I,
plates 44, 45.
*
Ishida, Mosaku et al., English adaptation by Charles Terry:
JAPANESE BUDDHIST PRINTS: pages 13-14, 19-23, 29-31,
illustrated on p. 102 as number 39.
*
BASKET, Mary: FOOTPRINTS OF THE BUDDHA: Japanese Buddhist
Prints from American and Japanese Collections.
*
MUSEE CERNUSCHI: ESTAMPS BOUDDHIQUES JAPONAISES: XIIe-XVIIIe
Siecles: Les Precurseurs de l'Ukiyo-e. See item 81;
introduction by Kikutake Junichi.
*
Tokuriki, Tomikichiro; TOYO KO HANGA [ORIENT OLDEST
WOODBLOCK PRINTS FROM THE TOMIKICHIRO TOKURIKI COLLECTION].
Tokyo 1978.
*
Nara National Museum. TOKUBETSU TENRAN BUKKYO HANGA: SPECIAL
EXHITIBION OF BUDDHIST WOODBLOCK PRINTS. July-August 1972.
*
AN EARLY GRAPHIC WORK ON JAPANESE CHILDBIRTH AND GYNECOLOGY
204 KAGAWA, Genteki [Genetsu].
SAN RON YOKU: BOOK OF OBSTETRICS, GYNECOLOGY & CHILDBIRTH.
Edo 1775, Suwahara. Brown stitched stiff wrs., very good, 2
$6205
vol. set complete, 32 illustrations, text: 11+2; 4+33 double
folded leaves, very clean,a bit of old minor worming to vol.
1,no major consequence,vol. 2 clean, 18 x 26 cm.,new Chitsu.
GORDON E. MESTLER'S PERSONAL COPY WITH HIS HAND-WRITTEN NOTE
SLIPS:
.
THE BELOW REFER ONLY TO THE GORDON E. MESTLER PERSONAL,
ANNOTATED COPY:
.
GORDON E. MESTLER'S PERSONAL ANNOTATED COLLECTION COPY:
This set was annotated on 2 slips papers by Mestler in his
handwriting and initialed "GEM.' There is also a note to
"Vincent to make 2 4 x 5 glossy prints [photos] left
recto..." in Mestler's hand. An additional note assists in
bibliographical annotations used to describe this work in
his GALAXY publication.
***
CONDITION OF GORDON E. MESTLER PERSONAL COPY:
Volume 1, has a bit of minor old worming to front covers and
inside a single worm hole to several pages, legible else
clean on bright paper.
.
Vol. 2 is very clean internally, no worming. it lacks the
title slip. Both volume have dusty covers, but are solidly
bound, both have very bright clean contents.
***
END OF MESTLER SPECIAL COPY NOTES
.
*
*
*
*
*
*
.
THE BELOW BIBLIOGRAPHIC DETAILS ALSO REFERS TO THE MESTLER
COPY ABOVE AND ALL OTHER COPIES OF THIS TITLE
.
.
.
THE FIRST AND ONLY EDITION
.
PROFUSELY ILLUSTRATED WITH WOODBLOCK PRINTED ILLUSTRATIONS
***
This work was written as the "Supplement" to the SAN RON
YOKU.
***
.
WRITTEN BY KAGAWA GENTEKI:
. THE JAPANESE "INVENTOR" OF FORCED CHILD-BIRTH & DELIVERY:
.
The art of Japanese obstetrics was established in a true
scientific sense by KAGAWA Genetsu [1700-1777] aka. by his
alternate first names: Shigen or Korin, with his historic
first publication on the of forced child birth, SAN RON,
published in 1765.
.
He outlined how he "invented" many birth "tools" and
methods for forced child-birth and delivery.
.
"The SAN RON was destined to be the standard authority on
obstetrics in Japan for at least a hundred years. That
classic work was followed by the SAN RON YOKU written in
1775, by Kagawa [1739-1179], the adopted son of Genetsu, as
a "supplement" to the SAN RON and to correct the errors in
the published work of his mentor, the elder Kagawa,
resulting in a considerable improvement in obstetrical
methods." Per Mestler p.494 et al.
***
ABOUT KAGAWA GENTEKI & SON RON YOKU: THE SUPPLEMENT TO
SAN RON:
Kagawa often used anything he could find as an obstetrical
instrument, including whale bones, fishing nets,
scissor-like clamps and so many others. This became the
most reliable and standard work on the subject, studied by
medical students, midwives and others interested in child
birth.
.
SAN RON YOKU [this work] written by Genteki [Shikei] Kagawa
[1739-1779], who was the adopted son of Geneteki the senior,
as a "supplement" to his legendary and primary work: SAN
RON. The SAN RON YOKU corrected errors in the elder
Kagawa's published work. This resulted in a considerable
improvement in Japanese obstetrical methods. .
.
This work and most all other period books were all written
in Kambun [old Chinese] with Japanese grammar [Furigana]
written to give sound and meaning to the ancient Chinese
characters, copied and used in Japan.
***
CONTENTS:
The work was addressed to midwives or other who would be
concerned and involved with the pregnancy, delivery, caring
for the mother & child. It was also a manual to assist
mid-wives in difficult deliveries of babies. Chapters on
pre-pregnancy & pregnancy, the uterus, pharmacopoeia,
medicinal plants and prescriptions, health and hygiene,
massage, "shampooing," healthful foods, foods to avoid,
bathing, stages of pregnancy, evolution of the fetus,
placenta, types of delivery, twins, [the illustrations even
distinguish between monozygotic vs. dizygotic twins] showing
illustrations of twins enclosed in a single/double egg sack
membranes, various types of breech & other "difficult"
deliveries nicely illustrated.
*
THERAPEUTIC USE OF MASSAGE:
Of major importance, was Kagawa's advice for therapeutic use
of massage [effleurage] for pregnant woman in difficult
cases of delivery. This work was an up-date as well as a
supplement to the author's earlier title: SAN RON of 1765.
Massage was outlined in these two famous and important
works. A most instructional, reliable and fascinating early
treatise on the subject.
*
THE AUTHOR:
Kagawa was a celebrated practicing obstetrician and author
on the subject. The Kagawas were part of a familial dynasty
of brilliant individual physicians who were influential in
the historical development of medicine in Japan.
See Mestler p.495, liberally quoted from Mestler p.300, see
citation below.
.
"Kagawa carried out experiments in order to verify the
efficacy of the medicine he practiced, and developed his own
form of obstetrics in Japan from that time onwards."
Quoted from ISHIMPO, see below for more details.
***
EDITION:
This is the FIRST & ONLY EDITION of this title.
.
The only variants we know of are slight differences in the
overall size of the book, where margins were trimmed,
regardless, the text & illustrations remain identical.
.
Other variants are the color of the covers or the type of
paper used to bind the books. some have a bit larger
margins, in variant colors.
***
RARITY
Books of this early period of Japanese medicine are RARE and
seldom found on the market. These books form the early
foundations of Japanese medicine and are always of great
interest and show the beginnings of Japanese historical
medicine as well as practical arts. A good number of these
texts were either based on earlier Chinese or Dutch
learning.
***
WOODBLOCK PRINTED BOOK:
This early work was printed by woodblocks on hand-made Washi
paper. With very primitive and charming illustrations, a
most fascinating early resource.
***
REFERENCES:
Gordon E. Mestler: GALAXY OF OLD JAPANESE MEDICAL BOOKS
cites this title & more on Kagawa on pp.485, 491-2, 494 &
495, 498-99 & 199. Please read the extensive footnote #37,
at the bottom of p.493 for other valuable information.
*
MESTLER, Gordon E. INTRODUCTION TO WESTERN INFLUENCES IN
PRE-MEIJI JAPANESE MEDICINE.
*
M. Standlee: THE GREAT PULSE. Useful text, and similar
illustrations from period books, valuable history.
*
W. Whitney: NOTES ON THE HISTORY OF MEDICAL PROGRESS IN
JAPAN, p.432, #893.
*
Y. Fujikawa: JAPANESE MEDICINE [Clio Medica], p.81,
1775. I, with substantial historic text on the subject.
*
VEITH, Ilza. HUANG TI NEI CHING SU WEN: THE YELLOW EMPEROR'S
CLASSIC OF INTERNAL MEDICINE: pp.48-51.
*
VEITH, Ilza. THE BEGINNINGS OF JAPANESE OBSTETRICS
***
ISHIMPO 1000 NEN NO AYUMI: DAWNING OF JAPANESE MEDICINEISHIMPO. [Commemorating 1000 Years of "Ishimpo," the Key to
Japanese Medicine]. See p.56 and illustration.
***
$6120
folded leaves, very clean, NO worming ! bright, nice copy,
17.5 x 25 cm., recent indigo blue cloth Chitsu folding case.
SLIPS:
.
ANNOTATED COPY:
.
***
.
***
.
*
*
*
*
*
*
.
.
.
.
.
***
YOKU.
***
.
.
published in 1765.
.
.
***
SAN RON:
birth.
.
.
***
CONTENTS:
*
*
THE AUTHOR:
citation below.
.
***
EDITION:
.
.
***
RARITY
learning.
***
***
REFERENCES:
*
*
*
JAPAN, p.432, #893.
*
*
*
***
***
$6528
Edo 1775, Suwahara. Yellow stitched stiff wrs., very good, 2
folded leaves, very clean and bright copy, no worming at all
17.5 x 26 cm., recent indigo-blue cloth Chitsu folding case.
SLIPS:
.
ANNOTATED COPY:
.
***
.
***
.
*
*
*
*
*
*
.
.
.
.
.
***
YOKU.
***
.
.
published in 1765.
.
.
***
SAN RON:
birth.
.
.
***
CONTENTS:
*
*
THE AUTHOR:
citation below.
.
***
EDITION:
.
.
***
RARITY
learning.
***
***
REFERENCES:
*
*
*
JAPAN, p.432, #893.
*
*
*
***
***
folded leaves, solid copy, facsimile title slips, a few old
old margin worm holes, 18.5 x 26.3 cm. FIRST & ONLY EDITION
SLIPS:
.
ANNOTATED COPY:
.
***
.
***
.
*
*
*
*
*
*
.
.
$6800
.
.
.
***
YOKU.
***
.
.
published in 1765.
.
.
***
SAN RON:
birth.
.
.
***
CONTENTS:
*
*
THE AUTHOR:
citation below.
.
***
EDITION:
.
.
***
RARITY
learning.
***
***
REFERENCES:
*
*
*
JAPAN, p.432, #893.
*
*
*
***
***
A CLASSIC WORK BY THE ORTHODOX CONFUCIAN MORALIST
208 KAIBARA, Ekiken.
ONNA DAIGAKU TAKARA BAKO: GREAT TREASURY OF LEARNING FOR
WOMEN. Together with:
[Edo 1863, Naniwa]. Blue covers, stitched, very good, 117
double page b.w. woodcut plates, complete in one volume,
Japanese text, hand printed on Washi paper, 18 x 25.5 cm.,
together with the English translation of London 1914. SCARCE
An historically important work on women and women's rights
in Japan from the 17th century. Documenting the life,
habits, learning and essentials for female social life norms
as based on traditional rules.
*
Each page consists of some form of important lesson & learning for women and girls. Also, by using the Hyakunin Isshu
as an example, the text explains the proper attitude and
conduct for the women of contemporary Japan.
*
Beautifully printed on hand-made Washi paper and woodcut
illustrated and printed by hand. With one or two illustrat-
$6120
ions on each page. Handsome illustrated text renders this a
valuable original and grand record of women's classic
learning.
*
The Tale of Genji [ie: Genji Monogatari] is also illustrated
and cited as examples of proper feminine conduct. The author
was the celebrated Kaibara [1630-1714] who was a respected &
famous moralist and philosopher. In this work, he extols
the Confucian virtues and precepts as they apply to women
together with other admonitions of the Samurai class. Women
along with men were expected to follow Bushido [The Way of
the Samurai] in their conduct, which prescribed ritual
Seppuku [aka Harakiri or self-embowelment] for breaches of
socially accepted norms of conduct.
*
This work was the most popular of all his many books and was
for two centuries considered an essential part of any
bride's trousseau.
*
INCLUDED WITH THIS JAPANESE WORK, IS THE BELOW REFERENCE IN
ENGLISH:
See Takaishi below. This reference is the first and only
Western language translation of ONNA DAIGAKU and the first
of its kind to be done in English. The London 1914 edition
of the English translation of ONNA DAIGAKU, with title page
reading: WOMEN AND WISDOM OF JAPAN. This keen insight covers
the following chapter headings, now translated into English
for the first time: [cover has small stain else clean]:
GIRL'S INSTRUCTION
DEMARKATION BETWEEN THE SEXES
"SEVEN REASONS FOR DIVORCE"
THE WIFE'S MISCELLANEOUS DUTIES
TREATMENT OF SERVANTS
THE INFIRMITIES OF WOMAN
-Appendices:
A. THE JAPANESE REVOLUTION
B. THE LEGAL CONDITIONS FOR A DIVORCE.
*
A wonderful example of girl's learning for the 17-18th
centuries. Profusely illustrated, nicely done Japanese text.
*
ABOUT KAIBARA:
Kaibara Ekken or Ekiken, also known as Atsunobu, [1630-1714]
was a Japanese Neo-Confucianist philosopher and botanist
during the Edo Period of the 16th century of Japan.
*
Ekken was destined to introduce two great innovations
towards the Tokugawa shogunate. One of such was the
systematic study of nature based on Neo-Confucianism, which
was the beginning of the empirical science in Japan. Ekken's
second innovation was to translate the abstruse and
forbidding philosophy of Confucianism and Neo-Confucianism
into the language of the ordinary Japanese.
*
Ekken's science was confined to Biology and focused on the
"natural law". Ekken became as famous in Japan as people
such as Charles Darwin when it came to Science. Ekken was
known for his manuals of behavior, such as changing his
Confucian ethical system based on the teachings of Chu Hsi
into an easy "self-help" manuals, such as Precepts for
Children and Greater Learning for Women. The textbook of
Neo-Confucianism was then known as The Great Learning.
Ekken's main goal in life was to make sure that that book
was known throughout Japan. This project more than any other
accomplishment incorporated Neo-Confucianism into the very
fiber of Japanese culture
*
REFERENCES:
*
Carmen Blacker: THE JAPANESE ENLIGHTENMENT: A Study of the
Writings of Fukuzawa Yukichi pp. 11, 79-84.
*
Shingoro Takaishi : WOMEN AND WISDOM OF JAPAN. This small
but excellent resource offers an English translation of
title with commentaries about Kaibara Ekiken. Based on Prof.
Basil Hall Chamberlain's English translation.
*
Basil H. Chamberlain: THINGS JAPANESE. See his translation
of this title here.
*
209 KANOH, Shuhoh.
SOSHI MONYO SHU:
[Kyoto 1927, Markia Ga Bohiff. Stiff wrs. folded color woodblock printed covers, vols. 3,5-8,12,13.15 only, each holds
9-10 single color woodcut prints, size is 12.5 x 18 cm.,very
clean, bright, no issues, some covers mended. OBSCURE ITEM !
This group contains portfolio numbers 3, 5, 6, 7, 8, 12, 13,
15 in all. Each small portfolio contains the following count
of prints:
Vol. 3: 10 each
Vol. 5:
9 "
Vol. 6: 10 "
Vol. 7: 10 "
vol. 8: 10 "
Vol. 12: 10 "
Vol. 13: 9 "
Vol. 15: 10 prints respectively, 78 individual prints + the
woodblock printed covers for each portfolio volume. Each
print has a tissue guard protector, most all prints are
flawless, 1-2 may have corner chipped away, else each is in
lovely clean and bright color with no issues.
*
CONDITION:
Some portfolio covers were worn at the folds, those that
needed mending have been skillfully mended using Japanese
Washi paper and rice glue. Some edges, folds and closed
tears are now solid. The prints are in superb, clean, bright
and mostly flawless condition.
$1020
*
$791
210 [KANZAKA, Sekka.]
A FLIGHT OF BUTTERFLIES: CHO SEN SHU: ONE THOUSAND KINDS OF
BUTTERFLIES.
[New York 1979, Met. Museum]. Blue cloth, very good, fascsimile of [Kyoto 1904, Unsodo] edition, accordion folded album
album, 19 x 25.5 cm., 26 double page color illustrations, in
white board slipcase, bright lovely copy.
FIRST EDITION
With 25 double page color illustrations, very charming color
illustrations, true original colors of the woodblock printed
edition. Illustrates many different varieties of butterflies
in artistic composition. Printed on special made paper. Nice
work !
*
AN EARLY ILLUSTRATED JAPANESE PHYSICANS REFERENCE BOOK
211 KATAKURA, Genshuu.
BAIREI SHINSHO: A NEW TREATISE ON LEPROSY & SYPHILIS.
[Edo 1786, Suharaya]. Buff stiched wrs., title slips, 2 vol.
set, minor cover discoloration, [33+22] double folded leaves
woodblock printed on hand-made paper, 18 x 26 cm.,couple of
$48
small old worm holes, else clean, very good. QUITE R A R E
Originally issued in 1786. Katakura [1750-1822] was a celebrated Japanese physician and Rangakusha. This famous
work
covers both serious diseases known to the Japanese. Syphilis
was treated in Japan & China with mercury. It was brought to
Japan from China by Portuguese sailors sometime during the
latter part of the 16th century, localized epidemics having
been recorded in 1512, and 1569 and in 1630.
*
The illustrations in this work show a Chinese physician
inserting iron medical instruments into a charcoal
brazier while his assistant fans the fire. Other metal rods
are on the floor, a second illustration page shows close ups
of three other metal instruments for cauterization of the
infected areas...surely painful but a most primitive and effective treatment. Also covers contagious diseases.
*
A most early and valuable resource on the subject. This
monograph is exceptionally RARE and seldom found on the
market.
*
BIBLIOGRAPHY:
G. Mestler:A GALAXY OF OLD JAPANESE MEDICAL BOOKS, page
132-3 for more details on this book & the subject in general
and some early illustrations.
*
Whitney: NOTES ON THE HISTORY OF MEDICAL PROGRESS IN JAPAN,
p.432, item #881.
*
Scans can be sent upon request.
AN EARLY ILLUSTRATED JAPANESE PHYSICANS REFERENCE BOOK
212 KATAKURA, Genshuu.
BAIREI SHINSHO: A NEW TREATISE ON LEPROSY & SYPHILIS.
[Edo 1803,Suharaya]. Stitched wrs., title slips, 2 vol. set,
very good, minor cover discoloration, [33+22] double folded
leaves, woodblock printed on hand-made paper, 18 x 26 cm.,
a couple of small old worm holes, else clean. QUITE R A R E
Originally issued in 1786. Katakura [1750-1822] was a celebrated Japanese physician and Rangakusha. This famous
work
covers both serious diseases known to the Japanese. Syphilis
was treated in Japan & China with mercury. It was brought to
Japan from China by Portuguese sailors sometime during the
latter part of the 16th century, localized epidemics having
$4760
been recorded in 1512, and 1569 and in 1630.
*
The illustrations in this work show a Chinese physician
inserting iron medical instruments into a charcoal
brazier while his assistant fans the fire. Other metal rods
are on the floor, a second illustration page shows close ups
of three other metal instruments for cauterization of the
infected areas...surely painful but a most primitive and effective treatment. Also covers contagious diseases.
*
A most early and valuable resource on the subject. This
monograph is exceptionally RARE and seldom found on the
market.
*
BIBLIOGRAPHY:
G. Mestler:A GALAXY OF OLD JAPANESE MEDICAL BOOKS, page
132-3 for more details on this book & the subject in general
and some early illustrations.
*
Whitney: NOTES ON THE HISTORY OF MEDICAL PROGRESS IN JAPAN,
p.432, item #881.
*
Scans can be sent upon request.
A 1799 ILLUSTRATED OBSTETRICAL & GYNECOLOGICAL TREATISE
213 KATAKURA, Kakuryoh. [Kuwakuryo]
SANKA HATSUMO: ILLUSTRATED ENLIGHTENMENT IN OBSTETRICS,
TREATMENT OF OBSTETRICS, GYNECOLOGY & CHILD-BIRTH.
Edo 1799 Suwaraya. Yellow stitched stiff wrs., very good,
6 vols. bound in 4, complete, profusely illustrated, woodcut
printed by hand on handmade paper, 29+30+28+35+22+32 doubleleaves, 18 x 27 cm.
.
!! IMPORTANT NOTE !!
.
THE IMMEDIATE BELOW DESCRIPTION REFERS TO A SPECIAL COPY:
.
.GORDON E. MESTLER PERSONAL COPY WITH HIS HAND-WRITTEN NOTES
.
.
.
WE HAVE OTHER COPIES THAT MATCH THE BALANCE OF THE
.
DESCRIPTION, NOT RELATED TO MESTLER.
*
*
*
*
.
GORDON E. MESTLER'S PERSONAL COPY WITH HIS NOTE SLIPS:
.
This copy contains 2 small slips of paper, annotated with
$4624
Mestler's penned notes, comments and bibliographical
observations. These notes were then used to creat entries in
his historic and comprehensive land-mark bibliography of
early Japanese medical books:
.
A GALAXY OF OLD JAPANESE MEDICAL BOOKS WITH MISCELLANEOUS
NOTES ON EARLY MEDICINE IN JAPAN.
.
Note: vol.6 is 1 cm. shorter than the other volumes although
it is bound together with vol.5.
.
The below bibliographic information also refers to the
Special Mestler copy above, the only difference being the
above contains Mestler's hand-written notes
*
*
*
*
...........................................................
====>>>>
END OF THE MESTLER-RELATED COPY
<======
.
THE ABOVE IS FOR THE MESTLER SPECIAL COPY ONLY
****
NOTE: THE BELOW REFERS TO ALL COPIES OF THIS TITLE:
.
.
.
. THE BALANCE OF THE ENTRY BELOW IS GENERIC TO THIS TITLE
.
.
This title was published in a First & Only Edition
*
.
.
THE COMPLETE SET SIX VOLUME SET BOUND IN 4 VOLUMES:
.
The complete set consists of 6 volumes. This set is usually
bound in four volumes, containing 6 numbered volumes in all.
There are other variations to the binding above, i.e. 6
bound
volumes.
.
Volumes 1-6, with cover titles vol. 1-4.
.
Note: Not all of our copies are bound in this exact format,
some are 4 volume sets only. Please inquire prior to
ordering to confirm you are ordering exactly the set &
edition you want.
***
THE AUTHOR: KATAKURA:
This work was written by Katakura [1750-1822] a Japanese
physician who came from a long line of doctors & Rangaku-sha
[Scholars of Dutch learning & physicians] and was a pupil of
Gentetsu Kagawa the founder of obstetrical science
[1700-1776]. See below for more on him & the text upon which
this title was based and corrected.
***
CONTENTS:
The first 3 volumes are the text. A collection of medical
science based on actual experience.
.
Vol. 4-5 contains superb illustrations: the early collection
of cells in the primitive egg; early fetus, one with
umbilical cord wound around its neck, invitro views of the
fetus, growth stages, and twins. Of major importance, was
the notice of the two types of twins: mono and dizygotic
twins, as the difference being one vs. two separate
membranes around each twin.
*
Volume 6 is an illustrated atlas showing the various
progressions of pregnancy, the growth of the fetus,
delivery, complications, breech and other abnormal
deliveries.
.
***
WHO WAS KAGAWA: [Katakura's Teacher]
.
Kagawa began with the publication of his pioneer work
SAN RON: BOOK OF OBSTETRICS [1765] in which he "invented"
many methods for forced delivery. Kagawa often employed
anything he could find as an obstetrical instruments. This
work was destined to become the standard authority on
obstetrics in Japan for at least 100 years.
.
Following this work, was the SAN RON YOKU: A BOOK OF
OBSTETRICS [1775]. [Please inquire as we may have this book
also]. Katakura wrote the present work to correct the errors
in the two previous works noted above. It contains realistic
and substantial instructions for midwives, the technique of
massage, body positions, "shampooing," pharmacopoeia,
prescriptions and lists of therapeutic plants & how to
combine them for various maladies, increase of mother's
milk, a healthy uterus, post-partum recovery &c.
.
***
THE ILLUSTRATIONS:
Views of the pelvic bones [redrawn from Deventer's figures
made with no attempt to change the facial features of the
fetus to those of a Japanese], various presentations of the
fetus for delivery, after-birth, uterus and the location of
where the after-birth & placenta were attached, thus an
excellent description of what are "easy" vs. "difficult"
births. Various breech forms, use of whale-bone forceps,
methods of "turning" the fetus during a breech [by
positioning the mother or by insertion of the whole arm to
forcefully turn the baby.
*
THE TEXT: TAKE FROM ANCIENT CHINESE WORKS
The texts was written Kambun, an ancient form of Chinese
characters used in Japan, this has the standard "Furigana"
Japanese sounds written along the Kanji characters to give
sound and meaning to Japanese readers, with grammatical
marks, thus making it easy for less than well-studied
Japanese to read and understand. It was therefore also used
by mid-wives for assistance in child-birth. The original
Chinese title was most likely lost or changed by the time
this text came to Japan.
***
DUTCH ATTRIBUTION:
.
This work was also most likely based on Heinrich Van
Deventer: NEUES HABAMMENLICHT, Jena, 1740, 4th edition. The
illustrations on p.20 follow those of Deventer's exactly
see VEITH, Ilza. THE BEGINNINGS OF JAPANESE OBSTETRICS
figures:3, 4, on pp.52, 53 for these examples.
***
SIZE OF THE BOOKS:
The size varies just a bit depending on the original binder,
average size is 18 x 27 cm. some leaves are shorter, text
and illustrations remains identical.
***
THIS IS A RARE BOOK !
.
A RARE and early woodblock printed and illustrated classic !
A stunning and superb work with a good number of period
illustrations, nicely done and finely executed.
***
REFERENCES:
MESTLER, Gordon E. Mestler: GALAXY OF OLD JAPANESE MEDICAL
BOOKS WITH MISCELLANEOUS NOTES ON EARLY MEDICINE IN JAPAN,
pp.493-4, et al. Plates II D & III. Mestler cites on p.494
about one of the interesting illustrations in this work.
"...is of the cut surface of an abortus at two or three
months of pregnancy." Other references in Mestler for this
work or for Katakura found on pp.486-7, 494-7, 142, 339 &
199.
*
*
M.W. Standlee: THE GREAT PULSE for additional useful
information.
*
VEITH, Ilza. THE BEGINNINGS OF JAPANESE OBSTETRICS, p.51-55,
figures 3-6.
*
Yu Fujikawa: JAPANESE MEDICINE, Clio Medica Series, 1934,
p. 59.: "...contain extracts from English & Dutch" works
translated into Kambun. The instruments & operations used
in obstetrics at the time have been described. Delivery of
the baby by difficult presentations: by the feet, head
first, podalic version and perforation by sharp hooks,
extraction by means of the Tanganki or fishbone [whale-bone]
noose..."
*
KAGAWA, Genteki [Genetsu].: SAN RON YOKU: BOOK OF
OBSTETRICS, GYNECOLOGY & CHILDBIRTH.
*
KAGAWA, Genteki [Genetsu].: SAN RON: MANUAL OF OBSTETRICS,
GYNECOLOGY & CHILDBIRTH.
***
NOTE:
Anyone interested in purchasing any of the above books or
reference books please contact us, we may have them in
stock. Also those interested in early Japanese medicine may
request a catalog or visit our website and download the
latest edition.
***
$4735
printed by hand on handmade paper, 29+30+28+35+22+32 doubleleaves, 18 x 26 cm.,dusty, stained covers.
FIRST EDITION
.
.
.
.
.
.
.
*
*
*
*
.
.
.
.
.
*
*
*
*
...........................................................
====>>>>
<======
.
****
.
.
.
.
.
*
.
.
.
bound
volumes.
.
.
edition you want.
***
***
CONTENTS:
.
*
deliveries.
.
***
.
.
.
***
THE ILLUSTRATIONS:
*
***
DUTCH ATTRIBUTION:
.
***
SIZE OF THE BOOKS:
***
.
***
REFERENCES:
199.
*
*
information.
*
figures 3-6.
*
noose..."
*
*
***
NOTE:
latest edition.
***
printed by hand on handmade paper, 29+30+28+35+22+32 doubleleaves, covers dusty, else clean, indigo cloth Chitsu case.
.
.
.
.
.
.
.
*
*
*
*
.
.
$4735
.
.
.
*
*
*
*
...........................................................
====>>>>
<======
.
****
.
.
.
.
.
*
.
.
.
bound
volumes.
.
.
edition you want.
***
***
CONTENTS:
.
*
deliveries.
.
***
.
.
.
***
THE ILLUSTRATIONS:
*
***
DUTCH ATTRIBUTION:
.
***
SIZE OF THE BOOKS:
***
.
***
REFERENCES:
199.
*
*
information.
*
figures 3-6.
*
noose..."
*
*
***
NOTE:
latest edition.
***
AN EARLY JAPANESE WOODBLOCK ILLUSTRATED WORK
$4828
216 KATSU, Juu.
JUSHI KEI HAKKI SHINN KYUU CHI HOU: THE FOURTEEN ACUPUNCTURE
"CHANNELS."
Kyoto 1764, Kohto Shorin. Blue stitched wrs., covers scuffed
2 vol. set, 28+76 double-folded leaves, woodblock printed by
hand on hand-made mulberry paper, 16 superb illustrations of
acupuncture "points," some old minor worming, restored. RARE
THE AUTHOR:
Katsu was also known as Hakunin, was a pre-Ming dynasty
Chinese physician who wrote a book on the introduction of
moxibustion [moxa is mugwort, the herb artemisia vulgaris
latifolia] system into Japan from China.
*
THE ORIGINAL TITLE:
PART ONE:
The original one volume edition of 2 parts was published in
1684 with the title: JUSHIKEI HAKKI. Our copy a later
edition of this famous first work on the subject.
.
Mestler in his historic "GALAXY" [see below] has devoted
much space to this work on pages 473-476. We quote &
summarize his comments: "...it is a theoretical discussion
chiefly on acupuncture but equally applicable to moxa...the
first part discussed the fundamental belief of the
Chinese and Japanese in relationship between specific sites
on the outside of the body."
.
SECOND PART:
The second part [author unknown], subtitled JUSHIKEI KETSU
CHI-HO gave practical instruction" ...on how to use
needles and moxa. The whole work was later explained by
Okamoto Ippo under the title JUSHIKEI RYAKI WAGO IN 1693,
in 3 volumes.
.
EXCELLENT ILLUSTRATIONS:
Of note are the excellent illustrations found in this work,
showing the practitioner the "points" and where to apply
acupuncture needles or moxa. Mestler has pointed this out
and illustrated this in his book on plate I, B, showing the
posterior view of a man with external measurements, and
referring also to the differences between lean and fat
individuals and the influence of aging.
.
The anterior view is also illustrated in the Katsu work
among so many other illustrations. Moxa was also placed on
thin slabs of garlic, then ignited with fire to get the
maximum therapeutic results. Needles inserted at these
same "points" were often enhanced by rolling small balls
of damp moxa at the end of the needles & burned after
inserted. See Mestler's "GALAXY" below for many other
entries on Katsu, acupuncture & moxa.
*
A very early and important "First" illustrated resource on
the subject of acupuncture and moxa.
*
CONDITION:
The title slip on vol.1 is well rubbed, some loss; vol. 2
title slip was replaced with a hand-written example. The
book is solidly stitched adn stable, front, rear covers very
rubbed, some color loss.
*
EDITION:
This is the 1764 reprint of the 1684 edition.
***
REFERENCES:
Mestler, Gordon E. A GALAXY OF OLD JAPANESE MEDICAL BOOKS
*
*
Note: Anyone interested in purchasing the above 2 reference
books by Mestler,
please contact us, we may have them in stock.
*
THE STORY OF REVENGE, MURDER AND CONVERSION TO BUDDHISM
217 KATSUSHIKA, Isai.
SHU ZO FUKUSHU IWAMI EI YU ROKU: THE LEGEND OF THE IWAMI
HERO'S REVENGE.
[Osaka 1857, Buneido]. Orange stiff wrs., very good, covers
bid soiled, solid, 7 vols. bound in 3, complete,[138] double
folded leaves, 22 fine woodblock illustrations, entirely
woodblock printed on hand-made paper, title slips, complete.
BY A START HOKUSAI PUPIL:
This strange and violent story was illustrated by a star
$2720
Hokusai pupil Isai, [1821-1880] who was originally named
Shimizu. He was an Ukiyo-E painter, printmaker, born in Edo.
He lived and studied in Hokusai's house.
.
In the 1860's he made several prints designed to sell to
foreigners. He specialized in genre works & portraits, his
style is very close to that of Hokusai.
*
THE STORY:
The story outlines the escapades of the hero as he takes
revenge on his mortal enemies. The graphics excellent, and
some show dramatic and great motion as the hero defends
himself against would-be attackers, one looses his head as
the hero delivers it from his shoulders, in another he
suppresses his enemy with a Naginada cut to the throat.
.
In the end the hero takes the Buddhist path for his sins
against humanity by killing, he becomes a wandering priest,
as he is seen taking leave of his mother. The story was
written by Tamamo no Urahito.
*
THE ILLUSTRATIONS:
The set is nicely illustrated, with 22 pages of stunning
images. The excellent illustrations and composition are
reminiscent of the work by Hokusai, the artist's master.
Excellent examples of very nice sword fight action. If the
work was not signed one would assume it was the work of
Katsushika Hokusai.
.
Illustrations copied by Mizuhara Gyoku-so, alternate title
is: KOKYU EI YU ROKU.
*
THE BINDING:
The book is 7 volumes, bound in three, as issued, with
matching title slips. The breakdown of the bindings are:
volumes 1,2 = part 1; vols. 3,4,5 = part 2; vols. 6,.7 =
part 3.
.
The pagination is: vol.1: 16p.; vol.2: 21p.; vol.3: 21p.;
vol.4: 21p.; vol.5: 22p.; vol.6:24p.; vol.7: 24p.
.
The size is 15.4 x 21.8 cm., and
*
CONDITION:
The blind-stamped orange covers are solid, and tightly
stitched. There is some discoloration to the front and back
covers, most likely oxidation of the original iron-based
orange color. The contents are free from any old worming,
there is a mild stain in the last vol., at the leading and
upper edges, text is not very affected. A bit of the usual
edge/corner wear.
*
A NOTE:
Its amazing to think this excellent item has eluded the
scrutiny of both Kerlen and Toda. One would fully expect
that the star pupil of Katsushiki Hokusai would get listed
in most any bibliography of E-hon !
***
REFERENCES:
Laurance P. Roberts: DICTIONARY OF JAPANESE ARTISTS p.55 for
notes on Isai.
*
Not listed in:
PUBLIC COLLECTIONS IN THE NETHERLANDS, he lists 3 items by
Katsushika, this title nor Kokyu Ei Yu Roku are not listed.
*
Not listed in:
INSTITUTE OF CHICAGO
*
218 KATSUYAMA, Shigetaro.
[NO TITLE]. AN ALBUM OF JAPANESE WOMEM ENJOYING THE SEASONS
OF THE YEAR IN CELEBRATION: JANUARY THROUGH SEPTEMBER.
Tokyo 1892, Bijutsu Chakushokusha. Grass covered boards,with
title slip blank, accordion folded, 9 color lithographs,very
good, Japanese captions,12 x 17.5 cm. opens to 24 x 17.5 cm.
an obscure example.
AN OBSCURE WORK !
This lovely and charming work is a group of pastel-colored
lithographs of activities for each of the first nine months
of the year, with its associated celebration or seasonal
activity. A typical Meiji period lithographed picture book
in the native artistic tradition.
*
The illustrations are:
*
January: Shuttlecock for New Years celebrations
*
February; Plum tree blossom viewing
*
March: Gathering & picking flowers
*
April: Running after cherry blossoms
*
May: Wisteria flowers in Kameido
*
June: Listening to music during the rainy season
*
$1545
July: Cooling off by the Sumida River
*
August: Oiso Beach
*
September: Taking a walk in the new snow
*
Each image occupies two pages, for a size of 21.5 x 13.5
overall including margins: 24 x 17.5 cm. Each is delicately
colored in pastels.
*
Condition:
The covers: are a kind of hand-made "grass-paper" with woven
fibers laid down over the boards with a blank title slip.
There are a few spots to the front and a larger pair on the
back, otherwise clean. The images nine are clean, the
last shows some minor surface soil and a mend to the center
fold.
*
The artist, Katsuyiama Shigetaro was a well-known
lithographer of the period, who did stunning and Deluxe
sized graphics mostly of beautiful women during the Meiji
period 1868-1912.
*
A MOST CHARMING NANGA STYLE ACCORDION FOLDING SET OF ALBUMS
219 KAWABATA, Gyokusho.
SHUGA HYAKU DAI: A HUNDRED SUBJECTS FOR LESSONS IN PAINTING.
[Tokyo 1898, Yoshikawa]. Buff accordion folded boards, 4 of
5 volumes: covers-vols. 1-3 buff; vols.4-5 yellow covers a
bit dusty, contents clean, solid, a small stain on 1 image,
48 color woodcuts on double pages, else clean solid.
When complete, the whole work contains some 60 color woodcut
illustrations done in the Shijo style.
*
Each volume has 12 double folded illustrations in color,
the entire work was woodblock printed on hand-made Washi
paper. It was issued in a single, FIRST & ONLY EDITION.
*
The work represents a tender approach to art, with delicate
flowing brush lines in a minimalist-Zen way. He limits color
which is a "distraction" and focuses on the use of Sumi
[black ink] against white paper. He realizes his goal to
transmit the shape and substance of his impression of
objects and people he perceives. The good-taste in which
color is used to reflect the "true nature" is done in the
most "Shibui" way, therefore giving the impression, that
$248
color is a luxury and to be used sparingly and only when
necessary. Typical of Zen artists, this work refreshes and
gives one's mind "space" to ingest the image with ease.
*
The subjects are typical Japanese and Chinese, devotion to a
pair of eggplants, a Chinese sage, two sprigs of yet
unopened fern [Warabi a delicacy], Mt. Fuji, two wheat grass
heads, fanning the Hibachi-fire for tea, cherry blossoms,
iris, a bird eating rice grains, a loquat, bamboo and a
crane, a clump of ripe grapes, turtle [sign of longevity].
Kitsune or Fox God, birds, flowers, leaves, sleeping God,
cherry blossom viewing with the moon, a stag, wisteria, Koi
carp, honorable ancient pine tree, bird & Momiji [Japanese
maple in autumn], a lobster, bamboo, morning glories, a
blue-eyed Siamese cat, mouse, puffer fish, court Noble &
wife, landscape at dusk &c...
--- It does not get any better than this !
*
Per Roberts below we summarize and quote: "Kawabata Gyokusho
[1842-1913] was a Shijo painter, born in Kyoto to a family
of lacquer artists. He first studied Maruyuama style with
Nakajima Raisho. In 1866 he went to Tokyo to study Western
style painting under Charles Wirgman. Not liking that style
he soon return to the traditional Japanese style painting
and became a leading figure in Tokyo art circles and in 1890
professor in charge of the painting division espousing the
Shijo school style at the Tokyo School of Fine Arts. In 1909
he founded the Kawabata painting school, and had a good
number of pupils who became well know. He was a member of
the Nihon Bijutsu Kyokai and the Imperial Art Commission.
Considered the last great representative of the Shijo
school. In his later years the sought to combine Chinese,
Japanese and Western elements into his paintings. His work
is quite delicate, making use of Japanese techniques in a
realistic manner. A most competent artist." Well collected
by world museums and institutions.
*
BIBLIOGRAPHY:
*
C. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA,
SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A Bibliography:
p.492
*
*
p.202.
*
*
A MOST LOVELY COLOR ILLUSTRATED REFERENCE WORK
$369
220 KAWABE, Souyoushi.
SHINSEN DAI NIPPON ETAI SETSUYO MUJINGURA: NEW SELECTION OF
THE GREAT PERPETUAL ENCYCLOPEDIA, ATLAS, ALMANAC & CONCISE
Edo 1864, Suhara-ya. Yellow stiff stitched wrs., 2 vol. set,
ca. 18.5 x 26 cm., 10 double page color illustrations, 5
color maps, color title page, 433 double-folded leaves, profusely illustrated, Japanese text, woodblock-printed. SCARCE
***
A terrific and copious resource on Japan. Essentially
compiled into encyclopedia form, this reference work covers
much of Japan was in the mid-18th century. First
published in 1750.
*
The book begins with the Zodiac & the twelve animals and the
auspicious days noted, along with excellent pictures of the
associated animals.
*
THE ILLUSTRATOR:
The work was illustrated by the celebrated and most
distinguished book illustrator and artist, Matsukawa Hanzan
who flourished 1850-82.
*
MAPS:
A pair of color hemispheric maps of the world, with names of
nations, distances and meridians noted. Also a full map of
*
MT. FUJI: Japan with provinces, cities listed in different
colors. A marvelous double-page view of Mt. Fuji with all
of the stations shown.
*
FAMOUS PLACES IN JAPAN:
The book continues with views of famous places in the
provinces.
*
FABLES:
Stories and fables about Buddhism, loyalty, Confucianism,
sincerity, responsibility, duty, and the attributes of a
good citizen, Samurai & warrior.
*
MILITRY HISTORY, SAMURAI, BUSHIDO, ROYAL CAPITAL, SHRINES,
MAPS:
Military history, famous warriors and Samurai, of courage,
swordsmanship & related. Guide to Kyoto the ancient capital,
the Emperor's palace and compound, Royal Court, castle
and list of his retainers showing their Mon or family
crests. The Hundred Famous Shrines of Japan, full list, the
celebrated Tokaido Road, map of the stations and the sights
along the way. Maps of Kyoto, the Heian castle town the old
capital and of Osaka. Honcho Sanju Busen: The tale of the 36
Bushi [Samurai] with illustrations and brief biography of
each.
*
COINS, CHINESE GODS, FALCONS, COMMODORE PERRY, SAMURAI:
Illustrations of ancient coins & dates. The 36 Chinese
Gods with illustrations of each and notes. Falconry, with a
lovely two page article on Falcons illustrated. Arrival of
Perry to Uraga in 852, on two illustrated pages. Great list
of the Hatamoto, showing their costume, Mon & flags.
Official court dress & costume, Hakama jewelry, helmets,
armor, flags banners, swords, drums, Naginada [long spears],
bow & arrow, Tanigashima [rifle], military horse-related
gear, and other decorations, head gear &c. Classic tales.
The Zen arts: flower arrangement, tea ceremony and its
utensils, bonsai, how to display fish & fowl. How to fold
and display Japanese clothing: Hakama, Kimono, scrolls &
fans.
*
PASSTIMES, NEW YEARS, GAMES, SOROBAN, PLAYS :
New Years preparations & the making of decorations. How to
play "Go" the Japanese checker game. Theatrical plays: Noh
dance and drama with 4 pages of masks. How to use the
Soroban [Japanese adding machine]. A lovely group of
traditional & classic ancient illustrated stories & tragic
plays.
*
SCENERY INJAPAN, DICTIONARY, THE STARS, HISTORY, LANGUAGE:
Scenery of Japan, the famous places. A dictionary of
subjects for most all things Japanese arranged by subjects.
List of the constellations. A major illustrated chronology
of Japanese history from the beginning of the origin myths
down to the date of publication.
*
BUDDHISM, KOREAN, MERCHANTS, FARMERS:
Buddhist writings and history, ancient ways of writing Kanji
[Kambun, or characters borrowed from China], seal
characters, Buddhist and Sanskrit characters converted to
Kanji, ancient Chinese deities, list of Chinese Emperors.
The art and science of divination by physiognomy or the
art of reading lines on faces, palmistry. With a list of
the Hangul or Korean sound characters and associated
Japanese sounds, calendars, essays on the activities of
merchants & farmers and so much more !
*
CHITSU CASE:
Contained in a new indigo-blue Chitsu folding case with bone
clasps.
*
ATLAS AND COPPER-ETCHED MAPS OF JAPAN
$2040
221 KAWAMURA, Koichiro.
NIPPON GAISHI JIRUI TAIZEN: KOSEI JO GAIZU: HISTORICAL
DICTIONARY & GEOGRAPHICAL NAMES & PLACES IN JAPAN.
Kyoto 1876, Bunmei Sho Rozo. Stiff stitched yellow wrs.,very
good, small part of cover spine vol. 1, chipped, 2 vol. set,
vol. 1 text, vol. 2 atlas with 51 copper-etched maps, 4 fold
outs, 8.5 x 11.7 cm., Japanese text, both very good. R A R E
Woodblock printed text on hand-made mulberry paper, printed
on double folded leaves. The atlas is copper etched, has 47
double-page maps, each is 16.8 x 11.7 cm., the large foldouts are 30 x 15.7 cm. The sketch maps are nicely drawn,
showing each place or location in much detail, with ovals
citing the name of every village or town. Rivers, mountains
and castles nicely drawn in. Text volume has some minimal
chipping and loss to the pink title page, but all characters
are quite legible, else both volumes clean, solid, text volvolume has a few small illustrations. The maps show major
political, battles and historical place names. This kind of
educational material was likely supervised or issued under
the auspicies of the Mombusho [Japanese Ministry of EducatEducation] in an effort to teach Japanese their local historical and geographical history.
THE MOST MAGNIFICIENT SINGLE RESOURCE ON JAPANESE FALCONRY
222 KAWANABE, Kyosai.
EHON TAKA KAGAMI: THE ILLUSTRATED MIRROR OF HAWKS. PICTURES
OF DIFFERENT KINDS OF HAWKS, WITH HAWKING SECRETS & SCENES.
[Tokyo 1877-79, Nakamura]. Stitched yellow wrappers, title
slips, very good, issued in two parts: part I: vols. 1-3;
part II: vols. 1-2, profusely illustrated by woodcuts, the
complete 5 vol. set, clean contents, new cloth Chitsu case.
JAPAN'S PREMIER SINGLE RESOURCE ON FALCONRY:
A major resource on Japanese falconry, the capture, taming &
teaching of falcons, the grooming, feeding and culture of
$272
the bird of prey. Wonderful illustrations of falcons, the
associated tools & equipment, stands, methods of warming in
winter before the hunt, winter hunting, respect for. On the
flushing to expose game birds to be hunted by the falcon,
the kill, capture of the quarry. How to tether, hoods,
master's gloves and other accoutrements, field work,
breeding, bathing &c.
*
EDITION:
FIRST AND ONLY EDITION: This magnificent work was issued
once in a single FIRST AND ONLY EDITION, and is complete in
five volumes. The first series: 3 vols. were published in
1877, followed by the second series consisting of 2 volumes
in 1879. Each volume has identifying title slips with:
series 1: volumes jo, chu, ge in 3 parts]; series 2: the
supplement jo, ge in 2 parts.
*
PRINTING TECHNIQUE:
This marvelous work uses crushed mica as an integral part
of the hand-made Washi paper. These tiny flecks of mica
give a sparkle to the illustrations, and are especially
effective on the feather portion of the falcons. Mica gives
a realistic and "high-tech" touch to the wood-cut printing
technique. Printed by hand.
*
Per Dr. Shigeru Oikawa, the eminent scholar on Kyosai, in a
letter from him to us in 1998, he discusses the dates of the
set. He states: "Takakagami was, I think, first published in
3 volumes with the title ...cover was blue or black. Then
came the last 2 volumes ...this time the...color was yellow.
The exact date is not known but the first edition in 3
volumes [first series in vols. 1,2,3,] could be 1860's and
some examples of the full set in 5 volumes has the date of
1875. Kyosai had finished all of the drawings in 1860's but
the publication seemed to be delayed..."
In essence what he is saying that the first 3 volumes were
published first, then later the balance of 2 volumes were
published to make a full set of 5 volumes. We have never
ever seen the first three in a separate group, in any color
except yellow with dates of 1877, nor have we seen in our 45
years tenure any copies in blue/black. We have not found any
reference books stating any information about any 1875
edition, we have only found the 1877-79 edition. One would
assume that if such an earlier edition did exist
bibliographers would have recorded this along with the
current edition we now offer for sale.
*****
*
ABOUT THE ARTIST & AUTHOR KAWANABE KYOSAI:
*
Per N. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION, p.196.
Kawanabe Kyosai aka: Gyosai [1831-89] was a Kano painter,
printmaker, illustrator, the son of a Samurai. Studied as a
child under Utagawa Kuniyoshi, then in Tokyo under Maemura
Towa, later under the most celebrated Kano Tohaku Chinshin
who gave him the name Toiku at 19 years old. Loved drinking
Sake, did some of his best work while under the influence,
exhibited a the Vienna Intl. Exposition in 1873 & in Paris
in 1883, where the West recognized his greatness.
*
Josiah Conder recognized his great talent & wrote a grand
reference book on him: PAINTINGS AND STUDIES, Tokyo 1911.
His famous KYOSAI GADEN, [L. Dawes p.92] was widely
appreciated in Europe, it even had English captions for the
foreign market! This was Kyosai's attempt to show the world
a wide variety of ancient Japanese & Chinese painting
styles; it is a magnificent set. Please inquire with us for
to see if we have a copy for sale.
*
COLLATION & SPECIAL ILLUSTRATING TECHINIQUES:
None of the above reference books list details of a full set
which was issued complete in 5 volumes: 3 + 2 vols.
supplement. The full list of the set titles appears in the
back of vol. 5 where a catalogue of Kyosai's titles are
listed by the publisher. This title was issued as a serial
in 1877,the supplemental 2 volumes in 1879.
*
The collation of the set is: vol. 1,3,4,5, each have 10p.;
vol. 2 has 11p. Every page is nicely illustrated, it
contains some 111 illustrations in all. Most copies have
mica-flecked paper that gives a sparkle and sheen to the
bird's feathers. This technique is difficult to create and
is exceptionally and RARE !
*
THE VARIETY OF BIRDS USED:
*
The Siberian goshawk or [falcon] O-taka [in Japanese] has
been considered the best variety for use in falconry in
Japan since ancient times. The Chinese call these birds Lao
Ying.
*
RARITY:
Seldom found in the complete five volume state, in clean and
collector's condition. This work is the most comprehensive
single monograph devoted to Japanese falconry ever published
in the 19th century or in prior periods. Gyosai's superb
artistic skill and solid ability to capture the essence and
feel of real and live Japanese falconry has yet to be
surpassed in woodcut media. The application of mica dust is
now a lost art, and never done. The work outlines the
ancient methods and culture of the falcon. This work
records the last of the ancient falconry methods of care,
raising and training, again a lost art in Japan. Japanese
E-hon [illustrated books] on this subject are SCARCE, and
are seldom found if ever on the open market, or in auctions
in a complete and excellent state.
*
This set is an historical monument, a corner-stone, the
"Sui Generis" on the subject of falconry in Japan. A major
treasure to any fancier of falconry or ornithology in Japan.
been considered the best variety for use in peregrine
falconry in Japan.
****
REFERENCES/BIBLIOGRAPHY:
*
N. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION, p.196.
*
G. Schack: KYOSAIS FALKENJAGD, Hamburg, 1968. Harting:
BIBLIOTHECA ACCIPITRARIA, 372. Thieme-Becker XXII, S 155.
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, 1972
pp.93, 183.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, #327, #327A ON P.816.
*
Douglas: CATALOGUE OF JAPANESE PRINTED BOOKS & MSS IN THE
BRITISH MUSEUM, London 1904, p.24, #16035.b.18.
*
Mitchell: ILLUSTRATED BOOKS OF THE NANGA & MARUYAMA...Los
Angeles, 1972, p.113.
*
Sorimachi: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS... IN THE
NEW YORK PUBLIC LIBRARY...#625, p.133 for a citation.
*
Briot, Alain: EHON TAKA KAGAMI article in Bulletin
Association Franco-Japonaise numero 36, Avirl 1992
*
EHON TAKA KAGAMI: vol. ix-2 article in Kyosai Memorial
Museum 1985
*
Kawanabe Kyosai: KYOSAI GADEN
*
ANIMA: special number: Aigles et autours" Heibonsha autumn
75
*
Bugniot, J.M. CHASSE AU VOL EN EXTREME-ORIENT. An article in
LA CHASSE AU VOL AU FIL DES TEMPS, issued by Musee
International de la Chasse-Glen, France 1994. pp.187-192,
235-237.
*
T. Clark: DEMON OF PAINTING: The Art of Kawanabe Kyosai,
*
Riccar Museum: KAWANABE KYOSAI HANGA HANBON TEN: Exhibition
of Kawanabe Kyosai's Woodblock Books, Tokyo 1987; this
illustrates several pages from this work.
*
L. Roberts: DICTIONARY OF JAPANESE ARTISTS p.100.
*
BUCKLAND, Rosina. et al. A JAPANESE MENAGERIE: Animal
Pictures of Kawanabe Kyosai.
*
Josiah Conder: PAINTINGS AND STUDIES, Tokyo 1911.
*
THE MOST MAGNIFICIENT SINGLE RESOURCE ON JAPANESE FALCONRY
EHON TAKA KAGAMI: THE ILLUSTRATED MIRROR OF HAWKS. PICTURES
OF DIFFERENT KINDS OF HAWKS, WITH HAWKING SECRETS & SCENES.
$15686
[Tokyo 1877-79, Nakamura]. Stitched yellow wrappers, title
slips, very good, issued in two parts: part I: vols. 1-3;
part II: vols. 1-2, 111 woodcut illustrations, some doublepage, covers bit darkened, contents very good. FIRST EDITION
JAPAN'S PREMIER SINGLE RESOURCE ON FALCONRY:
A major resource on Japanese falconry, the capture, taming &
teaching of falcons, the grooming, feeding and culture of
the bird of prey. Wonderful illustrations of falcons, the
associated tools & equipment, stands, methods of warming in
winter before the hunt, winter hunting, respect for. On the
flushing to expose game birds to be hunted by the falcon,
the kill, capture of the quarry. How to tether, hoods,
master's gloves and other accoutrements, field work,
breeding, bathing &c.
*
EDITION:
FIRST AND ONLY EDITION: This magnificent work was issued
once in a single FIRST AND ONLY EDITION, and is complete in
five volumes. The first series: 3 vols. were published in
1877, followed by the second series consisting of 2 volumes
in 1879. Each volume has identifying title slips with:
series 1: volumes jo, chu, ge in 3 parts]; series 2: the
supplement jo, ge in 2 parts.
*
PRINTING TECHNIQUE:
This marvelous work uses crushed mica as an integral part
of the hand-made Washi paper. These tiny flecks of mica
give a sparkle to the illustrations, and are especially
effective on the feather portion of the falcons. Mica gives
a realistic and "high-tech" touch to the wood-cut printing
technique. Printed by hand.
*
Per Dr. Shigeru Oikawa, the eminent scholar on Kyosai, in a
letter from him to us in 1998, he discusses the dates of the
set. He states: "Takakagami was, I think, first published in
3 volumes with the title ...cover was blue or black. Then
came the last 2 volumes ...this time the...color was yellow.
The exact date is not known but the first edition in 3
volumes [first series in vols. 1,2,3,] could be 1860's and
some examples of the full set in 5 volumes has the date of
1875. Kyosai had finished all of the drawings in 1860's but
the publication seemed to be delayed..."
In essence what he is saying that the first 3 volumes were
published first, then later the balance of 2 volumes were
published to make a full set of 5 volumes. We have never
ever seen the first three in a separate group, in any color
except yellow with dates of 1877, nor have we seen in our 45
years tenure any copies in blue/black. We have not found any
reference books stating any information about any 1875
edition, we have only found the 1877-79 edition. One would
assume that if such an earlier edition did exist
bibliographers would have recorded this along with the
current edition we now offer for sale.
*****
*
ABOUT THE ARTIST & AUTHOR KAWANABE KYOSAI:
*
Per N. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION, p.196.
Kawanabe Kyosai aka: Gyosai [1831-89] was a Kano painter,
printmaker, illustrator, the son of a Samurai. Studied as a
child under Utagawa Kuniyoshi, then in Tokyo under Maemura
Towa, later under the most celebrated Kano Tohaku Chinshin
who gave him the name Toiku at 19 years old. Loved drinking
Sake, did some of his best work while under the influence,
exhibited a the Vienna Intl. Exposition in 1873 & in Paris
in 1883, where the West recognized his greatness.
*
Josiah Conder recognized his great talent & wrote a grand
reference book on him: PAINTINGS AND STUDIES, Tokyo 1911.
His famous KYOSAI GADEN, [L. Dawes p.92] was widely
appreciated in Europe, it even had English captions for the
foreign market! This was Kyosai's attempt to show the world
a wide variety of ancient Japanese & Chinese painting
styles; it is a magnificent set. Please inquire with us for
to see if we have a copy for sale.
*
COLLATION & SPECIAL ILLUSTRATING TECHINIQUES:
None of the above reference books list details of a full set
which was issued complete in 5 volumes: 3 + 2 vols.
supplement. The full list of the set titles appears in the
back of vol. 5 where a catalogue of Kyosai's titles are
listed by the publisher. This title was issued as a serial
in 1877,the supplemental 2 volumes in 1879.
*
The collation of the set is: vol. 1,3,4,5, each have 10p.;
vol. 2 has 11p. Every page is nicely illustrated, it
contains some 111 illustrations in all. Most copies have
mica-flecked paper that gives a sparkle and sheen to the
bird's feathers. This technique is difficult to create and
is exceptionally and RARE !
*
THE VARIETY OF BIRDS USED:
*
been considered the best variety for use in falconry in
Japan since ancient times. The Chinese call these birds Lao
Ying.
*
RARITY:
Seldom found in the complete five volume state, in clean and
collector's condition. This work is the most comprehensive
single monograph devoted to Japanese falconry ever published
in the 19th century or in prior periods. Gyosai's superb
artistic skill and solid ability to capture the essence and
feel of real and live Japanese falconry has yet to be
surpassed in woodcut media. The application of mica dust is
now a lost art, and never done. The work outlines the
ancient methods and culture of the falcon. This work
records the last of the ancient falconry methods of care,
raising and training, again a lost art in Japan. Japanese
E-hon [illustrated books] on this subject are SCARCE, and
are seldom found if ever on the open market, or in auctions
in a complete and excellent state.
*
This set is an historical monument, a corner-stone, the
"Sui Generis" on the subject of falconry in Japan. A major
treasure to any fancier of falconry or ornithology in Japan.
been considered the best variety for use in peregrine
falconry in Japan.
****
REFERENCES/BIBLIOGRAPHY:
*
N. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION, p.196.
*
G. Schack: KYOSAIS FALKENJAGD, Hamburg, 1968. Harting:
BIBLIOTHECA ACCIPITRARIA, 372. Thieme-Becker XXII, S 155.
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, 1972
pp.93, 183.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, #327, #327A ON P.816.
*
Douglas: CATALOGUE OF JAPANESE PRINTED BOOKS & MSS IN THE
BRITISH MUSEUM, London 1904, p.24, #16035.b.18.
*
Mitchell: ILLUSTRATED BOOKS OF THE NANGA & MARUYAMA...Los
Angeles, 1972, p.113.
*
Sorimachi: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS... IN THE
NEW YORK PUBLIC LIBRARY...#625, p.133 for a citation.
*
Briot, Alain: EHON TAKA KAGAMI article in Bulletin
Association Franco-Japonaise numero 36, Avirl 1992
*
EHON TAKA KAGAMI: vol. ix-2 article in Kyosai Memorial
Museum 1985
*
Kawanabe Kyosai: KYOSAI GADEN
*
ANIMA: special number: Aigles et autours" Heibonsha autumn
75
*
Bugniot, J.M. CHASSE AU VOL EN EXTREME-ORIENT. An article in
LA CHASSE AU VOL AU FIL DES TEMPS, issued by Musee
International de la Chasse-Glen, France 1994. pp.187-192,
235-237.
*
*
Riccar Museum: KAWANABE KYOSAI HANGA HANBON TEN: Exhibition
of Kawanabe Kyosai's Woodblock Books, Tokyo 1987; this
illustrates several pages from this work.
*
*
*
*
A MOST EXCELLENT & ECLECTIC COLOR REFERENCE ON HIS ART WORKS
$15162
EXHIBITION OF KAWANABE KYOSAI'S PRINTS AND ILLUSTRATED BOOKS
FROM FUKUTOMI TARO COLLECTION. APRIL 7-MAY 5, 1987 AT THE
Tokyo 1987, Riccar. Purple stiff wrs., as new copy, 110p.,32
color, 119 b. w. illustrations, 15 figures, Japanese text,
summary and list of exhibits in English, ca. 21 x 30 cm.
a crisp and clean copy. S C A R C E
Excellent and valuable monograph on one of the Meiji
period's most unusual, creative & most imaginative print
artists. His magnificent woodcut prints and illustrated
books, drawings and manuscripts have fascinated collectors
and curators for years. years. His diversity and pure
imagination of demons and devils is unprecedented, and
unsurpassed.
*
This copious reference book illustrates and discussing
almost everything published plus a large percent of his
drawings and resulting prints. This work is therefore the
closest thing to a "Catalogue Raisonne" on Kyosai to date.
Among some of the great entries, are the illustrations and
references to his stunning and high-water mark set of three
illustrated wood-cut illustrated books on falconry: EHON
TAKAKAGAMI: MIRROR OF FALCONRY, please inquire with us about
a copy of this stunning work, as well as requesting our
current list of Kyosai items for sale..
*
An exceptionally useful reference for any collector, student
or curator of Kyosai.
*
*
*
*
KYOSAI'S MOST FAMOUS COLOR WOODBLOCK TREATISE ON PAINTING
$435
KYOSAI GADEN: GYOSAI'S ACCOUNT OF PAINTING: VARIOUS STYLES
BY KYOSAI.
[Tokyo 1887, Iwamoto]. Original stitched orange wrs., 4 vols
some pages with English subtitles and explanations by Uryu
Masakazu, covers: dusty, some old worming, bit scuffed, the
contents clean, solid & complete, 17.5 x 25.5 cm.
R A R E
Profusely illustrated in color & Sumi, with examples of the
various "schools" of Japanese painting, & well known artists
both classic & contemporary. Includes instruction in the art
& genealogies of painters, etc. Also an interesting portion
illustrating various incidents of Kyosai's life. He was an
exceptionally talented & versatile artist of the 19th
century. Very nice copy, in floral design Chitsu, please
inquire as we may have a different copy in stock.
*
KAWANABE KYOSAI: The Artist:
Liberally quoted or paraphrased from Roberts: A Kano
painter, printmaker, illustrator, son of a Samurai. Studied
under the great Utagawa Kuniyoshi, then later under Maemura
Towa and Kano Tohaku Chinshin, who gave him the name Toiku
when he was 19. Lived and worked in the Hongo area of Edo
[old Tokyo]. Said to have done some of his best work while
under the influence of Sake. Exhibited in Vienna
International Exhibition in 1873, and again in Paris in
1883. A distinguished painter, marked by a wild, eccentric
humor, left many sketches of great dexterity and
draftsmanship, and superb copies of other artist's work not
as a form of fake or forgeries, but in tribute to their
great talent and style. This book for example is a tribute
to a grand number of other artists, their style, and to his
own unique style of drawing. A marvelous artists and well
collected by world museums, institutions and private
collectors. His sense of humor is unmatched, and his
ability to express his feelings in drawings was superb !
*
This work shows a large variety of his works, Buddhist
subjects, icons, Samurai, ordinary people, landscapes,
animals, ghosts & goblins, Gods, demons, festivals, artists,
Zen priests, fish, birds, animals, cats, dragons, warriors,
Buddhist saints, Samurai, ghosts, monkeys, insects, women,
men, horses, court officials, Chinese heroes and other
folk-lore, Geisha, prostitutes, anatomical drawings, Dharma,
and a host of others.
*
What makes this book highly unusual and unique is not only
the large number of drawings, but the accompanying English
text and captions telling of the style of different artists
that Kyosai emulated. Few if any such resources exist from
this time period in English that show the drawing and
artistic styles of other Japanese [and a few Chinese]
artists. The work is monumental, and shows the true sense of
good humor Kyosai had. His light-hearted nature is reflected
in his caring exposition of art styles. No other single work
by Kyosai is so diverse.
*
COMPLETE WORK:
The complete work consists of 4 volumes:
Naihen 2 volumes first series: part a.: 39 sheets; part b:
40 sheets.
Gaihen 2 volumes second series 2: part c: 36 sheets; part
d: 36 sheets.
Each "sheet" is a double-folded page. Nearly all of the
pages are illustrated. Some are single images on a page,
other pages have 2 or as many as 4 illustrations per page.
The entire work was woodcut printed on hand-made Washi
paper.
*
UNIQUE WORK WITH ENGLISH CAPTIONS:
Josiah Conder [1852-1920], was a British subject, teacher in
Japan taught at the Imperial College of Engineering in Tokyo
from 1877 and an architect who designed numerous public
buildings in Tokyo. Condor developed a keen interest in
Japanese arts, and after a long period of petitioning, was
finally accepted to study painting with the artist Kawanabe
Kyosai. He was given the name Akihide by his teacher. His
studies led to a number of publications, among them 'THE
FLOWERS OF JAPAN; THE ART OF FLORAL ARRANGEMENT; THE HISTORY
OF JAPANESE COSTUME; and LANDSCAPE GARDENING IN JAPAN.
He also wrote a stunning book first western book on Kyosai:
PAINTINGS AND STUDIES BY KAWANABE KYOSAI, published in
Tokyo, 1911. This work reflected the respect and admiration
he felt toward Kyosai's artistic and unique talent. In an
another attempt to introduce Kyosai to the Western he wrote
the English captions found in KYOSAI GADEN. It is perhaps
the first book with substantial English captions published
in Japan, giving foreigners excellent access to Japanese and
Chinese painting styles done by Kyosai.
*
NOTE:
We try to have original woodblock printed books by Kyosai
and the associated references in stock, so please inquire to
see which we have in stock today.
****
BIBLIOGRAPHY:
L. Dawes, CATALOGUE OF JAPANESE ILLUSTRATED BOOKS: p.92
*
Josiah Conder: PAINTINGS AND STUDIES BY KAWANABE KYOSAI,
published in Tokyo, 1911.
*
Toda, K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHNESE
ILLUSTRATED BOOKS: p.310 for more details.
*
Yone Noguchi: SPIRIT OF JAPANESE ART, 1915 for a detail
biographical essay.
*
L. Roberts: DICTIONARY OF JAPANESE ARTISTS: p.100
Also many Buddhist icons, demons, Gods and protectors.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS: p.197-198, no. 476.
*
KSM [Kaiga]
*
[OIKAWA, Shigeru.] et al.: KYOSAI NO GIGA: KYOSAI'S
CARICATURE PICTURES.
*
*
*
A FAMOUS COLOR BOOK ON JAPANESE GHOSTS, GHOULS AND DEMONS
KYOSAI HYAKKI GADAN: KYOSAI'S PICTORIAL ACCOUNTS OF ONE
HUNDRED GOBLINS.
[Tokyo 1895, Ogawa]. Blue boards, accordion folded, 12 x 21
cm., signed Shoojoh Kyosai Ga, or Drawn by Shojoh Kyosai, on
thin slighly browned paper, title slip, edge wear contents
very good, 25 double-page color illustrations, 27 doublepages in all. A superbly marvelous look at the various kinds
of devils, demons & ghosts found not only in Gyosai's
imagination but within Japan's long tradition of
supernatural devils and mythological creatures that
populate the genre.
*
This period work covers the gambit of one-eyed, three-eyed
ghouls, Tengu, horned creatures, all sorts of Buddhist
monsmonsters, phoenix, dragons, musicians, thunder Gods,
skulls & skeletons, female ghosts, goblins, magical animals,
fabulous creatures &c. Organized in a horizontal scroll
painting format.
*
The scroll begins with a group of people seated around the
Hibachi, in the evening, many are hiding under the
Kotatsu blanket in fear, as one person dressed in a black
Kimono gestures while telling a the Hyaku-Monogari [THE ONE
$3264
HUNDRED GOBLIN STORIES.
*
The next page shows a person holding a lamp, with a
horizontal scroll, which is probably a selfportrait of
Kyosai, as he he peeks under a cloud to see a group of
horrible skeletons and images of death goblins. So the
story continues.
*
Its full of various grotesque and very sick-morbid goblins
and ghosts, some with one large or three strange eyes, and
weird shapes. Loaded with demons, ghouls, King of Hell,
King of Freaks, haunted animals, tonsured monsters, the
ugly, horrible, the bizarre, monsters of the free Walpurgis
Night as they are engaged in a "hundred monsters" and many
other scary things found during the "Obon Festival" in
August, or the return of the dead souls.
*
The work of a very creative and unique [and sick !] and
talented artistic mind ! An illustration from this book is
found without tribute or citation but we did recognize it
immediately.
*
An exceptionally fine and most RARE AND
IMPORTANT example of some of Kyosai's most imaginative and
superb artistic work found.
*
THE ARTIST:
Kawanabe
Kyosai/Kyosai: [1831-1899], was a great & famous Kano style
painter, print & book-maker, illustrator, who studied under
Utagawa Kuniyoshi and others.
*
REFERENCES:
Nikolas Kiej'e:JAPANESE GROTESQUERIES, p.148, #82. He
states "...To draw an extremely ugly misshapen demon as the
servant of these unwholesome looking women is such an
instance of [Japanese] fascination with the grotesque."
****
ILLUSTRATED BOOKS, p.309-310.
*
Not listed in Kerlen.
*
biographical details.
*
CLARK, Timothy: DEMON OF PAINTING: ART OF KWANABE KYOSAI.
***
A MOST LOVELY & CHARMING COLOR WORK ON NATURE BY THE MASTER
$5440
KYOSAI RAKUGA: KYOSAI'S DRAWINGS FOR PLEASURE.
[Tokyo 1881, Takeda]. Red silk spine, stiff wrs., 2 vols set
title labels, very good, [36] double folded pages [18 per
volume], 33 double page color woodblock prints, 14 x 21.5 cm
very good, center gutter tight on some illustrations.R A R E
Else a very good copy of an exceptionally RARE work. The
contents consists of various subjects from nature i.e.:
fish, birds, geese, monkeys, turtles, foxes, mice,
rabbits, bats, crayfish, fish, crabs, lobsters, insects,
flowers, bamboo, landscapes, scholar's rocks, persimmon,
fruits, snake, mole &c.
*
This is one of Kyosai's more obscure works & perhaps one of
his last books. Kyosai has been widely collected and
appreciated in Japan, his works are quite scarce.
*
A charming and most delicate work, done in pastel-colors,
woodblock printed on hand made thin tissue type paper. In
volume 2, some center gutters are a bit stuck together, but
this was common for books of this format, in an effort to
keep them together, otherwise a solid & nice copy. The work
was roughly color printed, each painting covers two
pages with a center fold, and is signed in the block by
the aritst. It is in remarkably very good condition given
the fact that it was printed on such fine and thin paper.
One or two small tears or defects, else clean, good registry
an unsoiled, by and large a good example. Contained in a new
blue cloth folding Chitsu case.
*
BIBLIOGRAPHY:
*
*
*
Londdon [1993], British Museum: illustrated on p.144, plate
#97.
*
H. Kerlen: CATALGUE OF PRE-MEIJI JAPANESE BOOKS AND
MAPS...p.198, items #477 & 448.
*
J. Meech-Pekarik: THE WORLD OF THE MEIJI PRINT
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, p.93. *
*
Riccar Art Museum's: EXHIBITION OF KAWANABE KYOSAI'S PRINTS
& ILLUSTRATED BOOKS FROM FUKTOMI TARO COLLECTION: p.36-38,
illustrating 4 pages from this work, 2 are in full color.
*
A SUPERB, NAIVE AND TENDER WORK OF CHARACTURES
228 KEISAI, Kitao.
KEISAI RYAKU GA SHIKI:SIMPLIFIED FORMS OF PAINTING BY KEISA
[Alternate English Title: "METHODS OF CURSIVE DRAWING."
Edo 1799, Suwahara. Stitched wrs., covers well rubbed, soiled, contents clean, solid, 31 double folded leaves [62p].,
large size, ca. 18 x 26 cm., 62 pages of woodlbock colored
illustrations, back cover there, its paper covering gone.
A fascinating and unusual book. This is a famous book by a
Kitao Masayoshi, aka by studio names: Kuwagata Keisai et
al., [1764- 1824]. Per Lawrence and we summarize, he was a
celebrated Ukiyo-e painter, printmaker and illustrator born
in Suruga province. He was also the star pupil of Kitao
Shigemasa, and worked until 1797 as an Ukiyo-e artist under
the 'Go' or studio name of Kitao Masayoshi, designing
numerous prints & and illustrating books.
*
In 1797, he became the official painter to the Daimyo of
Tsuyama & was also given some training by Kano Eisen'in.
He took his grandmother's name of Kuwagata and then began
to work in the Kano school style. Eventually retired and
became a lay monk. He is known for his subtle and tender
lines, his prints of lowers done with delicacy. His work
is charming, expressing innocence and with remarkable
delicacy and softness.
*
The current work is a collection of his color drawings of
mostly human figures with a sprinkling of a few animals.
Hokusai was influenced by his unique style, which found its
way into the his famous series title: HOKUSAI MANGA. These
caricature are done with naive innocence, with a dash of fun
intended, and some irony. The work shows a great diversity
in his ability to draw and perceive the Japanese people of
the late 18th century. Delicately pastel colored, revealing
his zest for life. A wide variety and large number of
his quaint drawings are presented in this book. A delight
to behold ! For a companion volume in the same style on
animals, birds, fish, insects, please inquire for his CHOJU
RYAKU GASHIKI.
*
BIBLIOGRAPHY:
This famous work has been highly collected over the last 200
$3400
years by the most famous libraries and collectors worldwide. It is cited in most of the standard bibliographies.
Most cite the date as 1795 however oar's clearly states the
date as Kansei 11th year, or 1799. It is possible that some
bibliographers are citing the preface date. Ours clearly has
a dated colophon of the above year.
There is some distinct confusion between the first edition &
some later editions, which bear alternate titles:
KEISAI RYAKUGA-SHIKI & JIMBUTSU RYAKUGA-SHIKI. See below for
some evidence of this problem.
***
BIBLIOGRAPHY REFERENCES:
*
C.H. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA,
MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN, p.453.
He wrongly cites Toda: 210, with a different title:
JIMBUTSU RYAKUGA SHIKI.
*
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS
IN PUBLIC COLLECTIONS IN THE NETHERLANDS, p.553-4, #1351.
*
3. K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE
ILLUSTRATED BOOKS, p.215, but he cites an 1856 edition .
being a reprint.
*
3. L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS. p.99.
item E.2514-1925 seems to be the same as the one cited in
Toda, but inaccurately thinks this is volume 3 of a set.
*
4. Louise Brown: BLOCK PRINTING & BOOK ILLUTRATION IN JAPAN
cites on p.124 two separate entries for a book with this
title: first states 1795 "Rare;" second cites what looks
like a reprint: "...2 small volumes, not dated ca. 18091810 colors."
*
5. L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.75 for more
details. Due to the artist's several "studio names" used,
there is a tendency to confusion as to his correct name.
*
KSM: 8-47-1
*
KRAFT vol. 3, no. 556.
*
Corbin 399 with title: Keisai Ryakuga-shiki
*
Duret 179
*
Haviland [xviii] 582, 97 quoting the wrong title:
JIMBUTSU RYAKUGA-SHIKI, which is an entirely different book.
*
Hayashi 1557. According to him, some later issues bore
the titles KEISAI RYAKUGA-SHIKI & JIMBUTSU RYAKUGA-SHIKI,
*
Hubert 39
*
Javal [I] 97
*
Odin 105, 106, 107
*
L. Brown: p.124
***
$816
A NAIVE AND INNOCENT WORK, DRAWN WITH TENDERNESS AND CARE
229 KEISAI, Masayoshi.
CHOJU RYAKUGA SHIKI: CURSIVE METHODS OF DRAWING OF BIRDS AND
ANIMALS.
[Edo 1842 Suwaraya]. Stitched brown wrs., very good example,
48 double leaves + collophon page, ie 95 pages of color wood
cut illustrations, 25.5 x 18 cm., replacement covers & title
slip, minor thumbing on lower corner, else clean, solid.RARE
This is a another famous book by Kitao Masayoshi, aka by
studio names: Kuwagata Keisai et al., [1764- 1824]. Per
Lawrence and we summarize, he was a celebrated Ukiyo-e
painter, printmaker and illustrator born in Suruga province.
He was also the star pupil of Kitao Shigemasa, and
worked until 1797 as an Ukiyo-e artist under the 'Go' or
studio name of Kitao Masayoshi, designing numerous prints &
and illustrating books. In 1797, he became the official
painter to the Daimyo of Tsuyama & was also given some
training by Kano Eisen'in. He took his grandmother's
name of Kuwagata and then began to work in the Kano school
style. Eventually retired and became a lay monk. He is known
for his subtle and tender lines, his prints of lowers done
with delicacy. His work is charming, expressing innocence
and with remarkable delicacy and softness.
*
The current work is a collection of his color drawings of
mostly of animals [mammals], birds, insects, frogs, fish,
turtles, shrimp, lobster, shell-fish, whales and other sea
creatures. For a companion volume in the same style on human
figures please inquire for his RYAKU GASHIKI.
*
Hokusai was greatly influenced by his unique style, which
found its way into the his famous series title: HOKUSAI
MANGA. These caricature were done with naive innocence, with
a dash of fun intended, and some irony. The work shows a
great diversity in his ability to draw and perceive nature
as it actually was, during the late 18th century. The work
is delicately pastel colored, revealing his keen sense of
nature's animals, wide variety and large number of his
quaint drawings are presented in this book. A delight to
behold !
*
An important book. Properly collected by the world's great
libraries and museums, as well as private collectors.
*
BIBLIOGRAPHY
1. H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS
-- IN PUBLIC COLLECTIONS IN THE NETHERLANDS, p.57-8, #140,
-- cites 1797 edition.
2. KSM 5-687-3
3. Kraft vol. 1, no. 55, vol. 3, no. 60
5. C.H. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA, MARU-- YAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A BIBLIO-- GRAPHY, p.240
6. Duret 181
7. Hayashi 1558
8. Javal [II] 140.
9. Odin 108
10. L. Brown, p.124
11. Toda. 213, cites 1797 edition.
12. Strange, illustrations reproduced [1897], p.88.
*
BEAUTIFUL COLOR DRAWINGS: A MYRIAD OF FISH, BIRDS & ANIMALS
CHOJU RYAKUGA SHIKI: SIMPLIFIED FORMS OF DRAWING BIRDS AND
ANIMALS.
[Kyoto nd. ca. 1902, Unsodo]. Stiff buff stitched wrs., very
good, 25 double-folded sheets, 50 pages color illustrations
18 x 25 cm., Japanese introductory page & colophon.
This lovely work depicts a wide variety of simiple, but very
skilfully drawn birds, animals, fish & sea life, insects and
a host of items. Highly impressionistic style, without a trace of the Ukiyo-e style. A reprint of the 1795 Edo edition.
*
BIBLIOGRAPHY:
Chibbett: DESCRIPTIVE CATALOGUE OF THE PRE-1868 JAPANESE
BOOKS, p.6, #14, as authored by Kitao Masayoshi,
with an excellent description of the book.
*
Toda: RYERSON COLLECTION OF JAPANESE & CHINESE ILLUSTRATED
BOOKS, p.213 but Toda attributes this to Keisai but shows
a variant surname to be Kuwagata.
*
Roberts: DICTIONARY OF JAPANESE ARTISTS p.75 does solve this
mystery by noting that one of Keisai's studio studio names
is also Kitao Masayoshi, as per Chibbett. Keisai
1764-1824, was a pupil of Kitao Shigemasa a famous
natural history painter of birds, flowers & animals. A skilfull painter in the Kano style, who later retired to become
a Buddhist monk.
*
$510
A most charming work.
*
RYAKU GA EN: SIMPLE DRAWINGS BY KEISAI.
[Edo 1808, Suharaya]. Orange stitched wrs., very good, minor
cover soil, contents clean, 18 x 26 cm., 30 double-folded
leaves = 60p. in all, 2 are text pages, 56 pages color woodblock printed illustrations.COMPLETE IN 1 VOL. FIRST EDITION
A lovely book with a large number of color drawings and
sketches. These lovely caricature drawings reflect the
daily life of
the Japanese engaged in all sorts of activities. Reminiscent
of the Hokusai MANGA. Consisting of a large number of vivid
and humorous sketches of Japanese life in the early 19th
century. A delightful work ! Illustrated in tender pastel
colors.
*
EDITION:
This is the very rare and obscure true FIRST EDITION,
published per the colophon in the back as Bunka 5th year
[1808] edition. Except for Dawes [see below], all of the
other references below list this title as the 1823 date, a
posthumous edition.
.
There seems to be a bit of a controversy regarding the
actual title. While the front cover clearly shows the title
to be RYAKU GA EN, other bibliographers cite an alternate
titles KEISAI RYAKU GA EN, et al. per below references. It
is one in the same book, but the later 1823 edition may use
a variant title, causing confusion.
***
REFERENCES:
*
L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS,p.100
cites this exact 1808 edition, see 2nd from top entry.
*
p.453, 2nd entry from the top, cites artist's name as
Kuwagata Keisai, an alternate "studio name" for Keisai.
*
ILLUSTRATED BOOKS: p.215 with title Keisai Ryakuga-en, see
illustrations on pl210-213.
*
Harley H. Bartlett & Hide Shohara: JAPANESE BOTANY DURING
THE PERIOD OF WOOD-BLOCK PRINTING: p.174, exhibit
$408
58,illustrated as figure 48. He does not cite any date. Our
copy does not have the same illustration as figure 48, so we
believe that Bartlett was citing the later edition of the
book.
*
Hayashi 1654
*
Javal [I] 145 with title Keisai Ryakuga
*
Odin 118 with title Keisai Ryakuga
*
Roberts: DICTIONARY OF JAPANESE ARTISTS p.75 does solve this
mystery by noting that one of Keisai's studio names
is also Kitao Masayoshi, as per Chibbett. Keisai
1764-1824, was a pupil of Kitao Shigemasa a famous
natural history painter of birds, flowers & animals.
A skilful painter in the Kano style, who later retired to
become a Buddhist monk.
*
NOT IN:
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND
MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS
***
$762
232 KETCHAM, W.H.
JAPANESE COLOR PRINTS: A Few Words About Their Origin, the
Artists Who Designed Them, Their Uses and the Method of
New York 1895, Ketcham. Wrappers, Japanese woodblock printed
floral covers, 15p., bibliography, 14.5 x 22 cm. An obscure
item by a "Picture dealer" from New York. Essays on various
print artists, appreciation, list of principal artists. RARE
A lovely and obscure ephemeral item.*
A MOST SUPERB COLOR BOOK OF JAPANESE GHOSTS, GHOULS & DEMONS
$41
233 KIEJ'E, Nikolas. comp.
JAPANESE GROTESQUERIES.
Rutland [1973], Tuttle. Half cloth over boards, very sharp,
260p., 155 b.w. plates, introductory essay by T. Barrow, dj.
is very clean & bright in clear mylar protector, excellent
copy, 14.5 x 21.5 cm., like new.
Superbly illustrated with selections from Hokusai's MANGA,
Kyosai's various books and other graphic works.
*
With focus on the macabre, ghosts, long-necked demons,
weird, wonderful creatures, giant spiders, dragons, water
spirits and a who's who of weird mythological animals from
Japan's rich pantheon of animistic devils.
*
Excellent examples from the woodblock printed books and
prints of Kawanabe Kyosai [Gyosai] and Katsushika Hokusai,
both of whom had a delightful personality with lots of humor
and weird drawings in their fascinating books of ancient
Japanese tales of horror !
*
Please inquire with us as we may have some of the original
woodblock printed books from the above artists and even
those used in this book in stock.
*
AN EXCELLENT AND EARLY GUIDE TO THE WHOLE TOKYO AREA
234 KIKUOKA, Tenryoo. [Mitsuyuki]
EDO SUNAGO ONNOKO MEISEKI SHI: FAMOUS PLACES & SITES OF THE
HISTORIC EASTERN CAPITAL [EDO].
[Edo 1732, Yorozu-ya]. Blue stitched wrs., very good, covers
worn, scuffed, contents clean, 6 volume set, complete, [208]
double-folded leaves, 21 maps, 5 illustrations, entirely
woodblock printed on hand-made paper, 16 x 23 cm., unusual.
This is an excellent guide to old Edo by sections, each
$46
volume is devoted to several areas. They include Asakusa,
Shin Yoshiwara, Sakamoto, Koishikawa, Ootsuka, Ueno,
Yotsuya, Akasaka, Shibuya, Okubo, Ichigaya, Aoyama, Mita,
Shinagawa, Oii, &c., only to mention a few.
*
Japanese commentaries guide the reader to the sights and
places of interest, using the maps and illustrations to
emphasize. The author was a Haiku poet who wrote essays an
Edo citizen. A famous work on Edo typography. nicely
described and illustrates a host of familiar places
in and around Tokyo. About two maps per volume.
*
SCARCE EARLY ILLUSTRATED RESOURCE ON TOKYO
****
BIBLIOGRAPHY:
JAPAN BIOGRAPHICAL ENCYCLOPEDIA AND WHO'S WHO p.591 under
Kikuoka Mitsukuni his nephew.
*
H. Kerlen: CATALOGUE
Of PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN
THE NETHERLANDS p.90 #230. This entry shows a 1732 preface
date and continues through 8 volumes ending in 1772. Ours is
likely an earlier edition
**
NOT LISTED IN:
This elusive work is not found in:
Toda
Brown
Edgren
Dawson's Catalogues
Dawes
Hickman.
****
STUNNING LOOK AT THE GREAT ANSEI FLOOD
235 KINTON, Dojin comp. et al
ANSEI FUBUNSHU: NATURAL DISASTERS DURING THE ANSEI PERIOD
[1854-59]: The Flood, Typhoon & Pestilence.
Edo 1857, Hakuaido. Stitched stiff striped wrs., 3 vol. set,
very good, covers bit dusty, soiled, contents clean, solid,
9+13+15 double page Japanese text leaves, 34 color print
illustrations, 10 double page. FIRST & ONLY BANNED EDITION
A most unique & unusual set of 3 volumes, with two-four page
color panoramic views. Each of these two panoramic views
have opening pages that have extra pages on each end.
Thus folding out from the
center to make two pages
$4080
on each side for a total of four page prints in all.
*
This set was nicely and skillfully illustrated by:Yoshitsuna
[worked 1848-1868] pupil of Kuniyoshi; Kunichika [1835-1900]
pupil of Toyokuni III [aka Kunisada]. The work discusses and
illustrates some of the natural disasters of the period.
*
Ansei was the period when Commodore Perry returned to
Yokohama and got a treaty of commerce with the reluctant
Japanese. Perry's first arrival to Japan in 1852 caused a
civil war to erupt. The factions were divided between allowing Westerners to establish diplomatic and commercial relatrelations versus those against allowing any foreigners into
Japan. Those who were against use the motto was "Sono Joi"
or "repel the foreigners."
*
It was believed that the eventual allowing of the American
Commodore Perry & other Western powers to establish official
relations with Japan during this period was the cause of
"Mappo." "Mappo" is the Buddhist term to explain nature's
revenge for man's wrong-doing and immoral actions. Thus, the
profusion of natural disasters during this period were
attributed to Perry's arrival and the buckling of the Shogun
government to allow official relations with foreigners to
begin.
*
Per Toda, "This book describes the great storm and flood
that struck the city of Edo in the autumn of Ansei 3 [1856].
It was probably a private publication." What Toda missed,
was that this and another similar book of the period was
banned by the Shogunate [see more below]. The entry just
above this book in Toda: ANSEI KENBUNSHI by Hattori was also
banned, and Toda states: "...this [set] is a record of the
great Ansei flood & earthquake of Edo in 1855. According to
a note attached to this book, for some reason the sale was
prohibited after its publication." Thus, this book does NOT
have the usual, standard and required colophon, which should
cite imprint, nor any censor's seal ! What this means, is
that this set of books were never sanctioned by the Shogunate's censors, therefore the imprint meaning: place, date &
publisher was purposely omitted by those who published this
work. Obviously this was banned & suppressed by the Shogunate & publication was not allowed. Clearly the Shogunate
government didnt want people throughout Japan to learn of
the great & profuse amount of natural disasters, because the
people would know that "Mappo" had begun and the country was
to be punished for its immoral acceptance of foreigners upon
the sacred land of Japan. This could cause insurrection so
the Shogunate banned any publications that would hint of
disasters to avoid this situation.
*
* DETAILED CONTENTS:
The first volume begins with commentary
about natural
disasters and why they strike Japan. It continues with illustrations, which shows a flood scene, with a kind of BirdGod looking down on a drowning old lady, which is a symbolic
portrait of the "Mappo" theme. The next is double panel view
of a lucky villager who opens his Tansu [dresser] to find a
Tai or seabream [a kind of red snapper, indicating good
fortune] which is an ironic image, along with an octopus
caught and hung on a hook, an eel, abalone along with edible
sea weed are strewn about the floor. This is an omen of good
fortune for a man with a "Pure heart" !
Followed by a four
panel view of the tremendous flood & damage to the village,
its houses, people and how some drowned, others are being
rescued, household objects are floating down the main street
from the deluge. Another night scene shows a man being pulled from the raging torrent by a fleeing villager as they
head for high ground. Another shows the great deluge of rain
fall, as animals and household furniture and objects are
being rescued as people try to save their dwellings. The
last picture shows wrecked ships along the coast.
*
Volume two continues with a night scene and lightning bolts
across the black sky as the rain continues to pour down,
villagers flee for their life. Followed by one that shows
the reconstruction of the Buddhist temple roof, as the
community collects & hands up roof tiles. Next is a double
view is of a coast line, a broken bridge and the wreckage of
many boats. This opens into the second four-panel panoramic
view of a great river flowing through the town as houses
crumble, large boats crash into buildings, others on boats
attempt to rescue the floating furniture and assorted household goods. Yet another night view of people clinging to
trees & roof tops as animals and furniture flow by in the
wild torrent. The last shows a tremendous wind that has
blown a poor villager off a hill into the air in flight.
*
Volume three shows a bewildered bird with its feathers quite
ruffled. Next shows a flock of dead black birds or crows as
villagers collect them for burial. The last shows a big and
strong man as he braves the white-water waves to cut a great
rope, as he wealds a Japanese sword. The true magnitude of
this great disaster becomes crystal clear from the superb
images.
*
It can be understood, that the Shogunate wanted to suppress
this sort of catastrophic disaster from the common people.
This work also pointed out, that there was absolutely no
Shogunate government policy to provide any kind of financial
assistance to villages. This lack of recognition by the
government was just one more issue which caused unrest,
rebellion and insurrection among the masses.
*
Works of this subject nature with such vivid graphics are
truly RARE !
The complete work, a banned book was some how
illegally published & distributed in very small and limited
numbers. Its a wonder that it survived to inform us of the
true disasters of those times.
The wrok was co-compiled by
Kangaki Robun [1829-1868].
*
REFERENCES:
K. Toda: THE RYERSON COLLECTION OF JAPANESE & CHINESE BOOKS,
p.295.
*
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS,p.5,
item #12 for more bibliographic details.
*
For biographical information on the artists, see L. Roberts
DICTIONARY OF JAPANESE ARTISTS, pp. 95, 204.
$3400
A WONDERFUL LARGE FORMAT COLOR WOODBLOCK PRINTED ALBUM
236 [KITAO, Shigemasa].
KA CHO ZU FU: ILLUSTRATED ALBUM OF FLOWERS & BIRDS.
[Japan n.d. ca.1900]. A silk covered accordion folded album,
all edge gilt, some leading edges mended, covers bit worn on
edges, 48 full color woodblock prints tipped-in, Japanese
index, prints 29.5 x 18.5 cm.,quite nice, cloth Chitsu case.
This excellent work depicts a wide variety of birds in their
natural setting perched & hunting prey among the branches &
colorful flowers. The 48 prints are on both sides of the
album, contained in a new blue cloth Chitsu folding case
with bone clasps, spine title slip. Biographical data for
Shigemasa [1739-1820] can be found in L. Roberts: DICTIONARY
OF JAPANESE ARTISTS, p.145. See also H.H. BARTLETT: JAPANESE
BOTANY DURING THE PERIOD OF WOOD-BLOCK PRINTING, p.228-234
for more details on Kitao, and the KACHO tradition of "Flower & Bird" painting, with illustrations 90-101. See L. G.
Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, p.6 for biographical information, p.127-127 for details of the first
edition: SHASHIN KACHO ZUE, which is the same book, but a
later edition. Books with this quantity of individual tipped
in plates are seldom found intact any more as most are broken for framing. This work is complete as it was issued in a
posthumous edition. Spectacular bird and flower book. Color
scans can be sent by e-mail.
A L W A Y S
R A R E !
$3264
A WONDERFUL LARGE FORMAT COLOR WOODBLOCK PRINTED ALBUM
237 [KITAO, Shigemasa].
KA CHO ZU FU: ILLUSTRATED ALBUM OF FLOWERS & BIRDS.
[Japan n.d. ca.1900]. Blue cloth oblong album, corners bit
worn, silk ribbon tied, 48 full color woodblock prints, tipped-in, Japanese index, prints 29.5 x 18.5 cm., quite nice,
tissue guards.
S C A R C E
This excellent work depicts a wide variety of birds in their
natural setting perched & hunting prey among the branches &
colorful flowers. The 48 prints are on both sides of the
album, contained in a new blue cloth Chitsu folding case
with bone clasps, spine title slip. Biographical data for
Shigemasa [1739-1820] can be found in L. Roberts: DICTIONARY
OF JAPANESE ARTISTS, p.145. See also H.H. BARTLETT: JAPANESE
BOTANY DURING THE PERIOD OF WOOD-BLOCK PRINTING, p.228-234
for more details on Kitao, and the KACHO tradition of "Flower & Bird" painting, with illustrations 90-101. See L. G.
Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, p.6 for biographical information, p.127-127 for details of the first
edition: SHASHIN KACHO ZUE, which is the same book, but a
later edition. Books with this quantity of individual tipped
in plates are seldom found intact any more as most are broken for framing. This work is complete as it was issued in a
posthumous edition. Spectacular bird and flower book. Color
scans can be sent by e-mail.
A L W A Y S
R A R E !
$4080
STUNNING COLOR PORTRAYAL OF BIRDS AND FLOWERS
238 KITAO, Shigemasa.
SHASHIN KACHO ZUE. PICTURES OF BIRDS AND FLOWERS.
[Japan 1805, n.p.]. Blue stitched stiff wrs., red title slip
very clean copy, vol. 1 of 2 vol set only, 16 x 22.5 cm.
KITAO Shigemasa [1739-1820] was a well-known Ukiyo-E painter
and poet of the period. He was also the eldest son of
Suharaya Saburobei, a famous book publisher & dealer in Edo.
Influenced by Nishimura Shigenaga and Harunobu, he
illustrated many books, designed relatively few prints and
his works are rare and paintings even rarer. A respected
artist of his time. His natural history books were of the
highest caliber, doing birds and flowers exceptionally well.
*
REFERENCES:
PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER: see p.145
for more details.
***
SUPERB GRAPHIC RESOURCE ON 18TH CTY WOMEN'S CULTURE IN JAPAN
239 KITAO, Tatsunobu. [Son of Nishikawa Jitokusai Sukenobu?]
JOYOH BUNSHOH ITO GURUMA: THE SPINNING WHEEL OF LETTER
WRITING FOR WOMEN.
[Osaka 1772, Kashiwaraya]. Stitched blue wrs., large format,
18 x 26 cm., minor edge wear, contents clean, [204]p. woodblock printed on doulbe leaves, 8p. color prints, ca. 75 b w
$204
illustrations on women's culture, a small old worm hole on
the first few pages, no loss. This excellent work is devoted
to Japanese women, with 60 illustrations on the events of
the twelve months, about 50 others on women's culture all
skillfully drawn by Kitao.
*
With a profusion of calligraphy examples on how to write a
New Year's letter & reply, festival letters, invitations,
plum blossom letters, yearly celebration letters, holidays,
weddings, births, 'thank you' notes, gifts &c. A very
interesting illustrated book, with very good insight to
the activities of the Japanese before Western influence.
Charming illustrations show a wide variety of customs and
festivals.
*
Color plates show shell gathering at the shore, Great Shrine
at Edo, Shamisen & Koto playing, Madame Lady Murasaki
composing her "Tales of Genji," the first novel written by a
woman. With most beautiful examples of calligraphy examples.
*
BIBLIOGRAPHY:
K. Toda: THE RYERSON COLLECTION: p.216 top of the page.
*
Louise Brown: BLOCK PRINTING & BOOK ILLUSTRATION IN JAPAN:
p.131, bottom of the page, wherein Brown lists books signed
by Sukenobu, although he died in 1751, may actually have
been the work of his son. Clearly the art work is
exceptionally similar if not that of Sukenobu. It is our
opinion, because of the coloring, this must be the work of
his son, with the innovative color added.
*
Not in Kerlen.
*
240 KIYOHARA, Shigeome. ed. et al.
SOMOKU SEIFU Bound Together With: YUDOKU SOMOKU ZUSETSU:
PLANT GENEOLOGY Together With DISCOURCES & ILLUSTRATIONS OF
[Osaka] 1823,1827/Maekawa Eirakuya.Stitched yellow stiff wrs
$1736
5 vol. set complete, two titles: 3 vols.+2 vols, as issued,
profusely illustrated in color and black outline woodblock
illustrations, 18 x 28.5 cm., in cloth folding Chitsu case.
This is a stunning and famous botanical, and pharmacopoeia,
complete in a set of 5 volumes, composed of two celebrated
titles:
*1. Volumes 1-3; SOMOKU SEIFU: PLANT GENEALOGY, Edited by
Kiyohara Shigeomi [Toneri Shigeome], [1779-1847], the editor
also used the name Kiyohara Jukyo, corrector Kiyohara
Shigemitsu, illustrated by Numata Gessai Masatami
[1784-1864] & Mizutani Toyobumi [1779-1883], illustrated by
Numata Gessai [1789-1864] et al., published before c.1825,
publisher: not cited.
.
Collation: 3 volumes: All tightly stitched, solidly bound.
.
a. Vol.1/Ten:23 double-folded leaves, 6 color, 10 two-tone
b.w.
illustrations, first/last few pages stain to upper 1/3 of
page, faint damp-stain to top blank area minimal impact to
text or plates, a tiny bit of old worming, very small
limited to the upper blank margin, else solid.
.
b. Vol.2/Chi:31 double-folded leaves, 2 color, 20 b.w.
outline
drawings, a few very small old worm holes, top margin
stained on several pages, covers a bit dusty, small wear
spot on back cover
.
c.Vol.3/ Zenpen:32 double leaves, 61 b.w. outline drawings,
a bit
of old worming to the upper blank portion and a bit to the
leading edge, does not affect illustrations
***
2. Volumes 4-5: YUDOKU SOMOKU ZUSETSU, Zenpen: DISCOURSE &
ILLUSTRATIONS OF POISONEOUS PLANTS. Written by Kiyohara
Shigeome [Toneri Shigeome], [1779-1847], the author also
used the name Kiyohara Jukyo published 1827 in 2 volumes.
Vol.1: 32 double folded pages, list of names, seals of
contributors. Published by Eirakuya Toshiro/Maekawa, 1837.
.
Collation: 2 volumes: All tightly stitched, solidly bound,
covers dusty, rubbed in a couple places, else solidly
stitched and firmly bound.
.
a. Vol.4/Jin: 29 double-folded leaves, top margin stained on
several pages, 3 color, 17 b.w. outline drawings, a couple
of very small old worm holes in text/plates but minimal.
.
b. Vol.5/Zenpen: 32 double-folded leaves, front cover upper
1/3 mild stain first 2 and last 2 pages, else contents
clean, a few mild damp-stained pages in the center, a couple
of old worm holes here & there, very minor, else contents
clean, holes in first 2 blank sheets and a couple elsewhere,
very minor, small, 62 b.w. outlines drawings.
.
Included in the Zenpen volume is a very rare maize or corn
most likely imported by the Portuguese to Nagasaki in 1749.
In other Japanese botanicals there are references to putting
these corn kernels on a fry pan and making "pop corn"
perhaps the earliest example of this usage in Japan.
***
The set of five are contained in a recent indigo-blue
Chitsu, with bone clasps, and a hand brushed title slip.
***
THE COMPLETE SET OF 5 VOLUMES:
Being edited/written by the same person, this logically has
been bound as a five volume set consisting of two variant
titles. Edgren also shows these two titles as bound in 5
volumes in his work, see below. Kerlen shows them as
separately bound, but not as a set of 5 volumes in all.
***
GRAND DELUXE SIZE:
The set is an unusually large & tall size, reminiscent of
Chinese books of this or an earlier period, 18 x 28.5, and
they are stitched bound in the typical period style of
Chinese books, with an extra hole in the corner giving them
a "Chinese" look. The books are all printed on a heavy,
thick hand-made Washi paper, with a generous and unusually
wide 5.5 cm. margin at the top, mostly blank, but an
occasionally a few "notes' are printed there. The lower
margin is 2 cm. wide, more in the Chinese style of printing
on tall paper with wide margins.
***
COLLATION:
Please see Kerlen below for a complete collation of the
pagination, lists of artists, contents, &c.
***
CONDITION:
The work is uniformly bound in yellow stitched stiff
wrappers. There is some dustiness to the covers, two have
minor rubs on the back covers, some old dark spots, mild
stains and a former owner's round and discreet Hanko
[chop/seal] on or below the title slips, by and large a very
good solid set.
***
Please visit our website and see the color and b.w.
illustrations posted there.
***
REFERENCE:
PUBLIC COLLECTIONS IN THE NETHERLANDS
a. SOMOKU SEIFU: pp.696-697, #1657
.
b. YUDOKU SOMOKU ZUESETU Zenpen: pp.799-800 #1895
*
EDGREN, J.S.: CATALOGUE OF THE NORDENSKIOLD COLLECTION OF
JAPANESE BOOKS IN THE ROYAL LIBRARY
a. SOMOKU SEIFU p.254, #776
.
b. YUDOKU SOMOKU ZUSETSU p.254-254, #777
*
KSM: (Honzo), Shokubutsu 7-845-1
*
KBT: No. 130
*
Kraft: Vol. 4, no. 314
*
Rosny: 239/81
*
KS 5-290 & 7-845
*
Not In:
PERIOD OF WOOD-BLOCK PRINTING.
***
$4780
FASCINATING EARLY RESOURCE ON BUILDING RUSTIC TEA ROOMS
241 KOBAYASHI, Jokichi.
SUKIYA KOH ZOH HOH: THE DESIGN & BUILDING OF TEA CEREMONY
HOUSE & ROOMS.
Osaka 1902, Hasegawa. Stitched blue wrappers, 5 volume set,
complete, contents very good: vol. 3 & 5 have had the leading edges knawed off: vol 3 has minor intrusion into bit of
the text, vol. 5 just the margin, 21+20+26+23+13 double folded leaves, with 89 lovely illustrations.
.
This work is entirely woodblock printed by hand on
hand-made Washi paper, with Japanese text.
.
It begins with vol. 1 which discusses and illustrates
various floor plans, profile views of the sides of the
structure and roof.
.
Vol. 2 shows the interior, use of rustic and natural trees
for vertical supports and on the important visually
aesthetic places for proper internal decor. Also the use of
bamboo screening within the window frames.
.
Vol. 3 depicts the construction and placement of built-in
tables & shelves, Tokunoma, metal hooks for scrolls,
out-door tea garden and tea room.
.
Vol. 4 shows more garden layout, placement of stones,
various stone lanterns, rustic entrance gate, side
lattice work and finish internal tea room shelves.
.
Volume 5 contains precise dimensions for the various
construction of all parts of the projects, for carpenters
and architects.
***
A very unusual resource & can be applied to practical
application, since the dimensions are in the pre-metric
days, given in "Shaku & Tsun" which roughly corresponds to
Western feet & inches.
.
An excellent, useful & valuable source for all tea ceremony
& tea room lovers.
***
$476
A SUPERB JAPANESE DESIGN BOOK USED BY ARTISANS
242 [KOBAYASHI, Yonezo.]
MOYO MON CHO SHOSHIKI HINA-GATA : DESIGN BOOK OF DECORATIONS
& FAMILY CRESTS FOR VARIOUS CRAFTSMEN.
[Tokyo 1881,Yokoo/Takeda]. Blue stiff wrs., stitched, title
label, complete in 1 vol, 12 x 18 cm., edge wear, scuff to
front cover, else solid, no pagination, [34] double-folded
leaves.
FIRST EDITION
A charming book. With a profusion of native Japanese
designs, which were used by various artisans to design
furniture, swords, sword furniture, armor, textiles,
architecture, Kimono and other garments, lacquer ware,
Japanese prints, ceramics, and a host of others.
*
Drawing on Japan's natural and botanical traditions, these
patterns and designs draw heavily on nature, flowers,
Chinese architecture, Buddhism, bugs, butterflies, beasts,
geometrical designs, tie-dyed patterns, I-ching, Buddhist
swastika, Mon [family crests], weapons, and too many to
list.
*
A LOVELY EARLY MANUSCRIPT OF NATIVE DESIGNS
243 KODAI MOYO.
KODAI MOYO: ANCIENT JAPANESE PATTERNS & DESIGNS.
[N.d. ca. 1840's]. Blue stitched wrs., oblong format, covers
faded, edges worn, cover with brushed title, 32.5 x 23 cm.,
10 double folded leaves = [20]p., + 1 fold out page, black
$318
ink on white Washi hand-made paper, some dog ears else good.
An excellent early work. Addresses the ancient or primitive
designs found on various Japanese textiles as well as other
objects.
*
Phoenix, flowers, birds, native Japanese and traditional
patterns, delicate and intricate designs, some used for
stencil patterns. Often used on Kimono, and other garments,
Japanese lacquer ware, ceramics, arms, amour, swords,
furniture, and a host of other native items.
***
EARLY & COPIOUS TREATISE ON THE TREATMENT OF BOTH DISEASES
244 [KOHAN, Genji].
TOOSO TAISE SHURAN: COMPLIATION OF WRITINGS ON MEASELS AND
SMALL POX.
[Edo 1806, Suharaya]. Stitched brown wrs., very good, 3 vol.
set, complete, minor scuffing to covers, contents clean,
woodblock printed on hand-made Washi paper, 19 x 26 cm., [35
+38+45] double folded leaves, clean, complete, 2nd edition.
The original work was written by Oh Jaku Gen in Ming in
Chinese in Meiwa 8th, 1771, then adapted to be Kambun, a
form of easily read Japanese, with Furigana. It was
published by Ko-bun-do in Kyoto
*
The work is illustrated with two examples and enhanced with
several figures, one shows a youth with many 'poxes' on his
face.
*
THE PREFACE DATE:
The preface cites a 1771 date indicating this work was
issued first in that year, in an edition of 2 volumes. The
preface was then reprinted again in our copy, which is most
likely the second revised edition, complete in 3 volumes.
***
FIRST ARRIVAL OF MEASLES TO JAPAN:
Measles first showed up in Japan in 988 A.D., it was known
then as "Akamogasa" or "red pox." In both 1824 & 1862, there
was a great epidemic of measles.
***
CONDITION:
The book covers were bound in blind-stamped swastika covers.
There is some rubbing on the front & back covers near the
edges of all volumes. The book is firmly bound and stitched.
The contents are exceptionally bright and clean, free from
any worming or issues. The text is solid, and very fresh. By
$325
and large an excellent example.
***
RARITY:
There are very few monographs from early China or Japan on
the subject of Measles or Small pox. There was confusion
about both of them in the 17-19th centuries in both
countries. While there are recorded epidemics of both,
little was known about curing or treating these horrible
diseases. Large numbers of children commonly died of this
"pox."
***
THE AUTHOR'S ALTERNATE NAME:
This author use an alternate, HATA Genji, who summarized the
earlier original edition.
***
REFERENCES:
The work is not listed in any of the usual and standard
references, although we have checked all of the below:
.
MESTLER, Gordon E.: A GALAXY OF OLD JAPANESE MEDICAL BOOKS
WITH MISCELLANEOUS NOTES ON EARLY MEDICINE IN JAPAN: cites
several other books on measles & small pox on pages 200,
169, 293, 204, 206, 298, 205, 293 et. al.
*
FUJIKAWA, Y.: JAPANESE MEDICINE: measles: pp.75,76,82,84, &
86.
*
WHITNEY, Willis N.: NOTES ON THE HISTORY OF MEDICAL PROGRESS
IN JAPAN. See many others on measles listed on p.446.
*
***
WITH MAGNIFICIENT COPPER-ETHCED ILLUSTRATIONS
245 KOHSEIAN, Genho.
SOOKA ZUROKU: ILLUSTRATED FLOWER ARRANGEMENT ALBUM.
[Osaka 1890, Fujii]. Stiff buff embossed stitched wrs., ca.
18 x 26 cm., very good, 54 double folded leaves, 101 fullpage copper-etched illustrations of arrangements, clean and
sound copy hand printed on hand-made paper.
S C A R C E
A most lovely work. The magnificient illustrations are all
copper-etched, with exceptionally fine-line clarity & clean
registry. Superbly etched and exeucted. These period flower
arrangements show the Osaka school style, and is an anthology of many masters' arrangements. Utilizing traditional fur-
$1454
niture and vessels: ceramics, bronzes, bamboo, baskets and
earthen ware. Highly traditional and yet creative designs
are illustrated in this exceptional manual of finished arrangements showing the naturalistic mode. Done as only the
Japanese can do.
$408
246 KONO, Bairei. et al.
OI NO NISHIKI: JAPANESE BROCADE OF AN OLD MAN.
Kyoto 1905, Unsodo. Brown silk boards, accordion folded album, covers rubbed, but solid, 16.5 x 24.5 cm., 27 double
page color woodblock printed illustrations, very clean, each
illustration signed & sealed in block.
S C A R C E
An antholog of paintings done in woodblocks from celebrated
artists such as Keinen, Kansai, Bairie, Zaisen, Kagetoshi,
Yoshifuji, Hooun, Sookei &c. Each finely executed in pastel
colors. Subjects are kitten and loquats, flute playing boy
riding a water buffalo [traditional Buddhist theme], rural
sea-side village, birds and flowers, Noh drama, winter landscape in the Chinese style, Japanese court nobles, Japanese
poetry with pheasant & poets, baby chicks, Chinese scholars
& literati playing chess, wild flowers, birds & flowers, old
pine tree, rural Shinto shrine, old Chinese priests & literati, deer in the forest, baby & lantern, rural village scene
& a bitter-melon vine with bird, tiger & cub, Japanese procession with horse-mounted lord, sleeping ducks, Chinese
river landscape, bird & cherry blossoms, farmer making Zoori
sandals &c. Compiled by Kono Bairei [1844-95] & his son, Morimoto Tohkoh. See L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.8 for more details.
A MAJOR EARLY WOODBLOCK PRINTED BIRD & FLOWER BOOK
247 KONO, Bairei.
$2040
BAIREI HYAKUCHO GAFU: BAIREI'S ALBUM OF ONE HUNDRED BIRDS.
First Series.
[Tokyo 1881, Okura Magobei]. Orignal stitched wrs., 3 vols.,
very good, with 74 double folded hand made paper leaves, 100
pastel,black & sumi color woodblock illustrations, 16.5 x 25
cm., vols.1-3, title slips, in recent indigo Chitsu, clips.
This title was issued as a 6 volume set when complete; ie
the First Series [this title] is composed of volumes 1-3,
published in 1881. The Supplement series volumes 1-3,
published in 1884. Both works are complete in the either
state.
*
The volumes are NOT counted in the usual Western way, but in
the Japanese way, which is 3 volumes of the First Series + 3
Supplemental volumes with the "Zoku Hen" or supplement
character on the title slips, being the major difference of
the title slips on the Supplemental series. They are all
bound with identical covers and red title slips, per
above. The contents follow a similar technique and color
scheme, all using Sumi black, white, gray, and an orange
pastel hue. All of the prints occupy two pages, and has
a single cinnabar Hanko or "chop" seal with the artist's
name stamped on them.
*
Each composition was executed with the utmost care and skill
using birds, flowers, branches, trees, rocks and water as
a background. Placing the birds and flowers in a natural
setting, was one of Bairei's great contributions to art of
this period. To Bairei, showing birds and flowers in natural
settings was the highest form of praise for the beauty of
nature.
*
THE EDITIONS:
This title was issued as a three volume set in the first
series. Then three years later the last series was issued,
so the complete work is 6 volume set. The First Series [this
title] is composed of volumes 1-3, published in 1881. The
[second title] Supplement series also issued in numbered
volumes 1-3 Zoku Hen, published in 1884. Both works are
complete
in the either state as monographs. Please inquire with us to
see if we have the complete works or the supplement series.
*
BIBLIOGRAPHY:
*
Edward F. Strange stated in 1897 about this title: "...these
designs are perhaps the best illustrations of bird life ever
cut on wood. Each is printed from six or seven [wood]
blocks ..."
*
C.H. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA,
p.216. Here Mitchell gives us an exact collation and reading
of the seals, dates and proofed names et al.
*
OF WOOD-BLOCK PRINTING p.529, exhibit 95, figure 87, which
shows Heron and Sacred Lotus.
*
Also cited in:
-British Museum 1904, 16115.b.3, 2 vols.
-Happer [I], 686 Ref.
-Brown, p.199
-Strange 1897, pp.104-105.
*
L . Roberts: DICTIONARY OF JAPANESE ARTISTS, p.8, a summary
"Kono Bairei [1844-95], was a Japanese-style painter who
lived in Kyoto. He was the first pupil of the Maruyama
painter, Nakajima Raisho, later to become a Shijo artist
under Shiokawa Bunrin and later a follower of the Nanga
school. His style is full of strong brush strokes,
traditional charm and sensitivity. He was especially
adept at drawing and illustrating birds and flowers in
the Kacho
style..."
*
This present work is an animated look at birds in all modes
of flight, movement, and at rest.
Incorporated into this
are lovely plants and flowering trees and fruits where the
birds are seen in a natural setting. A great study resource
for natural bird-life in Japan, with proper names in
Japanese noted in the drawing of most examples for
identification purposes. An exceptional and nicely
color-illustrated early work.
*
A MARVELOUS WOODBLOCK PRINTED JAPANESE BIRDS & FLOWER SET
248
KONO, Bairei.
BAIREI HYAKUCHO GAFU: together with BAIREI HYAKUCHO GAFU &
ZOKU HEN: BAIREI'S ALBUM OF 100 BIRDS & SUPPLEMENTAL SERIES,
[Tokyo 1881-84, Okura]. Stitched stiff wrs., 6 vols., very
good, double folded leaves, woodblock printed on handmade
paper, with about 200 color woodblock illustrations, usual
minor rubbing, else clean, complete, ca. 16.5 x 24 cm. RARE
the First Series is composed of volumes 1-3, published in
1881. The Supplement series volumes 1-3, published in 1884.
The volumes are NOT counted in the usual Western way such as
$2878
volumes 1, 2, 3, 4, 5, 6, but in the Japanese way, which is
3 volumes of the First Series + 3 Supplemental volumes with
the "Zoku Hen" or supplement character on the title slips,
being the major difference of the title slips on the
Supplemental series.
The book is difficult to find in its complete 6 volume form.
*
They are all uniformly bound with identical covers and red/
pink title slips. The contents follow a similar technique
and color scheme, all using Sumi black, white, gray, and an
orange-ish hue. All of the prints occupy two pages, and
has a single cinnabar Hanko or "chop" seal with the
artist's name stamped on them.
*
nature.
*
identification purposes.
An exceptional and nicely color-illustrated early set.
****
REFERENCES:
.
blocks ..."
*
*
*
British Museum 1904, 16115.b.3, 2 vols.
*
Happer [I], 686 Ref.
*
L. Brown, p.199
*
Strange 1897, pp.104-105.
*
adept at drawing and
Kacho style..."
***
illustrating birds and flowers in the
249
KONO, Bairei.
paper, with about 200 color woodblock illustrations, indigo
blue Chitsu folding case complete, ca. 16.5 x 25 cm. R A R E
*
*
$5751
nature.
*
****
REFERENCES:
.
blocks ..."
*
*
*
*
*
L. Brown, p.199
*
Strange 1897, pp.104-105.
*
adept at drawing and illustrating birds and flowers in the
Kacho style..."
***
$6275
250
KONO, Bairei.
paper, with about 200 color woodblock illustrations, 16.5 x
25 cm., complete set, covers monor corner wear else solid.
*
*
nature.
*
****
REFERENCES:
.
blocks ..."
*
*
*
*
*
L. Brown, p.199
*
Strange 1897, pp.104-105.
*
adept at drawing and illustrating birds and flowers in the
Kacho style..."
***
A MOST STUNNING COLOR WOODBLOCK PRINTED BOTANICAL
251 KONO, Bairei.
CHIGUSA NO HANA: A THOUSAND KINDS OF FLOWERS.
[Kyoto 1889-1891, Unsodo]. Stitched wrs., 4 vol. set, 200p.,
200 color woodcut prints printed by hand on hand-made paper,
blue covers, cover edges a bit rubbed, else clean, complete
set, 16.2 x 24.3 cm.
FIRST & ONLY EDITION R A R E !
A superb botanical and pharmacopoeia japonica, includes
flowers and vegetables as well as plants of commerce.
$5576
*
Volumes I & II have lists of the illustrated plants in
Japanese, as well as in alphabetic or Romaji letters and
also in western type numbers i.e. 1, 2, 3, 4, 5, rather than
in Japanese, ditto for vols. III & IV.
*
Vols. III & IV in Katakana only.
*
All volumes give the flower name in Japanese [Kanji]
characters. The flowers are done in natural, vivid color,
with close-up detail of each flower.
*
Bairei [1844-95] was a celebrated painter of birds and
flowers who studied under the Maruyama painter Nakajima
Raisho, and later under the Shijo artists Shiokawa Bunrin.
He was commissioned by the Imperial family to paint murals
in the famous Buddhist temple Higashi Hongan-ji in Kyoto,
where he was also a leader in the art society.
*
This kind of dictionary of Japanese flowers was a standard
reference illustrating flowers in full blossom or plants in
fruit. The examples are depicted with in a very natural
state, showing all parts, including stems, leaves, buds,
flowers and fruit.
*
This kind of botanical or "herbal" dictionary was used by
physicians as well as lay people to identify plants for
medicinal use. An important pharmacopoeia Japonica and
stunning botanical reference. Printed in natural pastels,
finely executed woodblock color printing and composed by the
master of birds and flowers.
****
REFERENCES:
PRINTING, p. 219 + fig. 76a for an example illustration.
*
ILLUSTRATED BOOKS, p.427 for full bibliographic citation.
*
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS, p.52,
item 124.
*
SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A Bibliography.
p.234.
*
L. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION IN JAPAN,
p.200..
****
DESIGNS FOR SWORD FURNITURE, TEXTILES, CERAMICS, CARVINGS &c
$5443
252 KONO, Bairei.
KOGYO ZUKUSHI: SKETCHES FOR ARTISANS.
[Tokyo 1883, Ookura]. Stitched stiff wrs., very good, oblong
format, 18 x 12 cm., each bound in a different cover color,
profusely illustrated with pink, Sumi, black & grey colors,
1-4 illustrations per page, 22+22+22+21 p., 4 of 5 vol. set.
An entirely enjoyable, light-hearted work, showing a profusion of good illustrations, woodblock printed, pastel colors.
This kind of handbook was used by artisans who designed and
carved Netsuke, made swords and sword furniture, textiles,
lacquer, ceramics, Kimono & all other arts which required a
design & good composition.
*
This work was done by the celebrated bird & flower painter
& woodblock book & print artist who worked in the last
part of the 19th century. This set illustrates a profusion
of animal, heroes, comic characters, horses, genre pictures,
deities, Gods, mythological characters, flowers, Samurai &
military related horses & equipment, bugs, temples, holy
places, religious objects, sages, toys, landscapes,
Buddhist ritualistic articles, rivers, Kendo or swordplay matches, Shinto items, archery practice, ambush of a
Ronin, tigers, monkeys & so much more !
*
Kono Bairei 1844-1895 was a Maruyama school
painter who studied under Nakajima Raisho & Shirokawa Bunrin
a Shijo painter, thus he studied both of these great schools
ergo the reason his works manifest such great control and
precision, similar to Hokusai in his ability to tickle the
viewer. Bairei is widely collected by world institutions and
is well cited & illustrated in the usual reference books.
*
REFERENCES:
C.H. Mitchell, p.371, with a good biography & list of his
works listed on 14.
*
A MAGNIFICIENT JAPANESE BOTANICAL REFERENCE
253 KONO, Bairei.
KUSA BANA HYAKUSHU: A HUNDRED KINDS OF COLOR FLOWERS.
Tokyo 1901, Yamada Unsodo. Blue stiff stitched wrs., 4 vol.
set, 115 color plates, 29+29+30+28 double folded leaves,some
double-page,color woodblock printed on hand-made Washi paper
covers minor scuffing, contents exceptionally clean, bright.
A most brilliant and wonderful color botanical. The work was
edited by Kono Seiko his heir posthumously. Bairei [1844-95]
was a Kyoto artist & pupil of the Maruyama painter Nakajima
Raisho, later studied under the Shijo master Shiokawa Bunrin
and followed the Nanga school tradition under Nakanish
Koeki & others. His work exhibits the charm and sensitivity
of strong strokes in a traditional style.
*
The work illustrates 100 kinds of flowers in full color on
full pages, each properly named. A majority are flowers in
color, including fruit, orchids, wild grasses, and other
flowering plants. A lovely & charming work, boldly printed
in stunning full color.
*
The work was issued serially: the first part in 2 volumes in
1901 with title: SOHKA HYAKUSHU. The second part also in 2
volumes with "supplement" or "hen" added to the title SOHKA
HYAKUSHU NIHEN, issued in 1903, in all the completed work
consists of 4 volumes. It is not uncommon to find this
separated into part I, part II, by those who don't know its
a 4 volume set. There is also a binding variant, wherein
part I is bound in one volume and part II also in one
volume, lending to the confusion. It is easy to confuse this
point if one is not careful in reading the title slip or the
colophons.
*
The Japanese were truly experts at faithfully recording
botanical books in "true-to-original colors found in nature.
This work utilizes pastel vegetal colors, reflecting the
essence of those colors actually found in nature. Bartlett
has stated "Kono Bairei was one of the last of the artists
who illustrated plants for wood-block printing and whose
work is considered by critics as important." See Bartlett
$3808
entry below, p.531 for this quotation.
*
TITLE:
The official title recorded in the majority of reference
books is KUSABANA HYAKUSHU, or KUSABANA HYAKU SHIKI [SHIKI
used for the supplemental 2 volumes], with a variant reading
of SOKA HYAKUSHU.
*
AUTHORSHIP/ARTIST:
The work was illustrated by Kono Bairei. Because it was
published posthumously and edited by his heir, Kono Seiko,
some bibliographers wrongly attribute the work to Seiko,
again, this simply contributes to confusion of authorship.
*
THE ARTIST:
Kono Bairei [1844-1895], was a pupil of Nakajima Raisho
[Maruyama school artist] and Shiokawa Bunrin, a Shijo school
artist. He lived in Kyoto and was famous for his impromptu
sketching or Sekijo. His pupils were Takeuchi Seiho [inquire
with us for items by him], and a large number of others who
were famous in their own right. See Mitchell below on p.14
for additional details, and a list of other titles by
Bairei. Please inquire with us as we do try to keep other
titles by him in stock.
*
Per Roberts: "Kono Bairei was a Japanese-style painter who
school. His bold style is full of strong brush strokes,
traditional charm and sensitivity. He was especially adept
at drawing and illustrating birds and flowers in the Kacho
style..." See Roberts entry et al below.
*
REFERENCES:
*
PRINTING p.237-8,exhibit 97.
*
L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.8 for
biographical background of Kono.
*
SHIJO: artist information on p.14; and p.381 for the book
citation.
*
ILLUSTRATED BOOKS: addenda p.2, Group IV.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS: no.974, p.414-415.
*
KSM: Gokan, 2-691-3
*
A most famous and celebrated botanical with stunning
polychrome woodcut illustrations. Please request our flower
or botanical lists which contain others by Bairei.
*
$4080
254 KORYUSAI, Isoda.
KONZATSU YAMATO SOHGA: MISCELLANEOUS SKETCHES.
[Japan 1781, n.p.] 19th century Meiji reprint edition, 3 vol
set, black stitched wrappers., 48 b.w. woodcuts, 16+16+16p.,
very clean copy, 18 x 25 cm.
SCARCE
A very nice copy of this rarity. Depicting Japanese subjects
ie: birds, flowers, figures and a myriad of typical Japanese
subjects. Showing the artist's skill and brushwork.
*
REFERENCES:
L. Brown p. 145-6.
*
A BEAUTIFUL WOODBLOCK PRINTED ALBUM OF HIS PAINTINGS
255 KUBOTA, Beisen.
BEISEN GACHO. BEISEN'S ILLUSTRATED ALBUM
[Japan 1877, n.p.]. Grass covered accordion folded album, 31
color woodblock prints, 1p. text 23.5 x 34.5 cm., very clean
copy, top & bottom edges gilt, each print is signed, sealed,
dated, done in large Oban size. FIRST & ONLY EDITION
RARE
A well executed album, with impressive style by one of the
most important late Shijo-Maruyama painters. This is a reprepresentive work, showing the wide spectrum of his talent
and variety. Soft flowing line, enhanced with bold,
$2040
working in Sumi and light shades of pastel tints, renders
this a fine album. Subject matter covers landscapes,
birds, flowers, & typical Japanese subjects, deities,
bamboo &c. Prints in this album bear dates from 1877-1897.
*
"Kubota [1852-1906], was Japanese-style painter, born in
Kyoto, and a start pupil of Suzuki Hyakunen. He traveled to
America, China and Europe. In 1880 with Kono Bairei, started
the Kyoto Prefectural School of Painting and taught there.
In 1890, again with Bairei, founded the Kyoto Bijutsu
Kyokai. an illustrator with the army during the
Sino-Japanese war, and also for the newspaper Kokumin
Shimbun, which he helped to established. Became blind toward
the end of his life, His subjects included figures
landscapes, historical themes, and his stile resembled the
Nanga school." He has been widely collected by world
museums. Liberally quoted from Roberts below.
*
Kubota was an embedded journalist in the Sino-Japanese War
of 1894 in China. He made his prints and books based on his
primary observations while trailing along with the Japanese
army in China.
*****
BIBLIOGRAPHY:
L. Roberts; DICTIONARY OF JAPANESE ARTISTS: p.94
*
A STUNNING SAMURAI BOOK WITH BATTLES, ARMOR, SWORDS &c...
256 KUBOTA, Beisen.
ESHIMA NO KASUMI:
[Kyoto 1888, Unsodo/ Stiff stiff stitched wrs., red title
slip, 16.5 x 25 cm., 37 double-folded leaves, [50]p., woodcut Sumi color illustrations, stitched spine, very clean,
solid copy, complete.
The work is lively, showing a wide variety of warriors,
their arms and armour, swords, bows and arrows, horses and
other military items. The work covers battle scenes. There
are also some excellent views of Japanese falcons and hawks,
commonly kept by Samurai.
*
$2040
*
army in China.
*
As far as we can research, this was issued in a single
volume only.
****
BIBLIOGRAPHY:
L. Roberts; DICTIONARY OF JAPANESE ARTISTS: p.94
*
Not in Kerlen
*
A GRAND EXAMPLE OF WARRIOR ARCHERY SKILL & FALCON KEEPING
257 KUBOTA, Beisen.
JO SHU NO KASUMI: MIST OVER XUZHOU, JIANGSU PROVINCE, CHINA.
[A WOODBLOCK PRINTED BOOK OF WARRIORS, ARCHERY & FALCONRY.]
[Kyoto 1905, Yamada Geisodo]. Brown stitched wrs., very good
[27] double folded leaves, [50]p. color woodblock printed
illustrations, in tones of grey, black keyblock & soft pink
colors, 16.5 x 24 cm., cover edges worn, contents clean.
This superb work depicts the Samurai warrior in his armor &
practicing horsemanship with a focus on archery. How to make
a bow, arrows, targets, target practice while horse mounted,
hunting fowl, archery in battle, 3-4 pictures of falconry,
ship board battles, loaded with samurai, battle scenes &
weapons. Nicely illustrated, marvelous woodcuts by the late
and great master.
*
$632
*
army in China.
*
As far as we can research, this was issued in a single
volume only.
****
BIBLIOGRAPHY:
L. Roberts; DICTIONARY OF JAPANESE ARTISTS: p.94, "A well
collected artist."
*
Not listed in KSM.
*
$1207
A MOST LOVELY COLOR PRINTED EARLY GUIDE TO JAPANESE HORSES
258 KURIHARA, Nobumitsu.
KOKON MEIBA ZU I: GUIDE BOOK TO EXCELLENT HORSES, ANCIENT &
MODERN.
Japan n.d. ca. 1840'S. Yellow stitched stiff wrs., very good
ca. 16 x 22.5 cm., 2 volume set, 10+10 double folded leaves,
18 double, 1 single color page illustrations, 2 pages Japanese text, complete.
O B S C U R E
W O R K
This excellent work on Japanese horses is quite unusual. It
covers horses for various uses in the Imperial court, as
used by the highest-classes in Japan. For sacred Shinto
festivals, archery competition, breeding, by the loyal retainers of the court or the Samurai & military class. A fine
look at Imperial horses, and their application in support of
the royal court. A nice example of what the horses looked
like, as well as their grooms, riders and equestrian equipment. Back of vol. 1 covers bit soiled, lacking title slips,
else clean, solid and bright copy of a very obscure illustrrated reference. Few color books exist on the subject of
Japanese horses, let along Imperial horses !
A BEAUTIFUL JAPANESE COLOR WOODBLOCK PRINTED WORLD MAP
$1224
259 KURIHARA, Shincho.
BANKOKU CHIKYU ZENZU: COMPLETE ILLUSTRATED DOUBLE
HEMISPHERIC WORLD MAP.
Japan [1850], no publisher. Color woodblock printed map,hand
colored pastels, very good,a few minor old mended worm holes
restored, small inset hemispheric maps, opens to 66 x 39 cm.
folds down to 13.5 x 21.5 cm., not text at the top or side.
A lovely work, charming in nature. Shows the North & South
American hemispheres on the left, the Atlantic and Pacific
Oceans, and the various islands, with both poles. The righthand hemisphere shows the Western, Eastern European, African
as well as the Asian and Australian continents, with both
poles and the Oceans.
*
There are four smaller inset type round maps of the world,
each shows four separate tip views of continents: top left:
Africa, Asia & America; lower left New Holland, Africa,
America and Niikoya [?]; the upper right shows "Great
Japan" [tiny in comparison to all other places !], Africa,
Europa, Asia, New Holland; lower right South America, North
America and Africa.
*
WHO WAS KURIHARA:
Kurihara [1794-1870] was a celebrated and active
cartographer, who did lovely and most charming world and
other Japanese maps.
*
This copy does not have the text above the map, some other
editions may have this.
*
Color key guide to the continents. Entirely hand-printed
from color woodblocks on hand-made Washi paper. This type of
maps quite beautifully done and is remarkably handsome.
*
CONDITION/VARIANTS:
An exceptionally clean example of this quite SCARCE map. Our
copy has the text above the map, while his 1850 example
shows this to the left of the, most likely a variant
selected by the person who glued the four sheets together.
Some other examples of this map have been found without the
text.
***
Place names are profuse, locating and identifying a
substantial number of cities and other major geographical
features, continents, oceans, islands, cities, including
China's Great Wall. The meridians and numbers are clearly
located.
*
RARITY:
Japanese world maps are quite rare, and the double
hemispheric format is by and large the rarest and most
desirable type. A handsome and quite RARE World Map,
suitable for framing & display.
*
Japan was very late in world mapping, and this map is
considered "early" in Japanese world cartography. A rare
copy of the earlier Kurihara world map projection.
Beautifully executed in woodblock printing using pastel
colors, with decorated border cartouche that shows
mythological animals in the pattern.
***
BIBLIOGRAPHY:
T. Oda: THE WORLD IN JAPANESE MAPS UNTIL THE MID-19TH
CENTURY, pp.232-3, plate # 107. Oda cites & illustrates
the ca. 1850 edition, per his text p.75, where he cites the
1835 & 1838 editions. Ours shows a slight variance to his,
but is clearly the same map.
*
A FAMOUS DOUBLE HEMISPHERIC COLOR WOODCUT MAP
260 KURIHARA, Shincho.
BANKOKU CHIKYU ZENZU: A DOUBLE-HEMISPHERIC MAP OF THE WORLD.
[With the Japanese Text Block Above the Map.]
Japan ca.[1835], n.p. A folded hand-printed map, very clean,
rebacked, blue Chitsu cloth case, ivory clasps, ca. 65 x 66
cm., 4 tiny corner pin holes, else no worming, remarkably
bright, clean copy of a double-hemisphere map.
R A R E !
A lovely work, charming in nature. Shows the North & South
American hemispheres on the left, the Atlantic and Pacific
Oceans, and the various islands, with both poles. The righthand hemisphere shows the Western, Eastern European, African
as well as the Asian and Australian continents, with both
poles and the Oceans. Above the map is the text in Japanese.
*
There are four smaller inset type round maps of the world,
each shows four separate tip views of continents: top left:
Africa, Asia & America; lower left New Holland, Africa,
America and Niikoya [?]; the upper right shows "Great Japan"
[tiny in comparison to all other places !], Africa, Europa,
Asia, New Holland; lower right South America, North America
and Africa.
*
WHO WAS KURIHARA:
Kurihara [1794-1870] was a celebrated and active
cartographer, who did lovely and most charming world and
other Japanese maps.
*
Above this handsome map is a large text block written by Abe
Rekisai. It discusses the First Edition published in 1835
under the title: with a variant title SHINTEI BANKOKU ZENZU,
or also BANKOKU CHIKYU ZENZU. There is some controversy as
to the exact date but likely done in 1835.
*
Color key guide to the continents. Entirely hand-printed
from color woodblocks on hand-made paper. This type of map
is quite beautifully done and is remarkably handsome.
$6052
*
CONDITION/VARIANTS:
An exceptionally clean example of this quite SCARCE map. Our
copy has the text above the map, while his 1850 example
shows this to the left of the, most likely a variant
selected by the person who glued the four sheets together.
Some other examples of this map have been found without the
text.
***
Place names are profuse, locating and identifying a
substantial number of cities and other major geographical
features, continents, oceans, islands, cities, including
China's Great Wall. The meridians and numbers are clearly
located.
*
RARITY:
Japanese world maps are quite rare, and the double
hemispheric format is by and large the rarest and most
desirable type. A handsome and quite RARE World Map,
suitable for framing & display.
*
Japan was very late in world mapping, and this map is
considered "early" in Japanese world cartography. A rare
copy of the earlier Kurihara world map projection.
Beautifully executed in woodblock printing using pastel
colors, with decorated border cartouche that shows
mythological animals in the pattern.
***
BIBLIOGRAPHY:
CENTURY, pp.232-3, plate # 107. Oda cites & illustrates
the ca. 1850 edition, ours is clearly earlier, per his text
p.75, where he cites the 1835 & 1838 editions. Ours shows
a slight variance to his, but is clearly the same map, but
with the text above rather than adjacent to the map he
illustrates.
*
A SUPERB PORTFOLIO OF 90 LARGE SIZE MAP PLATES & KEY TEXT
261 KURITA, Mototsugu.
NIHON KOBAN CHIZU SHU SEI: COLLECTION OF OLD JAPANESE MAPS.
[Tokyo 1938, Hakata Sei-sho-do]. Blue cloth Chitsu case, 85
stiff sheets showing 90 b.w. maps+separate bound book, 123p.
Japanese text, with b.w. folding map, many b.w. photos, text
key to the map portfolio plates, complete.
SECOND EDITION
***
***
***
$7006
.
.
ONE OF THE MOST IMPORTANT CARTOGRAPHICAL REFERENCES
.
.
ON JAPANESE MAPS PUBLISHED IN THE EARLY 20TH CENTURY
.
This is a legendary and important atlas and key to Japanese
woodblock printed maps from the 19th century and earlier,
with an accompanying 'key' text volume, complete two volume
set.
.
THE ATLAS-PORTFOLIO OF 90 MAPS:
.
The Atlas is a loose portfolio, containing 90 b.w. map
illustrations, printed on 85 heavy, stiff cards. Each shows
either a single large map, or a pair or a group of maps.
Each page and map is numbered, to match the text or 'key'
volume.
.
Each map is titled. The maps and the text are contained in
the large indigo-blue Chitsu case, which is 30.5 x 39.3 cm.,
the map cards are 19.9 x 39.3 cm.
.
*
THE TEXT [Key] VOLUME:
.
The separately bound ["key"] text volume is stitched in the
traditional Japanese style of early period books. It is
bound in hand-woven brown raw silk, with title slip, 15.8 x
22.3 cm. It has a folding map as a frontispiece, with a
large number of b.w. text map photos, 131 pages, Japanese
colophon on the last page.
.
This work was based on variety of both private and public
collections. The private collection of Mr. Akioka [1895-?]
was also included.
See us for a copy of the Akioka Map Collection catalog.
***
CONDITION:
.
PLATES:
ATLAS-PORTFOLIO VOLUME:
All plates are loose in the portfolio for easy use and
examination.
.
The plates are clean and solid, the first plate has a minor
wrinkle that is now pressed flat, and a small edge mend on
the verso, else all others without issue.
*
THE CHITSU FOLDING CASE:
The indigo-blue cloth Chitsu is solid and clean, some inside
hinges/joints were reinforced with Washi paper, now
solid and firm. A bit of very minor wear to some corners,
otherwise a very solid firm case. There is a bit of old
minor dustiness to the front cover title slip, minor wear to
its edges, else clean and solid. A bit of minor fading to
the front and spine., Please see photos posted to our
website.
*
TEXT or "KEY" VOLUME:
The text volume is very clean and tightly bound. There are a
couple of wear spots on the front & back covers near the
corners, where the boards are visible, else clean and solid.
One or two tiny nicks to the title slip. This book is 15 x
22.3 cm.
***
THE EDITIONS:
.
THE FIRST EDITION [1932] AND RARITY OF THIS TITLE:
.
The work was first published in Showa 7th year [1932], in a
small edition. By and large copies of this RARE FIRST
EDITION are very rare and seldom found. Due to the attrition
rate of weather, fire and World War II,
very few copies of this edition survived.
.
THE SECOND EDITION 1938:
.
Because copies of the First Edition were quickly exhausted,
and their remained a strong demand, the Second Edition was
published five years later [Showa 13] in 1938, yet and again
in a very small edition. It was published during troubled
times in Japan, just after the beginning of the Second SinoJapanese War of 1937. Like the First Edition, the Second
Edition also suffered the bad effects of World War II, where
large numbers of libraries, bookshops and warehouses in
Japan were burned to the ground. In addition to the normal
and natural attrition rate, today only a few complete, very
good copies survive.
***
A RARE BOOK:
All copies of this book are RARE and seldom found on the
market. Finding any copy is lucky, finding it clean and
complete is certainly GOOD LUCK !
.
***
REFERENCES:
Few Japanese and an even fewer foreign references on
Japanese maps cite this work. This is one of the earliest
Japanese pioneer works to comprehensively list, describe and
illustrate 90 individual maps from early periods.
.
Kurita is considered to be the "Father of Modern
Cartography" in Japan. His work is one of the earliest and
most comprehensive catalogs to survive.
***
REFERENCES:
WorldCat:
Cites the 1932 First Edition
http://www.worldcat.org/title/nihon-kohan-chizu-shusei/oclc/
33747219
***
$491
262 KUSAKI KACHO ZU: COMPLETE ILLUSTRATIONS OF GRASS.
KUSAKI KACHO ZU: COMPLETE ILLUSTRATIONS OF GRASS, TREES,
BIRDS AND FLOWERS.
[Japan c.1890, n.p.]. Small folding album, 12 x 17 cm., 12
double page color woodblock prints, each showing a different
Japanese bird and flower scene.
S C A R C E
$884
SUPERB & VERY LONG HORIZONTAL PROCESSION SCROLL WOODCUT BOOK
263 KUWAYAMA, Hyoshiro.
NIKKO SARA TOSHO GU BO SAI TEN RAKU ZU: ILLUSTRATIONS OF THE
ANCIENT FESTIVAL PROCESSION FOR THE SHOGUN'S MEMORIAL AT
[Tokyo 1889, Komuro]. Wood covers, grass paper covered, very
good, 20 feet long, 18 x 12.5 cm., accordion folded, color
woodblock printed by color by hand on hand-made paper. RARE
A Shinto festival horizontal hand scroll, accordion folded
book format. Beatifully, woodblock printed in color upon
hand-made Washi paper.
*
Depicting the ancient religious festival to commemorate the
Tokugawa Shogun's grave at Toshogu Shrine in Nikko. The
work begins with a right to left reading of the story, two
opposing pages equal one larger illustrated view of the
procession. At the head of the august procession begins with
soldiers carrying the Naginada or "long lance" bearers,
followed by a Shishi or Lion Dog and Tora or Tiger costumed
dancers, with three men per animal. Musicans playing the
flute, women of the family, a horse-mounted Buddhist priest,
and other court officials, flag bearers, archers, Samurai
warriors in armour, Shinto women priests, masked Samurai,
more horse-mounted officials, several empty planquins, drum
and music corps, dancing
monkeys, Shinto priests, more
equistrian riders, Shinto orchestra, group of falconers with
their birds in hand, table bearers, Buddhist priests. Then a
series of three superbly decorated & most beautiful Mikoshi
or portable Shinto shrines are carried by teams of men,
followed by singers and groups of Samurai, flag-bearers and
the like.
*
With Japanese title and colophon.
*
A truly unusual and spectacular folk-art celebration !
SUPERB & VERY LONG HORIZONTAL PROCESSION SCROLL WOODCUT BOOK
264 KUWAYAMA, Hyoshiro.
NIKKO SARA TOSHO GU BO SAI TEN RAKU ZU: ILLUSTRATIONS OF THE
ANCIENT FESTIVAL PROCESSION FOR THE SHOGUN'S MEMORIAL AT
[Tokyo 1889, Komuro]. Stiff wrs., first 3 title pages & last
2 pages + colophon lacking, else complete, ca. 20 feet long,
18 x 12.5 cm., accordion folded, color woodblock printed
by hand on hand-made paper. AS IS.
A Shinto festival horizontal hand scroll, accordion folded
book format. Beatifully, woodblock printed in color upon
hand-made Washi paper.
*
Depicting the ancient religious festival to commemorate the
Tokugawa Shogun's grave at Toshogu Shrine in Nikko. The
work begins with a right to left reading of the story, two
opposing pages equal one larger illustrated view of the
procession. At the head of the august procession begins with
soldiers carrying the Naginada or "long lance" bearers,
followed by a Shishi or Lion Dog and Tora or Tiger costumed
dancers, with three men per animal. Musicans playing the
flute, women of the family, a horse-mounted Buddhist priest,
and other court officials, flag bearers, archers, Samurai
warriors in armour, Shinto women priests, masked Samurai,
more horse-mounted officials, several empty planquins, drum
and music corps, dancing
monkeys, Shinto priests, more
equistrian riders, Shinto orchestra, group of falconers with
$680
their birds in hand, table bearers, Buddhist priests. Then a
series of three superbly decorated & most beautiful Mikoshi
or portable Shinto shrines are carried by teams of men,
followed by singers and groups of Samurai, flag-bearers and
the like.
*
With Japanese title and colophon.
*
A truly unusual and spectacular folk-art celebration !
$408
A FASCINATING RESOURCE OR AGRICUTLTURE LAW & LAND USE
265 KYUU TEN RUI SAN DEN SEI HEN.
KHUU TEN RUI SAN DEN SEI HEN: RICE FIELD REGULATION FROM
GEN RO IN.
[Tokyo 1877-1883, Goyoh Shorin]. Orange stitched wrs., very
good, minor cover soil, contents clean, 11 volumes in all, a
complete set, entirely woodblock printed & illustrated with
5 large folding picures, [432] double folded leaves, text in
Japanese, with appendix volume. Many illustrations & layout
of rice fields some with red notes & red colors, statistics,
and copious text. A must for any collector or researcher in
Japanese law, rice culture, land reform and agriculture.
Scans can be sent by e-mail.
$2040
AN EXCELLENT, USEFUL SCHOLARLY REFERENCE DICTIONARY RESOURCE
266 LANE, Richard.
IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT,
INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E.
New York [1978], Putnam. Blue cloth, very good, 364p., bibliography, profusely illustrated, over 32 color, 560 b.w.
illustrations, many maps, seals and more, 25 x 28.5 cm.
A well-illustrated dictionary of Japanese woodblock printing
& painting. Covers life in the 16th-19th centuries, genre
painting, Kabuki, landscapes, also lavishly illustrated with
unexpurgated erotic prints. An easy to use & essential tool
for any art reference library, student, or collector of wood
block printing. With copious index,cross references, lavishly illustrated. An important source for any collector or
serious student of Japanese woodblock prints & printing.
$20
267 LANE, Richard.
[Fribourg 1978], Chartwell.Blue cloth, very good, dj., 364p.
bibliography, profusely illustrated, over 32 color, 560 b.w.
illustrations, many maps, seals & more. Important reference
book & bibliographical resource for collectors, 25 x 29 cm.
268 LANE, Richard.
New York [1978], Dorset. Black cloth, very good, 364p., bibliography, profusely illustrated, over 32 color, 560 b.w.
illustrations, many maps, seals, dj., pristine as new copy.
$34
$39
269 LANE, Richard.
A STUDY OF JAPANESE NOVELS & ILLUSTRATED BOOKS OF THE 17TH
& 18TH CENTURIES IN BRITISH COLLECTIONS.
[Japan 1953, Saikaku Studies]. Stiff white wrs., back chipped, worn, front spine bit torn, contents solid, Japanese
text, 8 b.w. photos, pp.189-195. Concerns Ihara Saikaku's
illustrated books.
$22
270 LANE, Richard.
UKIYO-E AND EARLY PRINTING.
[Tokyo] 1967, Asia Scene. An article extracted, plasticised,
& extracted, pp.157-160, 8 b.w. illustrations, clean solid.
A scholarly article, by the celebrated scholar of Japanese
woodblock prints and woodblock printed books [E-hon]. SCARCE
$22
271 LAUFER, Berthold.
DESCRIPTIVE ACCOUNT OF THE COLLECTION OF CHINESE, TIBETAN,
MONGOL AND JAPANESE BOOKS IN THE NEWBERRY LIBRARY.
Chicago [1913], Newberry Library. Brown stiff wrs.,very good
42p., 5 illustrations, some fold-outs. FIRST EDITION
THIS IS THE ORIGINAL EDITION, NOT SOME CHEAP POOR QUALITY
REPRINT !
An excellent & scholarly essay about the collection of Asian
books, a useful reference and resource. With good illustrations, and lucid text. The essay outlines the authors's mission to go to Asia, collect books, which resulted in the purchase of some 1,216 titles in 21,403 volumes. The collection
focus was on religion, philosophy, history, belles-lettres,
philology and art. Nicely done.
272 LORCHER, MARGOT.
KATALOG 13. JAPANISCHE HOLZCHNITTE, HOLZSCHNITTBUCHER,
JAPANISCHE TUSCHZEICHNUNGEN.
Aystetten [1991], Lorcher. White stiff wrappers, very good,
[45]p., 69 b.w. photos, bibliography, price list in Marks,
German text.
The works of Kuniyoshi, Hiroshige, Hokusai &c., includes
some erotica, calligraphy, woodblock-printed books, some 69
well-described items in all, nicely illustrated. A useful
$83
dealer's catalogue & reference.
$17
273 [MABIE, Henry C.]
JAPANESE LIFE OF GENERAL GRANT. A Literal Translation by Rev
J.S. Motoda.
[New York 1900, Scribner's Magazine]. New stiff yellow wrs.,
very good, extracted article, pp435-446, 18 b.w. plates done
after woodcuts of Sensai Yeitaku, a translation of the book
by Kanagaki Robun.
This excellent study covers a review of a Japanese translation of an Americian book printed 1879. This article details
the Japanese version, and illustrates from it, nicely done.
AN EARLY RECORD OF A JAPANESE IN MEXICO & THE AMERICAS
274 MAEKAWA, Bunzo. comp. et al.
KAIGAI IBUN: A Strange Tale From Overseas, or a New Account
Of America Compiled from the Narrative of Hatsutaro, a
Los Angeles 1970, Dawson's. Blue cloth, very good, 143p., 38
color illustrations, co-compiler Sakai Junzo, translated by
Richard Zumwinkle & Tadanobu Kawai, map, 14 x 22 cm., clean
sharp copy.
This fascinating work covers the tale of the castaway. Lost
off Hyogo, Japan the crew of 13 men sailed without rudder
for some six months southeast to be rescued by a Spanish
vessel, and then dropped off in Baja California, at San Jose
del Cabo. They went to Mazatlan, and eventually boarded a
ship bound for Canton, and then back to Japan. A wonderfully
brilliant work, full of excitement and the unusual.
*****
BIBLIOGRAPHY:
Dawson's Book Shop: ASIATIC BOOKS 1949-1952 compiled by Jack
Gyer, item #211, page 29.
$75
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, no. 724, page 311.
*
MAEKAWA, Bunzo. comp. et al. KAIGAI IBUN: A Strange Tale
From Overseas, or a New Account Of America. compiled from
the narrative of Hatsutaro, a Japanese Castaway. Los Angeles
1970, Dawson's Book Store. This work provides an excellent
and complete English translation of the text along with many
color illustrations. Translated by Richard Zumwinkle,
assisted by Tadanobu Kawai. FIRST & ONLY LIMITED EDITION OF
900 Copies only.
*
*
KSM: [kiko, hyoruki], 2-5-3
*
Dawson's Book Store, ASIATIC BOOKS, catalog by Jack Gyer,
L.A. 1952, item 211, page 29.
*
Not in Mitchell
*****
$77
AN EXCELLENT INSIGHT TO JAPANESE EROTIC PRINTS & BOOKS
275 MANDEL, Gabriele.
THE POEM OF THE PILLOW: THE JAPANESE METHOD.
[Fribourg 1984], Omega. Black cloth, very good, dj., 79p.,65
color, 30 b.w. photos of erotic prints, drawings & paintings
from Japan's rich genre. FIRST & ONLY EDITION.
S C A R C E
This work draws heavily on the "Pillow Book" by Sei Shonagon
a 12th century woman author. The text is addressed as advice
for wives in terms of hygiene and as a guide on love making.
Utilizing 19th century illustrated erotic books (Shunga) to
support the point, this work abounds in conjugal pleasure.
The commentaries are excellent, giving useful advice and assistance on what and how. A graphic work devoted to the Japanese art of love making. Enjoyable reading & voyeuring !
$87
276 MANJU OEDO EZU: GREAT MAP OF EDO.
MANJU OEDO EZU: GREAT MAP OF EDO.
Odawara 1864, Kikuya Kohzabroh. A hand printed color woodcut
map, folded, 70.5 x 99.5 cm., very good, minor tender folds
no worming, good pastel colors, nicely done.
R A R E
This is an excellent example of Edo, showing the changes
from Edo to Meiji period, with Mon of the Samurai, castle,
moat, shrines, temples, green spaces, rivers, family names
of Yashiki. Edo bay contains a directional compass and two
sailing "junks" under way, also a directional chart of
distances. Printed Genji or Meiji first year. This map
celebrates the change of era name, with the new Meiji
Emperor, and thus documents the new status and revised
map of Edo, the capital. Suitable for framing and
display, nicely done.
*
BIBLIOGRAPHY:
Namba p. 135, color plate 77 for the same map but of a
different edition.
*
A LOVELY MEIJI PERIOD MARUYAMA OKYO SCHOOL EROTIC BOOK
277 [MARUYAMA, Okyo]. [An Obvious Fake]
MEIJI JIDAI SHUN-PON: MEIJI PERIOD 'PILLOW BOOK.'
$2582
A Color Woodblock-Printed Erotic Book.
Japan n.d. ca 1868-70. Cloth covered accordion folded album,
very clean, contains two series of color woodblock prints,
first group 12 lovely polychrome works, 18.5 x 12.2 cm., 2nd
group on the verso 12 key-block with 3-4 colors each.OBSCURE
The first part of the album has a signature and seal of
Maruyama Okyo [1733-1795]. Clearly this is not the actual
work of Okyo at all, but an attempt by some later unsung
Meiji period artist to use a famous name to sell his work.
The album is in the "style" or "school" of Okyo and that is
far as it goes. The printing colors, are clearly Meiji
period woodcuts.
*
The first part is a lovely example of 12 Meiji period color
woodcut prints. They are all done with large composition, in
a bold style. For the most part focusing on the genitals and
the object of love making. The subject of each print is:
1. Couple kissing.
2. Penetrating the vagina with a huge penis.
3. He is stimulating her clitoris.
4. A huge penis is preparing to enter the vagina which is
being stimulated by two finders.
5. Two Japanese women engaged in an embrace; one licks two
fingers in readiness to stimulate the other's clitoris.
6. Huge penis penetrates the vagina.
7. She stimulates her clitoris as the penis enters.
8. She holds his erect penis preparing to guide it into her
vagina.
9. A priest kisses a woman.
10. She stimulates her vagina, while the erect penis
- prepares to enter.
11. He pulls her Kimono back revealing her awaiting vulva.
12. He enters her vagina from the rear. Signature and red
cinnabar Hanko/chop/seal of Maruyama Okyo.
*
Second Part:
On the verso of the above are a series of 12 other woodcut
prints, mostly done in black key block outline, with a
pastel or two added. Each various love-making acts, and the
couples engaged. One he licks his fingers preparing to wet
her vagina. Erotic dialogue is in the background of each.
The artist's name is not cited anywhere, which was common
for such "banned" books or illegal books.
*
The album leaves are covered in a crushed silver clamshell
with gesso to make a shiny, pearl-like color and texture,
the prints are then laid down on this surface. The album is
covered in a brocade silk, of a delicate nature.
*
CONDITION:
The condition is very clean and nice, both series of prints
are immaculate and without flaw. There is a small round
scuff to the blank title slip, otherwise the corners are
rubbed to the smallest degree, all solid and in lovely
condition.
*
This like other erotic albums and books of the the time
these were not authorized nor did they have an official
"censor's seal" as there were above the Shogunate laws.
Issued in small numbers and either sold or distributed
discreetly, this kind of "Shun-pon" or erotic book was used
as gifts to virginal couples on their wedding night,
commonly called "Pillow Books" or "Makura Zoshiki." A
euphuism for licentious books enjoyed across all spectrum of
Japanese society, commonly bought, sold or traded on the
black market. Because they were officially "banned" by the
Shogunate, artists, wood block carvers and printers risked
severe punishment if caught anywhere in the process, these
were strictly driven "underground" but nevertheless thrived
during the Edo and Meiji periods, right down to the Taisho
and Showa times.
*
Each erotic print commonly had a dialogue of the exchanges
between the man and woman, erotic love-making words and
sentences to encourage or compliment the other, filled the
backgrounds of most prints. This album contains a large
number of these dialogues and are quite readable if not
memorable, telling him "what a large penis" he has, while he
tells her what a "strong vagina she has" &c... The Japanese
were extremely "natural" about openness in love-making and
also the genre of erotic prints and books. Their healthy
if not erotic aptitudes were the norm and acceptable
throughout all of Japanese society until the end of World
War II, when prostitution was still acceptable, but
continued under the guise of not officially being
sanctioned.
*
BIBLIOGRAPHY:
*
$1632
278 [MATSUDAIRA, Fumai.]
KOKON MEIBUTSU RUIJU: BOOK OF ANCIENT MOTIF DESIGNS
[Edo ca 1870, Suwahara]. Green stitched wrs., edges chipped,
worn, [77] double folded leaves, 116 color woodcut plates,
chipping to page edges, 16 x 23 cm., sold "as is" only, not
returnable.
Please ask for more scans if you are not sure.
The author's Go [studio name] was Tosai Shoko Rojin.
*
An excellent example of the more primitive Japanese
designs. Woodblock printed on Washi paper.
*
A HUMAN ANATOMY FOR THE JAPANESE
$153
279 MATSUKAWA, Hanzan.
SHOGAKU KYOJU JINTAI MONDOH: CATECHISM OF ELEMENTARY HUMAN
ANATOMY.
[Osaka 1876, Sasuke Miko]. Green stitched wrappers, very
good, 13 double folded sheets, [26p.], 4 color illustrations
entirely woodblock printed, Japanese text. Matsukawa: 18201882. Original covers & title slip, 12 x 17.5 cm.
R A R E
Matsukawa Hanzan was a grand innovator & took it upon himself to educate the average Japanese in agriculture, nature
natural science, medicine and a host of other "foreign and
Western technological & scientific subjects. He wrote many
books with illustrations in an easy level of Japanese with
Furigana to help read the sounds. This work was one those
designed to teach the Japanese the workings of the human
body, to remove superstition, and to assist in telling the
true story of the various parts of the body & how they worked. A simple but important work, hitherto a subject of great
taboo in Japan. Anatomy or human dissection was forbidden by
Buddhist & governmental law. Buddhist prohibitions against
the opening of the human body were very strong until the
Meiji Restoration in 1868. After which there was a "Japanese
Renassiance" and the opening of learning on all subjects. In
this text, Hanzan shows the complete body, its bones named,
anatomical parts, blood vessels, internal organs with functiton, descriptions on all body parts in the text. Hitherto
books on this subject were not published in Japan, but either acquired from Dutch traders in Nagasaki, or imported from
China.
$2040
280 MATSUKAWA, Hanzan.
UJIGAWA RYOGAN ICHIRAN: A GLANCE AT BOTH BANKS OF THE UJI
RIVER.
[Osaka 1863, Kawachi ya]. Yellow stitched wrs., very good,
small size ca 12.5 x 18 cm., soiled covers, 24 double folded
woodblock printed pages, 19 color illustrations, 9 of which
are double page [=18] color illustrations, vol. 1 only, with
calligrapy by Kamada Suio. The complete work consists of two
volumes. A good description is found in Toda: THE RYERSON
COLLECTION; Mitchell: ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA, SHIJO... p.544; Douglas: CATALOGUE OF JAPANESE PRINTED
BOOKS & MANUSCRIPTS IN THE BRITISH MUSEUM 1904, p.10, listed
under Giosei, # 16113.b.23. Not in Dawes 1972.
$612
281 MATSUMOTO, Kanchi ed.
SEN SHIN DOH SAKKI: INTRODUCTION OF YO-MEI GAKU CONFUCIAN
THOUGHTS BY OHSHIO HEIHACHIRO.
[Osaka 1835], Ogawaya. Brown stiff stitched wrs., very good,
good, vols. Jo & Ge [1 & 2], 2 vol. set], woodblock printed,
17.5 x 24.5cm,back cover of vol. 2 has some discoloration,
else clean, solid, text only, no illustrations.FIRST EDITION
OHSHIO Heihachiro was an assist administrator of Osaka
Bugyo-sho [the Magistrate] in Tempo era. He was highly
influenced by Confucianism, a strong philosophical and
ethical form of thought using the principals of the Yin and
Yang. This was called Confucianism, and adopted from China
during the century.
.
Since the 700's A.D., Japan embraced this kind of "natural"
philosophy based on the "two-principal" positive, negative
forms. This was the leading form "conduct" from that period
onwards in Japan. It was applied to daily life, feudalism
and
all manner of belief, combined to work with Buddhism, and
native Shingo. It highly affected relationships of family
members as well as government vis-�-vis to the people of
Japan. These ancient currents are still prevalent throughout
Japan and their unique belief and philosophical system.
Extracted & edited from Sansom below.
*
THE FIRST EDITION:
Our copy is the FIRST EDITION of this work, which concerns
Confucianism in Japan, a major philosophical theme.
***
There was also a later Meiji 32nd. [1899] edition of this
work.
***
REFERENCE:
SANSOM, George B.: A HISTORY OF JAPAN, vol.1, pp.70-71 et
al.
***
AN EARLY JAPANESE EDITION OF GRAY'S ANATOMY
$77
282 MATSUMURA, Kuniaki. ed. [GRAY, Henry]
GUREI SHI KAIBO KUMMO ZU: GRAY'S ANATOMICAL ATLAS.
[Japanese Edition done after Henry Gray's Anatomical Atlas]
Osaka 1876, Matsumura. Gold silk brocade covers, 2 vol. set
vol.1:46, vol.2:50 accordion folded leaves, copper etched
illustrations, 15.3 x 22 cm., very good a tiny bit of old
mended worming in the margins, else clean,solid copy. RARE !
This is a famous anatomical atlas, done after the celebrated
classic: Henry Gray: ANATOMY OF THE HUMAN BODY, London 1858.
*
THE JAPANESE EDITION:
This is an early copy and translation of the Henry Gray
book.
*
COPPER-ETCHED ILLUSTRATIONS:
This stunning work consists of fine copper-etched
engravings: vol.1: 152; vol.2: 329, for a grand total of 500
fine engravings. The work is complete in 2 volumes.
***
EDITOR/PUBLISHER:
The work was edited and published by Noriaki Matsumura of
Tsuruga, Fukui prefecture. It was distributed by Zembei
Maekawa, Osaka, and also Toshisuke Shimamura, Tokyo, Meiji
9th year [1876].
***
THE BINDING:
The work was beautifully bound in an accordion folded
format, in elegant gold-brocade silk cloth cover, showing
pine trees as the motif.
***
FAITHFULLY FOLLOWING GRAY'S ANATOMICAL ATLAS:
The Japanese edition faithfully follows Gray's drawings and
format as found in the original. Each example is properly
titled, showing the names of all illustrated items, arranged
in Gray's order.
***
ALTERNATE TITLE:
This work has an alternate title: GRAY-SHI KAIBOH KUNMO ZU.
***
THE FINE COPPER-ETCHHINGS:
The work was completely printed from copper-etched plates,
and therefore reflect the minute attention to detail in the
illustrations. Copper etched books in Japan were very rarely
done, and only for early Japanese medical book, which
required the most detailed of illustrations. The process was
rare and very expensive.
***
CONDITION:
The work is bound in the original cloth. There a few old
worm holes mostly mended from the verso [typical of period
Japanese books], nicely restored from with Washi [hand-made]
paper and rice glue. The book is solid, and a few of the
accordion folds are double folded but solid.
.
The illustrations very bright & clean, no fading, there are
a few tiny stains [tiny rust spots] on one page, and another
illustration was amateurishly hand-colored, else no other
issues. All in all a very nice copy.
***
INDIGO-BLUE FOLDING CLOTH CHITSU:
The set of two volumes are contained in a folding cloth
Chitsu, with two bone pegs.
***
REFERENCE:
Henry Gray: ANATOMY OF THE HUMAN BODY, London 1858.
.
The English anatomist Henry Gray was born in 1827. He
studied the development of the endocrine glands and spleen
and in 1853 was appointed Lecturer on Anatomy at St George's
Hospital Medical School in London. In 1855, he approached
his colleague Henry Vandyke Carter with his idea to produce
an inexpensive and accessible anatomy textbook for medical
students. Dissecting unclaimed bodies from workhouse and
hospital mortuaries through the Anatomy Act of 1832, the two
worked for 18 months on what would form the basis of the
book. Their work was first published in 1858 by John William
Parker in London
*
Wikipedia:
https://en.wikipedia.org/wiki/Gray%27s_Anatomy
***
Not in:
MESTLER, Gordon E.A GALAXY OF OLD JAPANESE MEDICAL BOOKS
The simple reason this was not found in Mestler, is that it
Mestler did not find any copies of this on his two trips to
Japan in the 1950's.
*
Not in:
*
Not in:
FUJIKAWA, Y. JAPANESE MEDICINE.
*
IN JAPAN.
*
Not in:
[KURE, S.] REPORT OF THE MEDICAL EXHIBITION VI CONGRESS OF
THE FAR EASTERN ASSOCIATON OF TROPICAL MEDICINE 1925.
***
$952
EARLY PRIMARY SOURCE ON AINU BY THE MAN WHO NAMED HOKKAIDO
283 MATSUURA, Takeshiro.
KITA EZO YOSHI: A FURTHER ACCOUNT OF NORTH EZO, TRIP TO
DARUIKA AND THE OROKKO TRIBES [OF HOKKAIDO].
[1860, Matsuura]. Green stitched wrs.,blind-stamped swastica
design, title slip, rear covers mottled, tightly bound, the
contents exceptionally clean, 30 double-page text + 2 last
pages colophon, 11 illustrations, of which 4 are in color.
This very unusual and famous work. It covers the early
official and primary travels of Matsuura Takeshiro to Ezo
[Hokkaido prior to being named "Hokkaido"] in 1859.
.
Matsuura executed his Shogunate appointed objective of
exploring Ezo, and making a visual and written record of
what he saw, the Ainu people and others he met on his
travels. He wrote several works on that area, this example
is one of those historic records. Matsuura was officially
authorized by the Shogunate to name/rename areas he
traveled in the Hokkaido area. Matsuura is the man
responsible for changing the name of "Ezo" to be "Hokkaido."
***
Per Bartlett, p.198-199:
Bartlett gives KITA EZO YOSHI a variant English title:
A FURTHER ACCOUNT OF NORTH EZO: TRIP TO DARUIKA AND THE
OROKKO TRIBES.
.
"In the preface the author states that this book is...an
extract from the official report on the expedition to
Karafuto [Sakhalin] in 30 volumes that was then presented to
the Hokkaido Government Office. In June 1854 [a later
edition of this title] the author parted from his
companions to visit Daruika and the Orokko people and
rejoined them in July after having had the experiences
recounted in this book."
.
Again in Bartlett, on p.198 exhibit 68, figure 63 he shows
the exact illustration found our copy of Matsuura being
entertained by several Ainu peoples.
.
Bartlett states about this double-page illustration:
"Japanese dignitary, presumably the author, visiting Ainu at
an island touched during the voyage to Sakhalin. The bearded
Ainu are offering gifts of fish and other food."
See our website for a scan of this fascinating example.
***
THE ELEVEN ILLUSTRATIONS:
There are a total of ten woodblock illustrations in this
book:
a. Two double-page black, gray, shaded illustrations.
b. Two color double-page illustrations.
c. Three double-page black outline illustrations.
d. Three single page black outline drawings/illustrations.
***
CONDITION:
The front covers and the title slip are quite clean. There
is a bit of mild discoloration spots at upper 4 cm. of this
part of the front cover. The title slip is excellent a bit
dusty. See cover.jpg
.
The back covers are mottled, with several spots . Please see
color scan spine.jpg posted to our website for more details.
.
Contents:
The contents are excellent, very clean, no worming
whatsoever. The color illustrations and line drawings are
also excellent, no issue.
.
The book is firmly bound in its original threads. The book
is enclosed in a more recent indigo-blue Chitsu folding case
with bone clasps.
***
WHO WAS MATSUURA Takeshiro [1818-1888]:
"The author was an explorer who went as far north as Ezo
[modern day Hokkaido before it was named "Hokkaido"]. He was
later commissioned by the Shogunate to survey the topography
of Hokkaido in 1885, and then appointed judge at Hakodate
and concurrently secretary of the bureau that was
established to give names to various parts of Hokkaido in
1868. He wrote many books on his travels, most noted of
which is TOZAI EZO NIKKI: DIARY OF EAST AND WEST HOKKAIDO."
Extracted from J.B.E.& W.W., see below for bibliographical
citation.
***
ADDITIONAL BIBLIOGRAPHIC DETAILS:
The work contains double-folded pages 1-30 of text and
illustrations, plus 2 sheets postscript, dated Man nen 1,
introduction dated Ansei 7 [1860], [1860], no place of
publication, but somewhere in Japan.
The woodblocks were owned by the author. Inside the front
cover is the alternate title: "TARAIKA OROKKO KIKOH."
.
Per Mitchell [see below] the work was illustrated by
"various artists." He continues to list the
illustrator/artist of each plate
***
THE ILLUSTRATIONS:
This work was illustrated by Matsuura and others:
Per Mitchell p.369. we list the illustrations:
1. LANDSCAPE by Matsuura
2. AINU BEARING GIFTS FOR EMISSARY by Gako
3. NATURAL PRODUCTS OF EZO by Shuki
4. DRAMATIC SKETCHES OF EZO BUILDINGS unsigned
5. BOWS, ARROWS &c. unsigned
6. PROCESSION OF AINU AND EMISSARY by Sugaku, Soun,
.
Matsuura & Choko
7. DIAGRAMMATIC SKETCHES OF BABY'S CARDLE, PAPOOSE-CARRIER,
.
&c. unsigned
8. TWO AINU PLAYING A MUSICAL INSTRUMENT by Gyoseki & Mokkin
9. LANDSCAPE by Senshu
10. DIAGRAMMATIC SKETCH OF CHILDREN'S TOYS unsigned
11. AINU EMISSARY GETTING SUMI FOR INK by Ayakoa & Issei,
***
REFERENCE:
JAPAN BIOGRAPHICAL ENCYCLOPEDIA AND WHO'S WHO: 1964-'65,
p829.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS: number 876, p.375.
*
KSM [Chishi Kikoh] 2-423-4
*
PERIOD OF WOOD-BLOCK PRINTING: no. 68, p.198, figure 63.
This example is a later edition: Ansei 3, 1856 published by
Akitaya Taemon & Kawaguchi Shinjiro, Osaka, Suwaraya &
Yamashiro, Edo and 8 other booksellers.
*
Kraft: vol.1, no. 413
*
MITCHELL, C.H. et al.: THE ILLUSTRATED BOOKS OF THE NANGA,
MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN:
A Bibliography: pp.368-9
*
BM [1898] 16054.D.4 Title listed as: HOKU EZO YOSHI, 1860
***
AN EARLY MEIJI PERIOD ANATOMICAL TEXT BOOK
284 MATSUYAMA, Toan. comp. et al.
SHOGAKU JINSHIN KYURI:ELEMENTARY HUMAN PHYSIOLOGY [ANATOMY].
Tokyo 1786, Matsuyama. Blue stitched stiff wrs., 2 vol. set,
covers & title labels scuffed, contents clean & solid, 55+40
double leaves of text, 18 text ilustrations + large color
fold-out of the human skeleton, 57 x 22 cm.
R A R E
An excellent example of how the Mombusho or new Japanese
Ministry of Education assisted in the basic education of the
Japanese to learn and understand the basics of how the human
body works.
*
Nicely illustrated with easily read text, designed for those
with limited language ability. Upon the restoration of the
Meiji Emperor in 1867, the Japanese government launched into
a major effort to educate its citizens in the basics of
Western science, natural science and medicine.
$1894
*
The goverment made major efforts to contract with authors
and experts to write & translate foreign books and concepts
into simple Japanese. During this period a profusion of
books for this purpose were published in quantities
surpassing all previous periods.
*
The text shows and discusses each of the body parts, organs
& skeletal systems. Japanese text.
*
Co-author, translator was MORISHITA Gannan. The work was
translated from an unknown western [Dutch?] work.
***
$476
A ZEN MASTER EXPLAINS THE MEANING OF WORDS
285 MEIKA, Sensei. [Zen Master Meika & Teacher]
BUN GO KAI [BUN GO GE]: UNDERSTANDING OF LITERARY WORDS.
[Kyoto n.d. ca 1869, Ohtani Nihei]. Blue blind-stamped stitched stiff wrs., very good, 5 vols. bound in 1, very fine,
neat marginalia, occasional red grammar Kanji added to text,
very good, clean, no worming.
S C A R C E
This work was co-published by the Mombusho [Minister of Education & Wakanseiyo [Japanese, Chinese & Western Materials
publishers] & Gakko You [text books for schools] publishers.
This work is divided into subjects designated by the Zen
Master & monk including Buddhist and non-Buddhist words, as
well as other words, their meaning, origins & how used in
essays. A very useful resource. Includes "soundless words"
or those used in Buddhist chanting or prayer.
THE ONE AND ONLY COMPREHENSIVE BIBLIOGRAPHY ON THE SUBJECT
286 MESTLER, Gordon E.
NOTES ON EARLY MEDICINE IN JAPAN. Together With: "INDEX,"
[Chicago] 1954-1957, 1964, MLA. Recently rebound in pebbled
blue cloth, very bright, clean copy, 50+ 287-327; 468-500;
125-159; 327-347; 164-219pp., 15 b.w. photos, 17 x 25 cm.
+50p. INDEX, 3 titles together. COMPLETE WORK FIRST EDITION
$680
THIS ITEM CONTAINS ALL THREE JAPANESE MEDICINE TITLES
WRITTEN BY GORDON E. MESTLER.
*
A MOST SUPERB AND VALUABLE REFERENCE WORK !
*
The GALAXY was begun in 1954 and finished in 1957. It
represented over five years of research, collecting,
cataloguing and plenty of hard work by the author who was a
professor of anatomy at State University of New York,
College of Medicine at N.Y.C., Brooklyn, N.Y. It was to be
his "magnum opus." Indeed it was his greatest bibliographic
achievement. The GALAXY, together with AN INDEX TO SELECTED
JAPANESE MEDICAL LITERATURE OF PRE-MEIJI TIMES [1964],
comprises the best and most comprehensive single resource in
English to date on ancient Japanese medical texts, in
bibliographical form.
*
WRITTEN BY GORDON E. MESTLER:
.
This item consists of three titles authored by Gordon E.
Mestler. Bound in one volume is the complete "GALAXY" [item
#3 below] with the original blue journal covers bound in;
plus the bound in "INDEX" [item #1 below], and also item #2
the "INTRODUCTION TO WESTERN..." is tipped-in at the read of
the book. All in items in excellent condition.
.
1. "AN INDEX TO SELECTED JAPANESE MEDICAL LITERATURE OF THE
PRE-MEIJI TIMES" [i.e. the "INDEX" to the "GALAXY"], 1964
*
2. "INTRODUCTION TO WESTERN INFLUENCES IN PRE-MEIJI JAPANESE
MEDICINE," 1957
*
3."A GALAXY OF OLD JAPANESE MEDICAL BOOKS WITH MISCELLANEOUS
NOTES ON EARLY MEDICINE IN JAPAN." Published by Bulletin of
the Medical Library Association, Washington. D.C., issued
serially, from 1954-1957.
*
THE CONTENTS OF "GALAXY":
.
Pt.I: Medical History and biography, general works, anatomy,
physiology, pharmacology, 41 pages, pp.287-327, 1954.
*
Pt.II: Acupuncture, moxibustion, bathing, balneotherapy and
massage, nursing, obstetrics & gynecology, pediatrics, and
hygiene, 32 pages, pp.468-500, 1954.
*
Pt. III: Urology, syphilology, dermatology, surgery,
pathology, 35 pages, pp.125-159, 1956.
*
Pt.IV: Ophthalmology, psychiatry, dentistry, 21 pages, pp.
327-347, 1956.
*
Pt.V: Biblio-historical addenda, corrections, postscripts
and acknowledgements, 56 pages, pp.164-219, 1957.
.
This work is nicely illustrated with many b.w. photos from
the original period book illustrations.
***
MORE ON THE CONTENTS AND THE ILLUSTRATIONS:
The work was profusely illustrated, showing major themes in
early native genre of medicine and pharmacopoeia. This is
the one and only work of its kind in English, methodically
covering each of the recognized disciplines in a scholarly
and comprehensive way. A most superb illustrated guide to
Japanese and Chinese woodblock printed & illustrated
literature from the 17th to 19th centuries. An extremely
valuable reference tool for this genre of scientific
literature. This resource guides collectors and students of
early woodblock printed medical monographs printed from 17th
century Japanese Rangaku-sha or students of Dutch Learning
and medicine, physicians and a host of other related
materials including pharmacopoeia.
*
It is also a bibliographic history and documents the ancient
origins and early beginning of systematic Japanese medical
study based on Chinese & Korean books resources as well as
European the influence from 17th century Dutch in Nagasaki
and even earlier Portuguese Jesuits who came to Tanegashima
in Southern Japan in 1549. The "GALAXY" documents these
medical books from which the earliest Japanese medical books
emanated from. They started in the 8th century when
importation from China began in earnest.
*
The work was originally issued serially in 5 separate parts
in a small printing as a the Bulletin of the Medical Library
Association, Washington. D. C. It was reprinted again in a
small edition by the Association, and remains out-of-print
and has never been commercially reprinted. This complete
title in its 5 parts remains difficult to locate. With the
addition of the essential index in 1964, makes this work
easy to use.
.
Mestler compiled and annotated this work with the utmost
care, adding much scholarly detail.
*
ESSENTIAL REFERENCE FOR ANY MEDICAL LIBRARY OR INSTITUTION:
.
An essential reference for any medical library, student or
researcher on early Japanese and Chinese influenced Japanese
medicine. Nicely illustrated with examples from the books
cited. With additional bibliographical footnotes and text
to the plates. This is the one and only single and most
comprehensive bibliographical resource on the subject in
English. The comprehensive later index covers: authors,
titles and key words, again compiled by Mestler. This index
makes the "GALAXY" articles much more accessible and is
indispensable. The "GALAXY" lists and cites a substantial
number of original Chinese medical works, most of which were
eventually were copied, renamed and rewritten by Japanese
physicians.
***
CONDITION:
The texts are very clean, bright, unused, rebound as noted.
The cloth bindings are new, unused.
***
BIBLIOGRAPHY:
Useful resources on woodblock printed Japanese medical
books.
*
Mary W. Standlee: THE GREAT PULSE: Japanese Midwifery and
Obstetrics Through the Middle ages.
*
Y. FUJIKAWA: JAPANESE MEDICINE, translated by John Ruhrah.
*
Syuuzoo Kure: REPORT OF THE MEDICAL EXHIBITION VI CONGRESS
OF THE FAR EASTERN ASSOCIATION OF TROPICAL MEDICINE 1925.
*
Willis N. Whitney; NOTES ON THE HISTORY OF MEDICAL PROGRESS
IN JAPAN:
*
William T. HELMUTH: A GLANCE AT JAPANESE MEDICINE ANCIENT
AMD MODERN, Reprinted from the NORTH AMERICAN JOURNAL OF
HOMEOPAHTY.
***
Please inquire about the above items, we may have them in
stock.
***
[Chicago] 1954-1957, 1964, MLA. Recently rebound in pebbled
blue cloth, top edge slightly damped, 287-327; 468-500;
125-159; 327-347; 164-219pp., 15 b.w. photos, 17 x 25 cm.
+50p. INDEX, 3 titles together. COMPLETE WORK FIRST EDITION
*
*
*
.
$211
.
*
MEDICINE," 1957
*
*
.
*
hygiene, 32 pages, pp.468-500, 1954.
*
*
327-347, 1956.
*
.
***
*
*
easy to use.
.
*
.
physicians.
***
CONDITION:
***
BIBLIOGRAPHY:
books.
*
*
*
*
IN JAPAN:
*
HOMEOPAHTY.
***
stock.
***
$189
[Chicago] 1954-1957, 1964, MLA. Original blue wrs.,red cloth
spine, 287-327; 468-500; 125-159; 327-347; 164-219pp. text,
15 b.w. photos, 17.5 x 25 cm.,+ 50p. "INDEX," 3 titles bound
together, very good.
THE COMPLETE WORK
FIRST EDITION
*
*
*
.
.
*
MEDICINE," 1957
*
*
.
*
hygiene, 32 pages, pp.468-500, 1954.
*
*
327-347, 1956.
*
.
***
*
*
easy to use.
.
*
.
physicians.
***
CONDITION:
***
BIBLIOGRAPHY:
books.
*
*
*
*
IN JAPAN:
*
HOMEOPAHTY.
***
stock.
***
[Chicago] 1954-1957, 1964, MLA. Original blue wrs.,red cloth
spine, 287-327; 468-500; 125-159; 327-347; 164-219pp. text,
15 b. w. photos, 17.5 x 25 cm., separate A4 INDEX, 3 titles
together, very good.
THE COMPLETE WORK
FIRST EDITION
*
$163
*
*
.
.
*
MEDICINE," 1957
*
*
.
*
hygiene, 32 pages, pp.468-500, 1954.
*
*
327-347, 1956.
*
.
***
*
*
easy to use.
.
*
.
physicians.
***
CONDITION:
***
BIBLIOGRAPHY:
books.
*
*
*
*
IN JAPAN:
*
HOMEOPAHTY.
***
stock.
***
$160
A USEFUL RESOURCE ON EARLY JAPANESE WOODCUT MEDICAL BOOKS
INTRODUCTION TO WESTERN INFLUENCES IN PRE-MEIJI
JAPANESE MEDICINE.
[London] 1957, Royal Society Medicine. Blue stiff wrs.,clean
copy, very good, 9p., 8 b. w. photos from old Japanese
woodcut medical books, 17 x 25 cm., bibliography, offprint.
OBSCURE
This is an esoteric and most useful reference and
bibliographical resource for woodblock printed Japanese
medical books published before 1868.
.
It is also an invaluable companion to the author's highly
celebrated and famous grand bibliography: A GALAXY OF OLD
JAPANESE MEDICAL BOOKS.
*
This title was issued in a small edition from the U.K. and
reprinted from the Proceedings of Royal Society of Medicine.
*
BIBLIOGRAPHY:
*
Gordon E. Mestler: A GALAXY OF OLD JAPANESE MEDICAL BOOKS
*
Please inquire with us as we may have the above "GALAXY"
and other Mestler titles in stock.
*
FABULOUS 47 FOOT LONG WOODBLOCK-PRINTED & ILLUSTRATED SUTRA
$32
291 MIAO FA LIEN HWA KIN KWAN SHI YIN PHU SA PHU MAN PHIN KIN.
ZONG XIANG GUAN YIN JING: ILLUSTRATED SUTRA OF THE GODDESS
OF MERCY, THE LOTUS SUTRA. Dated Xuande 8th Year [1433].
[China] Xuande 8 [1433]. Accordion folded Sutra, 10.5 x 29.8
cm., extended length 47 ft.,[ca. 15m.long], [140]p., profuse
illustrations, with 94 pages illustrations, balance of text
in Chinese, printed on fine mica paper. IMPORTANT EARLY WORK
A superb and marvelous folded scroll, lavishly illustrated
with large, multi-page illustrations. This is the most
famous and celebrated illustrated version of ZONG XIANG QUAN
YIN JING, [Shi Wu Quan: Complete Chapter 15] ie.:
LOTUS SUTRA HUI XIANG GUAN YIN JING: SUTRA OF THE VISION OF
GUAN YIN. Also known as: MIAO FA LIEN HWA KIN KWAN SHI
YIN PHU SA PHU MAN PHIN KIN: The Saddharma Pundarika Sutra.
The E SO KANNON KYO, or HOKKE-KYO or DAI NICHI KYO in
Japanese.
*
First known in Chinese as TA-JIH QING [The Great Sun
Scripture] then after 725 A.D. known as the Fa-hua Qing
[Lotus Sutra] or the ZONG XIANG GUAN YIN JING, and has
always been known as the great foundation or Cannon of
Buddhism, and is a religious classic of breath-taking
grandeur.
*
PRINTING TECHNIQUE, THE PAPER AND MICA COATING:
Printed by hand-carved illustrated woodblocks. This folding
scroll is lavishly printed on mica-coated fine, superior
quality hand-made Japanese mulberry paper. The R A R E
technique of using mica coating is seldom used in Japan and
is very difficult to accomplish. Mica ore is taken and then
finely ground down to fine dust. This dust is then mixed
with a "gesso" type substance or "sizing" which is applied
to the fine side of the paper in a thin layer and allowed to
dry and cure. The paper is then used in the normal way to be
dampened and then placed faced-down on the inked blocks and
rubbed from the back-side to impress the image of characters
and illustrations. The secret is to not dampen to the point
where the mica dust comes off in the printing process. Great
skill is required to successfully accomplish this technique.
Bound in the traditional Chinese sutra format or Jingzhe
Zhunag.
*
RESPECT FOR PRINTING OF BUDDHIST SUTRAS:
Being a venerated and respected Buddhist Sutra, extra cost
was invested into using the best paper and the equally
superb printing techniques with mica. This Sutra was printed
with the purpose to be placed within the Buddhist Temple as
the honoured teachings of Buddha. Some great benefactor of
the temple donated the cost of executing this Deluxe Sutra
in homage to his faith and the Lord Buddha as a gesture of
submission to the Buddhist Cannon and doing what was right.
After this was printed, it was then folded accordion style
into a narrow Sutra format, designed for a priest to hold in
one hand, while the pages were turned, reading from right to
left. Buddhist monks used this famous Sutra to read to the
Sangha, the Buddhist community. The carvers of the blocks,
and the printers alike gained Buddhist merit for their
contribution to the work. It was also a form of piety to
participate in the production process of this Sutra.
*
MATERIALS AND NUMBER OF COPIES PRINTED:
The technique employed to print this great work was
hand-carved cherry woodblocks, and is beautifully
illustrated, an uncommon feature. The large majority of
Buddhist Sutras were strictly text characters no
illustrations. This fine example is printed with an
exceptionally, strong and very clear registry and
impression. Obviously this copy was one of the very first
"pulls" off the wood blocks as evidenced by the brilliant
registry and clarity found in the stunningly clear
impression. Wood blocks generally had a maximum average
"life-span" of approximately 200 copies before the blocks
warped and checked to the point where they were unclear and
mostly unusable. Last printings off bad condition blocks are
clearly evident by the deterioration of the black or "key"
lines or gaps in illustrations between images, and a general
over all poor quality of impressions. Based on the
exceptionally strong impression of this copy, is firm
evidence of an early impression of one copy of about
two-hundred total copies produced from these blocks.
*
THE ILLUSTRATIONS:
Illustrated Sutras from this early period are RARE and were
seldom done. The reason being that most Sutras were read by
priests to other priests, but in this instance, this Sutra
was illustrated, with the object being that it was no only
to be read to other priests, but to be shown to the Sangha
or Buddhist community members to give them a clear visual
impression of the august gathering of those who came to
listen to the Lord Buddha offer his teaching. The correct
picture was worth a thousand words.
*
The grand and first illustration occupies some ten full
pages in all to make one single and complete impressive view
of the a Great Sangha, consisting of a large gathering of
Monks, Priests, Arhats, Boddhisatvas and other disciples
of the Buddha. The illustrations are separated by the Sutra,
which is written in bold face large Chinese characters,
easily read by near-sighted old priests. With a plethora of
other fine illustrations of the Sangha, a host of Buddhist
icons, Boddhisatvas and a variety of deities. These nicely
break up the rather sparse text with a substantial and large
number of superb illustrations.
*
The second and most important illustration is that of
Avalokitesvara, or Guan-Yin in Chinese; Kannon in Japanese:
THE GODDESS OF MERCY. She is shown standing atop a temple,
above the seated Buddha, with her multi-faced form, turned
in every direction in order to see all things and to save
all beings, with her profusion of arms each with hand
holding holy Buddhist symbolic objects. Her crown is of a
"Hundred Faces" and she stands on a throne of fire. This is
the Bodhisattva that grants mercy to those in need.
*
DATE COLOPHON:
The last page shows a good colophon date of Xuande 8 [1433]
indicating this was printed off the original Chinese
woodblocks.
*
FASCINATING EXTRACT:
Ours is the complete Fifteenth Chapter, an extract reads:
"[part] 15: TATHAGAT' AYUS-PRAMANA: DURATION OF THE LIFE OF
THE TATHAGATA and begins with:
"I show the place of extinction, I reveal to all beings a
device to educate them, albeit I do not become extinct at
the time and in this very place continue preaching the law."
.
Sakyamuni is seen in various poses and displaying Mudras of
enlightenment while seated upon his Lotus-bud throne. This
is the greatest and Holiest of all Mahayana texts, and is
always invoked at Buddhist temples throughout Asia. Although
the spoken word of this Sutra varies with each language, the
content and concept remains the same: "recitation earns
virtue." This marvelous example is one of the longest
illustrated Sutras, some 47 ft. or 15.66 meters long] with
wonderful holy illustrations of the most important Sutra in
all of Buddhism.
****
MEDICAL RELATIONSHIP:
LeRoy Davidson in his monumental study of the LOTUS SUTRA
IN CHINESE ART, Yale Univ. 1954, points out an item of
medical interest in the below Miao Fa on page 91, paragraph
4 where he cites: "The panel is that of the paradise of
Bhaisajyaguru, the Buddha of MEDICINE [plate 38.] This
paradise is similar to that of Amitayus. As in the Pure
Land of Sukhavati, there are no vignettes to identify the
scene. Only the MEDICINE BOWL which is held by the Buddha
provides the clue, for this is the symbol of Bahaisjyaguru.
See footnote 38." Found in cave 8, Tun Huang.
The compassionate medical Buddha often dispensed herbal
medicine from his bowl to sickly members of the Sangha, the
Buddhist community.
****
THE MOST FAMOUS OF ALL BUDDHIST SUTRAS:
"The LOTUS SUTRA has inspired countless paintings and
sculptures which illustrated its teachings...representing a
history of Buddhism to the year 1000." Extracted from
Davidson dust jacket notes.
.
Because this is the most important and famous of all
Buddhist Sutras, more information can be easily found in
books about Buddhism or Buddhist art. Works of this great
value were occasionally bestowed upon the most loyal and
generous benefactors by temple priests and monks. They are
seldom found for sale on the open market. This fine example
has been treasured and properly cared for over long life. It
does NOT have the usual old worming, mends and damage
commonly found in many books of this period.
*
CONDITION:
There is a very minor bit of old worming to the indigo
blue paper Chitsu cover, a tiny bit of the old worming has
penetrated the first [of many] layers of the front and back
covers but by Buddha's protection, the full text was spared
and is still flawless without a blemish !
The Chuan/Chitsu folding indigo colored case has one of two
ivory clips, and a few minor repairs to the inside.
*
OTHER IMPORTANT DETAILS:
The cover title reads: ZONG XIANG GUAN YIN JING SHI WU QIAN
in Chinese: ILLUSTRATED SUTRA OF THE GODDESS OF MERCY, THE
LOTUS SUTRA, 15th Chapter complete. Known in Japanese as the
JUGO ZEN: E SO KANNON KYO. This Sutra was donated by a
pilgrim to the famous thirty-three Temples. A most precious
and early example of fine woodblock printing by hand, on
elaborate crushed mica-coated paper. Truly a magnificent
example of the hand-made art of the ancient book. The
complete chapter 15, but some reference sources cite this
in Chinese as chapter 24; variant editions total the
chapters in different ways. Regardless this one is clearly
marked [chapter] fifteen.
A beautifully illustrated Lotus Sutra !
********
BIBLIOGRAPHY/REFERENCES:
For background and more details see:
*
A. Matsunaga: THE BUDDHIST PHILOSOPHY OF ASSIMILATION
. p.111 et al.
*
J. Goedertier: A DICTIONARY OF JAPANESE HISTORY p.84
*
K. Reichelt: TRUTH AND TRADITION IN CHINESE BUDDHISM:A
. Study of Chinese Mahayana Buddhism p.52-53 et al.
*
A. Reischauer: STUDIES IN JAPANESE BUDDHISM
*
E. Reischauer: ENNIN'S DIARY: The Record of a Pilgrimage
. to China in Search of the Law.
*
E. Conze: BUDDHISM. E. Conze: THIRTY YEARS OF BUDDHIST
. STUDIES p.105-122 et al.
*
W. Neihauser Jr. THE INDIANA COMPANION TO TRADITIONAL
. CHINESE LITERATURE: "...An important piece of Buddhist
. literature. "Prof.
*
Philip Hu comp.: VISIBLE TRACES: Rare Books and Special
. Collections from the National Library of China.
*
S. Edgren et al: CHINESE RARE BOOKS IN AMERICAN COLLECTIONS
. In the above work on p. 92-93 is a similar item of
. similar period that shows similar illustrations. Or an
. earlier example on p. 80-81.
*
Bunyio Nanjio: A Catalogue of the Chinese Translation of
. the Buddhist Tripitaka: The Sacred Canon of the
. Buddhists in China and Japan, column 44, #137 is a very
. similar item. With title: MIAO FA LIEN HWA KIN KWAN SHI
YIN PHU SA PHU MAN PHIN KIN.
*
NARA NATIONAL MUSEUM. ARTS OF THE LOTUS SUTRA: Special
. Exhibition 4.29-6.3 1979. This extremely valuable
. reference covers a large number of wood-cut printed
. sutras as well as manuscript sutras from the 8th
. centuries, also identifies National Treasures from the
. 7th to the 14th centuries.
*
MORE REFERENCE:
See A.F. Price: THE JEWEL OF TRANSCENDENTAL WISDOM [THE
DIAMOND SUTRA], London 1947, Buddhist Society for a
translation of this classic. Chinese title: Guanshiyin pusa
pumen ping, or jing, or the Avalokitesvara Sutra.
*
J.L. Davidson: THE LOTUS SUTRA IN CHINESE ART for a general
and very good background. The back of this Sutra has long
inscriptions by Senn-yo Ji Kann, a priest who made a
pilgrimage to the thirty-three temples in Western Japan in
1767. He carried this Sutra and held it up to the Kan-non
[Goddess of Mercy] and made a prayer. His pilgrimage was
sponsored by Yamamoto-ya Kauemon Yoichi & Ohisa of Osaka.
The balance of the inscription is the Darani-Kyo or the
Diamond Sutra. The work has 4 columns of characters per
page.
*
W. Soothill: THE LOTUS GOSPEL: SADDHARMA PUNDARIKA SUTRA:
MIAO FO LIEN HUA CHING, Oxford 1930 for a substantial
translation of this work. In the Soothill translation, he
identifies some 27 individual chapters.
*
P.Pal & Julia Meech-Pekarik: BUDDHIST BOOK ILLUMINATIONS,
pages 248-261; figures 94-100.
*
A FINE AND EARLY MING EXAMPLE--EXCEPTIONALLY RARE COPY !
*
$54487
292 MICHENER, James A.
THE FLOATING WORLD.
New York [1954], Random House. 2nd Printing. Black cloth, 40
color, 27 b.w. illustrations, 403p., index, bibliography,
glossary.
SUBTITLE: The Story of Japanese Prints. An account of the
life and death of an art, of the men who made it and of the
lusty age in which they flourished. A major piece of solid
literature on the subject, superbly written and researched.
$9
THE MAJOR REFERENCE ON THE MANGA SERIES
THE HOKUSAI SKETCH-BOOKS: SELECTIONS FROM THE MANGA.
Rutland [1958], Tuttle. Grey cloth, very good, dj., 286p.,
index, 187 color plates, printed on double folded leaves,
slipcase, 16 x 26 cm. like new copy, in mildly scuffed dust
jacket.
Second printing of the FIRST EDITION
A delightful work, covering Hokusai's most famous and
enjoyable illustrated book series.
.
Addressing and commenting on the people, fauna, flora,
landscape, grotesqueries, architecture, technical and
forerunners found in the text.
.
With appendix of caption of the illustrations, breakdown
of the plates. A valuable reference source for any student
of Japanese woodblock printing & woodblock printed books,
Hokusai and Japanese art in general.
.
An essential reference and a classic study.
***
Please inquire with use for original woodblock printed
examples from this magnificent title, there were 15 volumes
in all. Please see our listings for other original Hokusai
woodblock-printed books.
***
THE MAJOR REFERENCE ON THE MANGA SERIES
$22
THE HOKUSAI SKETCH-BOOKS: SELECTIONS FROM THE MANGA.
Rutland [1969], Tuttle. Orange & brown cloth, many illus.,
286p., index, 187 color plates, printed on double folded
leaves, as per the originals, very good copy.
A delightful work, covering Hokusai's most famous and
enjoyable illustrated book series.
.
Addressing and commenting on the people, fauna, flora,
landscape, grotesqueries, architecture, technical and
forerunners found in the text.
.
With appendix of caption of the illustrations, breakdown
of the plates. A valuable reference source for any student
of Japanese woodblock printing & woodblock printed books,
Hokusai and Japanese art in general.
.
An essential reference and a classic study.
***
Please inquire with use for original woodblock printed
examples from this magnificent title, there were 15 volumes
in all. Please see our listings for other original Hokusai
woodblock-printed books.
***
A LARGE & COMPLETE MAP OF MIKAWA PROVINCE
295 MIKAWA CHIRI ZU KAN: MAP OF MIKAWA'S EIGHT PROVINCES.
MIKAWA CHIRI ZU KAN: MAP OF MIKAWA'S EIGHT PROVINCES. SAN
SHUU HACHI GUN CHIRI NO ZU. [AHEAD OF TITLE] KAIGYOKU MIKAWA
Japan n.d. c.1704, n.p. Blue stiff covers, folded, woodblock
printed by hand on hand made paper, 103 x 106 cm., folded,
minor stain, list of the 8 Gun, preface, old worm holes
repaired, nice work.
Preface by Gankei-Sanjin [a pseud]. This is a large wall map
and is suitable for display and framing. Composed of some
twelve individual paper sheets, one is a bit more faint
than the others.
*
An excellent example of an early provincial map, shows all
eight "Gun" or districts of the provinces. With Genkai's
cinnabar seal. The work has always been considered scarce.
****
BIBLIOGRAPHY:
ERA: supplement B, p.14, [1704.4] as MIKAWASHUU CHIRI ZUKAN.
*
$19
Prof. Kurita has illustrated this as plate 30, in his 1932
study, he also approximates the date based on research to be
the "beginning of the 18th century."
****
A STUNNING JAPANESE FIRST LOOK AT AMERICANS IN JAPAN, 1854
296 [MIKI, Kosai]. [PERRY, COMMODORE MATTHEW C.]
IKOKU OCHIBA KAGO: GLEANINGS OF COMMODORE PERRY'S VISIT TO
JAPAN. [1852-1854]
[Tokyo 1854, Bigakudo].Stitched brown wrs., 11.5 x 17.5 cm.,
[20] double-folded leaves, Japanese text, 17 color plates,
woodblock printed,2 double page color maps,some minor foxing
throughout, else clean, solid copy.FIRST & ONLY RARE EDITION
***
***
***
.
.
. A RARE JAPANESE PERSPECTIVE OF COMMODORE PERRY & SON
.
.
.
Authored by Miki Kosai, by one of his several studio
or "Go" names for: UTAGAWA Yoshimori, his real name was
TAGUCHI Sakuzo [1830-1885].
.
He was an excellent pupil of the celebrated and most famous
in his own times, woodblock print artist, Utagawa Kuniyoshi
Miki specialized in pictures of Yokohama and foreigners, he
moved from Edo to Yokohama to observe actual foreigners and
capture their images in this historic of all works.
.
He learned of the most famous of all foreigners, Commodore
Perry and was intrigued to make a book about the men of the
U.S. Navy and their historic and first visit to Japan.
.
At that time, Americans and other foreigners in Yokohama,
were the rage at the time and captivated most Japanese
inspiring them to go and have a look at the strange foreign
[white] people. Miki is widely collected by world museums.
See Roberts below.
.
***
RARITY:
THE FIRST COLOR ILLUSTRATED BOOK SHOWING AMERICANS IN JAPAN.
This is the rarest of all color woodblock printed and
illustrated books ever done in Japan. It is a marvelously
illustrated work, contemporary with Commodore Perry's
$814
historic and first visit to Japan [1853-1854].
.
EARLY JAPANESE COLOR ILLUSTRATIONS OF COMMODORE PERRY:
This monograph shows color pictures of both Commodore Perry,
and his son as well as other crew members, but again the
focus is on Perry. A contemporary account of the first
official and most historic American visit to open Japan to
trade.
.
***
THE ILLUSTRATIONS:
The illustrations include the following scenes: Edo Bay,
showing all defense installations; text noting the latter
in full; list of presents exchanged between Japan and the
U.S.; color prints of: U. S. steam locomotive presented to
the Japanese; plants, cannon, parrot, etc.; a color map of
North America; portraits of Commodore Perry, Perry's son,
Commander Adams, "NCO Howsle [sic];" depictions of American
marines and their officers, military camps, drums, swords,
band instruments, sloop, uniforms, view of U.S.
steam-frigate ending with the Japanese text of Commodore
Perry's message to the Japanese Emperor." [Extracted from
Dawson's, see below].
.
***
The finest of all woodblock printed Perry items. Also with
an excellent two-page color illustration of Commodore
Perry's flagship. Immediately after Perry's visit a
profusion of woodblock printed maps, books & prints/prints
were published informing the Japanese of the great event.
*
CONTEMPORARY ACCOUNT
There are very few contemporary accounts in published books
and ephemera that were actually published during Perry's
visit. Those few that were written are always exceptionally
RARE & SCARCE.
*
This is one of the most important and valuable of all the
items ever done, and one of the very few actually
published during Perry's visit, and with color illustrations
done on the spot by a primary Japanese artist and keen
observer.
*
Contained in an indigo-blue Chitsu cloth folding case, bone
clasps, a small black Sumi ink blotch on one illustration of
a U.S. sailor illustrations, else without any other defect.
*
LITERAL TITLE:
Illustrated by Miki Kosai. The literal English translation
of the title is: FALLEN LEAVES FROM A FOREIGN COUNTRY.
.
***
WHO WAS COMMODORE MATTHEW C. PERRY:
Commodore Matthew Calbraith Perry [1794-1858], an American
naval office, who commanded the Naval expedition to Japan
that both opened Japan to the West & that established United
States relations with Japan. Born April 10, 1794, in South
Kingston, Rhode Island, the brother of the celebrated Naval
hero, Oliver Hazard Perry, he began his naval career as
midshipman at the age of 15. He advanced to lieutenant in
1813 and to commander in 1826. He supervised the
construction of the first naval steamship, the Fulton, and
upon its completion in 1837, he took command being
appointed Captain of this new and most modern vessel. He was
promoted to Commodore in 1842. In 1846-47 he commanded the
Gulf squadron during the Mexican War. In 1853, Perry was
sent to Japan, a country that had been hitherto closed to
outsiders since the 17th century. On July 8, he led a
squadron of four U.S. naval ships into Tokyo Bay and
presented representatives of the Emperor with the text of a
proposed commercial & treaty of friendship. To give the
reluctant Japanese court time to consider the offer, he then
sailed for China. With an even more powerful fleet, he
returned to Japan in the following February 1854. This was
called "Gun boat diplomacy." The treaty, signed on March
31, 1854 and it provided that humane treatment be extended
to sailors shipwrecked in Japanese territory and that U.S.
ships be permitted to buy coal in Japan, and that the
ports of Shimoda & Hakodate be opened to U.S. commerce.
*
Perry's historic and most important mission ended Japan's
400 years of self-imposed isolation [Sakoku], a prerequisite
for its subsequent development into a modern nation. Perry
died in New York City on March 4, 1858.
*
By and large an important & historic illustrated record from
the Japanese point of view of this great occasion. Extremely
rare and first early primary resource. Seldom found on
the market, indeed exceptionally R A R E !
.
***
PERRY'S VIEW OF JAPAN:
Those interested in a full account of Japan by Perry in
English can inquire with us about the 1856 3 volume set
documenting that historic occasion.
.
***
BIBLIOGRAPHY:
H. Sperling: THE OPENING OF JAPAN AND THE PERRY EXPEDITION,
an article in Arts of Asia, July-August, 2003, pp. 46-55.
*
Dawson's Book Shop, catalogue # 363 [issued ca. 1963-64] as
item #154 and associated illustration. Per their entry:
"...Rarest and finest of the printed books devoted to Perry
in Japan, 1853-1854...a contemporary record of Perry in
Japan. With an illustration of Commodore Perry.
*
Commodore M.C. Perry: THE JAPAN EXPEDITION, various
editions. Please inquire as we usually have this title in
stock for sale. .
*
REYNOLDS, Robert L. COMMODORE PERRY IN JAPAN.
*
[PINEAU, Roger.] THE JAPAN EXPEDITION 1852-1855 OF COMMODORE
MATTHEW CALBRAITH PERRY. [An Exhibition 11 October-11
December 1968].
*
[DULLES, John F.] CENTENIAL CELEBRATION OF THE OPENING OF
JAPAN 1853-1953. [Celebrates the Opening of Japan by
Commodore Perry]
*
[PERRY, Matthew C.] THE JAPAN EXPEDITION 1852-1854: THE
PERSONAL JOURNAL OF COMMODORE MATTHEW C. PERRY. [Edited by
Roger Pineau]
*
HALE, William H.
WHEN PERRY UNLOCKED THE "GATE OF THE
SUN."
*
MORISON, Samuel E. 'OLD BRUIN' COMMODORE MATTHEW C. PERRY
1794-1858.
*
STATLER, Oliver. THE BLACK SHIP SCROLL: An Account of the
Perry Expedition at
Shimoda in 1854 & the Lively
Beginnings of People-to-People Relations Between Japan &
America.
*
BARROWS, Edward M. THE GREAT COMMODORE: The Exploits of
Matthew Calbraith Perry.
*
BARR, Pat. THE COMING OF THE BARBARIANS: A Story of Western
Settlement in Japan 1853-1870.
*
GRIFFIS, William E. MATTHEW CALBRAITH PERRY A TYPICAL
AMERICAN NAVAL OFFICER.
*
WALWORTH, Arthur. BLACK SHIPS OFF JAPAN: The Story of
Commodore Perry's Expedition.
*
[PERRY, Matthew C.] COMMODORE PERRY'S EXPEDITION TO JAPAN.
Edited by F. Hawkes.
*
LANE, Richard.: FOREIGNERS in JAPANESE EROTIC ART/SHUNGA:
STRANGERS IN PARADISE, see pp.64, 148 & plate #70.
*
ROBERTS, Laurance P. A DICTIONARY OF JAPANESE ARTISTS,
p.202-203, there is a small controversy about his death
date, Roberts cites 1885, while other Japanese sources cite
1885, which may be due to variations in western vs. Japanese
calendars.
***
Color scans of this and most other items are posted to our
website.
A FASCINATING MID 19TH CENTURY COLOR WORLD MAP
297 [MINEDA, Fuukoo].
CHIKYUU BANKOKU ZENZU: COMPLETE MAP OF THE WORLD.
[Woodblock Color Printed map Done in the Oval Mercator
[Japan ca 1851-2]. Orange paper covers, folded world map, in
mustard Chitsu folding case, ivory clasps, folds down to
13.5 x 18.5 cm., opens up to 52.5 x 37 cm, woodblock printed
$16347
in color, very good, minor dusty surface nice copy. R A R E
A lovely world map, hand printed in color by woodblocks on
hand-made paper, professionally rebacked. This map shows an
oval Mercator projection of the world, with the American
continent to the right, Europe and Africa to the left and
Asia in the center.
*
This work was likely copied from some map the Dutch brought
to Japan via Nagasaki and shared with Rangaku-sha, or
Japanese who studied Dutch learning. The work is
fairly accurate for Japanese maps, which lagged behind
European cartography by as much as a century at some times.
*
Nicely executed, with a very large number of place names
in Katakana [Japanese alphabet used for foreign words] as
well as Kanji [Chinese-Japanese characters] for the names
of oceans, and proper places in Japan, Korea & China. Folded
three times vertically and once horizontally. Suitable for
framing and library display. Japanese world maps printed by
woodblocks are always RARE and unusual.
*****
BIBLIOGRAPHY:
T. Oda et al.: THE WORLD IN JAPANESE MAPS UNTIL THE MID-19TH
CENTURY, #114, p.242 & 282. The example in Oda shows an
additional text above the map. Our copy being a likely
earlier version does not have that text, but is identical
in all other ways, including the exact same coloring.
Because it is not listed in any other usual reference
sources, one can assume that this was fairly rare and an
uncommon map.
*
H. Cortazzi: ISLES OF GOLD ANTIQUE MAPS OF JAPAN.
*
L. Walter; JAPAN A CARTOGRAPHIC VISION
*
M. Namba et al: OLD MAPS IN JAPAN
*
H. Nakamura; MONUMENTA CARTOGRAPHICA JAPONICA
*
K. Yamashita: JAPANESE MAPS OF THE EDO PERIOD.
*
Not listed in: G. Beans: A LIST OF JAPANESE MAPS OF THE
TOKUGAWA ERA
*
A VERY RARE COMPLETE MAP OF MINO PROVINCE
$4760
298 MINO NO KUNI OEZU: LARGE ILLUSTRATED MAP OF MINO PROVINCE.
MINO NO KUNI OEZU: LARGE ILLUSTRATED MAP OF MINO PROVINCE.
Ahead of Title: Saiken Mino No Kuni Ezu.
Kyoto 1834, Yoshinoya. Blue paper covers, woodblock printed,
folded map, very good, key, directional characters, detailed
list of villages, cities, mountains, river names, roads &c.,
116.5 x 90 folds down to 18.5 x 27 cm.
FIRST EDITION
Clean example of an extremely rare map. Folded, some folds
minor wear, no worming, clean, dated colophon.
This work
shows the whole province, in much detail, with list of
famous temples, among which are two of the Matsudaira, list
of famous places.
*
Suitable for framing and wall display. This provincial map
has always been unusually rare.
****
BIBLIOGRAPHY:
Not listed in Beans
*
Kurita Box IV-15.
****
$615
EARLY ILLUSTRATED SAGA GOSHO STYLE FLOWER ARRANGEMNT TEXT
299 MIOH, SAI KOTTO. [Flower Arrangement Master Teacher].
SOHKA ZUROKU: ILLUSTRATED FLOWER ARRANGEMENT ABLUM.
Osaka 1848, Akitakaya. Buff stiff embossed stiched wrs., ca.
18 x 26 cm., 49+6 double folded leaves, 96 woodblock printed
illustrations, printed on hand-made paper, very good. SCARCE
An obscure, early and unusual flower arrangement text. The
great Naniwa [Osaka area] master has put down in pictures &
text, the essence of his technique & school of flower arrangement. Illustrating a large number of designs, arranged in
traditional ceramics, tables, platforms, wooden buckets,
baskets, bronze vessels, hanging bamboo and other bamboo,
renders this a fascinating and useful reference source for
any student of flower arrangement. Scans can be sent by
email.
AN EXTREMELY RARE AND VALUABLE REFERENCE SOURCE
$476
300 MITCHELL, C.H. et al.
THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA, SHIJO AND
OTHER RELATED SCHOOLS OF JAPAN: A Bibliography.
Los Angeles 1972, Dawson's. Blue cloth, very good, 24 b.w.
plates, 623p., bibliography, appendices, index, co-authored
by Osamu Ueda, list of publishers, engravers, printers,
18 x 26 cm., a few spots top signatures else a clean copy.
This is the single most important reference on E-hon
[Japanese woodcut illustrated books]. With copious
biographical notes on artists & authors, appendices of
titles in Kanji, a chronological list of books with
classification by subject, and an index of publishers,
engravers, printers & binders.
*
An easy to use work, with full bibliographical data
concerning pagination, illustration, and further reference
citations. This was originally intended to be a catalogue of
the author's own collection but was eventually enlarged to
include extensive material from other sources.
*
The work covers a wide variety of genres, therefore, all
recorded printed books of the Nanga, Maruyama, Shijo schools
are included herein, plus certain predecessor and successor
works. Also some of the original works, or their Chinese
inspiration or artists works which were published in Japan
and had an important influence on the development of
neo-Chinese styles in Japan are included.
*
Essential for resource for any library, museum curators,
students, collectors and dealers, including scroll
collectors.
*
EDITION:
Although it is not stated, we knew the Dawson's quite well,
and Muir Dawson directly told me that the book was printed
in a small FIRST & ONLY LIMITED EDITION OF 500 COPIES.
*
A STUNNING POLYCHROME WOODCUT ALBUM WITH 37 COLOR PRINTS
$757
301 MIYAGAWA, Shuntei.
BIJIN JUNI KA GETSU: THE TWELVE MONTHS OF JAPANESE BEAUTIES.
[A Polychrome Woodblock-Printed Album of Japanese Women and
[Tokyo 1898, Ohira Gaho. Blue cloth brocaide album, 14 x 9cm
37 color Oban woodblock prints, title page,prints very clean
silver gilt edges, covers corners a bit worn, mended, else
clean & solid, accordion folded. FIRST & ONLY RARE ! EDITION
***
***
***
.
.
.
A STUNNINGLY SUPERB ALBUM WITH TWELVE TRYPTICHS
.
.
. EXCELLENT CONDITION POLYCHROME WOODBLOCK PRINTS
.
.
.
.
This is a stunningly superb and most lovely polychrome,
woodblock-printed album, complete as issued, with full-page
colophon at the rear.
.
The work depicts the twelve-months of Japanese Bijin
[beauties] and children at daily activities and relaxation.
.
The album consists of twelve Oban triptychs [36 sheets in
all], depicting lovely scenes showing the floral Japanese
landscape, seaside, flowers, and interiors. All women and
children are clothed in stunning floral or other traditional
Japanese patterned silk Kimono, each appropriate with the
season.
.
Children are also nicely dressed in silk Kimono or other
attire reflective of the location and season.
.
Each print has a title cartouche in the upper corner,
stating the month and book title. Each print has the
artist's block signature, red Hanko [cinnabar seal/chop],
and the last of each triptychs has the publisher's dated
colophon, showing all pertinent information.
.
***
WHO WAS THE ARTIST: MIYAGAWA Shuntei [1873-1914]:
.
Shuntei was a pupil of TOMIOKA Eisen. Shuntei was born in
Aichi prefecture. Much like the rest of his generation of
print artists, Shuntei worked as a book and newspaper
illustrator. He is best known for his genre print subjects
of women and children playing.
.
Shuntei produced his finest work at the end of the 19th
century. The two famous series of woodcuts entitled
"Pictures of Customs" and "Flowers of the World of
Pleasure," both Tokyo published in 1897. Shuntei is often
regarded as a precursor to the woodcuts of the following
generation of famous "Shin Hanga" movement [New Prints],
including such famous artists such as Goyo, Shinsui,
Hiroaki, Hasui, Kotondo and may others.
.
Shuntei signed each print using either 'Miyagawa Shuntei' or
his other "Go" [studio name] 'Shuntei Gyoshi'.
.
***
THE SCENES IN 13 TRYPTICHS: From the title page:
.
1. Viewing Cherry Blossoms and playing shuttlecock.
2. Hanami: Viewing Cherry blossoms.
3. Children Playing out doors while mother looks on.
4. Peony Viewing.
5. Fuji Mi: Viewing wisteria.
6. Iris Blossoms in Water Viewing.
7. At the Sea shore, bathing and collecting sea shells.
8. Otsuki-mi: Moon viewing, mother, child & lantern.
9. Morning glories and the lake.
10. Momiji-Mi: Viewing the changing colors of Japanese Maple
11. Wearing a new Kimino, preparing for the New Year.
12. Children making a snowman in the garden.
13. Colophon at the end.
.
****
PUBLISHER:
The work was published at Ohira Gaho [press], by MATSUKI
Heikichi the publisher.
.
***
CONDITION:
Binding:
The album is bound in the original cotton brocade cloth,
there is the usual wear to the corners. The lower 1 cm. edge
of the front cover has been restored using the same cloth
which is brighter and cleaner, laid over to protect that
portion. As is, else the back cover edges mild wear through
of the cloth, stable, as is.
.
Prints:
The prints are exceptionally clean and fresh, each print is
has excellent color and registry. There are a few places
showing the usual and minor transfer of some part of the
opposing image. This is common and natural for an album
of this period, where tissue guards were not used. There is
one very small red spot where ink transferred to the
opposite page, a common occurrence for prints of this age
and period. .
Otherwise the prints are the best of collector's condition.
.
The verso remains clean and unmarked, no issues.
.
***
REFERENCES:
Miyagawa Shuntei:
http://www.ifpda.org/content/node/2057
***
$7752
AN ANCIENT HAND BOOK OF MEDICAL & PRESCRIPTION PRACTICE
302 MIYAKE, Ian. comp.
IRYO SHU HOU KIKU TAISEI: IGAKU GEN GEN RON: KO HOH KOHSEI
HOH KEIKEN: ANCIENT RULES OF ESSENTIAL MEDICINE AND
[Edo 1836, Suharaya]. Brown stitched wrs., 18.5 x 12.5 cm.,
very good, covers bit scuffed [368] double-folded leaves,bit
minor old worming to last 6 or so pages, else clean, sound,
lack title slip, entirely woodblock printed, handmade paper.
A rare treatise on various diseases and the prescriptions
for cure. Also among these is a large section on syphilis.
Written in a hand-book size, oblong format, this work also
has a most important alphabetical [Iroha] of the subjects,
illness and treatments listed. The book was designed with
the physician in mind, and one could easily flip through
this and later pocket it. Writtenin very easy Japanese, with
Furigana reading along side the Kanji characters. Remarkably
comprehensive in coverage, truly a book well used by Japanese physicians of the period. The book has a very interesting presentation written in English with a Sumi black brush
pen: "To Dr. Roberet Denton, M.D. With best regards Dr." ?
signature unread. See G. Mestler: A GALAXY OF OLD JAPANESE
MEDICAL BOOKS p.138 lists several related syphilis items,
with one very close entry: IRYOO SEISHI [1835] by Gemboku
Itoh [1800-1871] both are on the same illness & time frame.
A SUPERB WORK, COPIOUS STAGE PHOTOS & JAPANESE PRINTS
303 MIYAMORI, Asataro.
MASTERPIECES OF CHIKAMATSU: The Japanese Shakespeare.
London 1926, Kegan Paul. Blue cloth, very good, 359p. 74
illus., revised by R. Nichols, clean and solid copy, dust
jacket in mylar protector, 15 x 25 cm. FIRST & ONLY EDITION
This monumental translation covers the great master,
Chikamatsu Monzaemon's works in literature and theatre.
.
Origin of Japanese drama, Noh play and Kyogen or comic
interludes. Kabuki plays, popular theatre, Jorui or puppet
plays, the life and works of Chikamatsu including his most
famous play Love Suicide and the Causes of Suicide.
$2720
.
Characteristics of Chikamatsu, with texts of several of his
celebrated plays.
*
Excellent examples from early, period Ehon or woodcut
illustrated books are also show in the plates.
*
$109
A SUPERB WORK, COPIOUS STAGE PHOTOS & JAPANESE PRINTS
304 MIYAMORI, Asataro.
MASTERPIECES OF CHIKAMATSU: The Japanese Shakespeare.
London 1926, Kegan Paul. Blue cloth, very good, 359p. 74
illustrations, revised by R. Nichols, 15 x 24 cm., neatly
rebacked, preserving the original label, else solid very
nice clean copy, 15 x 24 cm.
This monumental translation covers the great master,
Chikamatsu Monzaemon's works in literature and theatre.
.
Origin of Japanese drama, Noh play and Kyogen or comic
interludes. Kabuki plays, popular theatre, Jorui or puppet
plays, the life and works of Chikamatsu including his most
famous play Love Suicide and the Causes of Suicide.
.
Characteristics of Chikamatsu, with texts of several of his
celebrated plays.
*
Excellent examples from early, period Ehon or woodcut
illustrated books are also show in the plates.
*
AN EXCELLENT MAP OF HARIMA COUNTRY
$54
305 MIYATA, Hikokuko.
HARIMA NO KUNI SAIKEN EZU: AN ILLUSTRATED MAP OF HARIMA
PROVINCE: THE COUNTRY OF HARIMA PROVINCE.
[Himeji 1749, Yanagiwara]. Blue paper covered boards, very
good, 124 x 105 cm., folds down to 18 x 26.5 cm., woodblock
color printed, Japanese text, key, dated, old mended worming
now solid, title slip.
R A R E
FIRST EDITION
This map is an aerial or "bird's eye" view from the clouds
of the province, showing each county, including Kyoto,
Akashi, Osaka & the Kansai areas, as well as the Tokaido
road.
***
TWO EDITIONS:
Both editions are woodblock printed by hand on hand-made
Washi mulberry paper.
.
a. The FIRST EDITION, 1749 is a very large wall size map,
124 x 105 cm., and printed in black and white, but nicely
enhanced by the application of hand-coloring in pastels &
yellow for highlight of mountains, red for castle, purple
for villages, rivers and streams. It has solid blue covers.
.
b. A second edition, 1846, printed in several colors, 1846,
77 x 54. Printed by woodblocks in black-outline, this work
is smaller than the First Edition.
***
The maps are surrounded on two sides by Japanese text
describing the temples, sights, rivers, mountains, roads and
villages. Scale chart in miles [Ri] for travel, and a myriad
of tiny villages named.
*
The map is oriented with south at the top, north the bottom,
right side is west, left is east. There is a bold face title
at the right, with date colophon just below the title.
.
A very fascinating and unusual perspective with names
written in all directions. A lovely period piece.
***
CONDITION:
Regarding the 1749, First Edition. This is a very good,
solid, clean copy. There were a good number of old worm
holes that have been restored from the verso, using period
Japanese Washi [hand-made] paper and rice glue. The work is
now stable and solid, on very white paper.
.
The second edition is nicely printed in full color, very
clean, solid, on white paper.
***
Suitable for framing and display. This is a grand-size wall
map, and would look stunning in any library or gallery.
***
BIBLIOGRAPHY:
Not listed in BEANS, George H.: A LIST OF JAPANESE MAPS OF
THE TOKUGAWA ERA.
****
$814
[Himeji 1846, Yanagiwara]. Blue paper covered boards, very
good, 77 x 54 cm., folds down to 15.5 x 23 cm., woodblock
printed in color, Japanese text, key, dated, a solid copy,
CLEAN NO WORMING.
road.
***
TWO EDITIONS:
.
.
***
*
.
***
CONDITION:
.
***
***
BIBLIOGRAPHY:
THE TOKUGAWA ERA.
****
[Himeji 1846, Yanagiwara]. Blue boards, 77x 54 cm., folds to
15.5 x 23 cm., color printed woodblocks, Japanese text, key,
dated, some old mended worming, solid.
road.
***
TWO EDITIONS:
.
$717
.
***
*
.
***
CONDITION:
.
***
***
BIBLIOGRAPHY:
THE TOKUGAWA ERA.
****
"HOW-TO:" SUGAR, SAKE, OIL, LACQUER, COTTON, HEMP, TOFU &c..
308 MIYAZAKI, Yasusada. comp.
KOHEKI NOKOH ZEN SHO. COMPLETE TREATISE ON AGRICULTURE.
Osaka [1866], Hakubunkan. Yellow stitched embossed stiff wrs
11 vols, Japanese text, 15.3 x 22 cm., 34+47+37+34+36+46+32+
32+41+38+36 +3pp. double-folded leaves, profuse b.w. plates,
most likely printed off the old 1696 woodblocks.
R A R E !
A valuable & secret work, outlining the techniques of
how to make some of the most essential products used in
$680
Japan [and China].
*
Traditionally the art & technique of making such basic
products was guarded by the tradesmen. Families carried on
the same trade for generations, and strictly passed down
these exclusive techniques only to one's heir or disciple.
*
This work is one of the earliest published and complete
"how to" texts to break with that tradition of silence and
fully describing these techniques and the associated
technology.
*
A complete discussion, with illustrations of the plants,
tools, great presses, and other machinery and technology
associated with the production of sugar, Sake [rice wine],
oils, lacquer, Tofu, noodles from flower, cotton and hemp.
*
Not only a technology, but a superb botanical, a "how to
grow" also a text on how to identify which parts of plants
are used & at what time in their growth cycle. This is also
a commercial botanical, for cash crops for would-be growers.
*
This careful study outlines how to plan, make and use of
the plants and moreover how to extract the vital fluids
to effect manufacture of the finish product.
*
By and large Japanese native plants were used, each related
plant used is pictured in color, as a mature tree, showing
the flower, leaves, fruit and useful parts are clearly
identified.
***
THE CONTENTS:
Volume 1 begins with discussion of the lacquer tree. How
to extract the resin, what tools are employed, with
pictures of each tool and appliance. It continues with the
technique for the extraction of oil [sap] in the form of a
large plank is used with successive wedges pounded in to
put pressure against the berries, all wedges & tools shown
in detail. Other methods include steaming of the berries,
or grating against a great grader with steel blade, the
result is boiled, then pressed with a great wedge-like
beam with wedges hammered in to exert pressure. In one
technique, a great water wheel is employed in a series of
pestle-like hammers to crush some dried berries, while
other rotating boxes are also attached to the same water
wheel to sift and dry the grains. This primitive machine
was skillfully and completely made from wood.
**
Volume 2 continues with the making of sugar from sugar
cane. The plant is shown in color as are all plants used,
with the associated buckets, presses, dryers, boiling sheds,
and two pictures of what looks like a foreign-made boiler or
separator with each part is carefully identified & labeled
for reproduction by Japanese. The Japanese had almost no
steel for machinery at this time but did have a very limited
access to copper for such projects, but were still very late
in using steel for such machinery or complicated items.
Since sugar cane growth was limited to Okinawa and the
Southern-most parts of Japan, sugar from this source was
limited in supply and distant. A native kind of "sugar
beet" was also employed and could be grown in Northern
climes.
*
The work continues in the same vein, illustrating &
outlining a host of other valuable & useful plants to make
Sake [from fermented rice], Soy sauce and Tofu from soy
beans, and of special interest is the making of buck-wheat
noodles. The whole process is carefully illustrated ending
in the hanging to dry the nearly 2 meter lengths of noodles
on the rack, and final packaging.
*
The next major food was Tofu. The basic technique involved
the boiling of the soy beans, to extract the milk. The
tools are wooden boxes with holes to allow excess water
to flow out through fine silk mesh, after the Nigari a kind
of "bitters" or alum like material was added to make the hot
milk congeal into solid. The details of the box, its size &
location of holes are carefully drawn in instructional
sketches, followed by the techniques, temperatures &c.
Hemp is the next product discussed, having been grown and
used in Japan for ages. Its uses were for clothing fiber as
well as rope-making.
*
The method of extracting the fiber from the famous
cannabis-satavia [marijuana] is outlined & illustrated. The
last plant discussed is cotton. With lovely color pictures
of all parts of the plant, cultivating and harvest
processes, hand-ginning &c. Lastly are the agricultural
tools used, long handle hoes, rakes & other implements
carefully drawn with sizes and uses.
*
Each volume also has a chart at the front showing what
provinces and villages are producing which products and in
what quantities, with statistics. Since this work
discusses essential products, its understandable that the
Japanese could not function without these basic & essential
products.
*
LACQUERE TREE
Lacquer was used for bowls, boxes and in art manufactures.
Sake was of course, the national drink after tea, Tofu was
the main source of protein for the poor and lower classes
who could not afford or did not have access to fish or meat
[land-locked communities]. Noodles also a national product
was consumed in large quantity during the whole year, thus
the ability to dry and save noodles was important to their
diet.
*
OIL EXTRACTION
Oils were also essential and needed to cook, fry, lubricate
much of Japan. The whole work is truly a magnificent and
graphic record of early pre-industrial Japan.
*
This is also a great late record of the primitive wooden
machines and manual techniques employed on the eve of the
industrial revolution, which hit Japan just after 1900, some
seven years after the publication of this work. Its probably
the last look at the ancient & traditional methods, of
producing Japan's famous native products.
*
One gets the distinct impression that Miyazaki published
this book with the idea that it would also be important to
record for posterity the old native ways before they were
replaced by steel machines run by steam, and later
electricity.
*
ILLULSTRATED:
The work is so meticulous and written & illustrated in such
detail, that one can easily feel that Miyazaki had a
premonition of the eminent major changes in the next few
years. Living in Tokyo and near-by Yokohama, perhaps he
had seen what had happened to other trades under the
influence of foreign contact, which caused major changes to
Japan as foreign science and technology entered via Yokohama
& Tokyo which impacted all phases of native Japan culture &
business.
***
THE EDITOR:
Miyazaki Yasuda [1623-1697] was an agriculturist, born in
Hiroshima, who served Lord Tadayuki Kuroda, Lord of Chikuzen
Clan. He toured various provinces and made a firsthand study
of agricultural conditions and problems. Upon return, he
made attempts to introduce land reforms based on Confucian
ideology. He is regarded as on of the three great
agriculturists of his time. This title is ENCYCLOPEDIA ON
FARMING, completed one year prior to his death. See: Japan
Biographical Encyclopedia & Who's Who, p.889.
***
CONDITION:
Covers a trifle rubbed at extremities & corners, contained
in an indigo-blue folding Chitsu case, with bone clasps,
original title slips, contents bright hand-printed by
woodblocks on very white clean Washi hand-made paper.
.
OSAKA 1896 EDITION:
This is bound in the original yellow blind-stamped swastica
& bell-patterned stiff stitched covers, 15.2 x 22 cm. Each
cover has the title label stating "SAIBAN NOGYO ZENSHO", and
a brushed personal library # in the upper right corner, with
a cinnabar Hanko/seal in the upper right corner of the first
page in each volume reading Sakuramatsu, likely the former
collector's name.
.
The covers of vol.1 are dusty, with a red title page, the
balance of the set is by and large clean with a few minor
rubs here or there, contents bright, clean.. .
*
TITLE:
Ahead of title is KOHEKI, then the title continues: NOKOH
ZEN SHO [Edgren expresses a variation in the Romanization of
title], both are one in the same book.
*
AUTHOR:
Miyazaki Yasusada [1623-1697], and also Kaibara Rakuken
[1625-1702] [aka Gakuken], see Edgren's note p.261], which
is correct, being a slight variation on Miyazaki. There is a
slight variant to the author's first name, which is common
as he used several "Go" or "Studio" names. The co-author is
correct.
***
REFERENCES:
J. Edgren: CATALOGUE OF THE NORDENSKIOLD COLLECTION OF
JAPANESE BOOKS IN THE ROYAL LIBRARY, p.260, #796.
*
Rosny: 279/67
*
KS 6-468
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, p.498, #1182 he lists
the 1815 edition only, in 11 volumes.
*
KSM: (Nogyo)6-648-4
*
Kraft: vol.1, no.563.
*
JAPAN BIOGRAPHICAL ENCYCLOPEDIA AND WHO'S WHO. 1964-1965,
p.889, states this was a 10 volume set, perhaps they refer
to a first edition, our 1684 edition is 11 numbered volumes.
***
NOT IN:
. Bartlett
. Walker
. Dawes
. Mitchell
. Toda
. Roberts
***
"HOW-TO:" SUGAR, SAKE, OIL, LACQUER, COTTON, HEMP, TOFU &c..
309 MIYAZAKI, Yasusada. comp.
KOHEKI NOKOH ZEN SHO. COMPLETE TREATISE ON AGRICULTURE.
Tokyo 1893, Hakubunkan. Blue stitched stiff wrs., 5 vol.
set, very good, Japanese text, 15.4 x 23 cm., 37+58+46+56+51
double-folded leaves,19 color, 49 b.w. woodcut illustrations
hand-printed on hand-made Washi mulberry paper.
R A R E
A valuable & secret work, outlining the techniques of
how to make some of the most essential products used in
Japan [and China].
*
Traditionally the art & technique of making such basic
products was guarded by the tradesmen. Families carried on
the same trade for generations, and strictly passed down
these exclusive techniques only to one's heir or disciple.
*
This work is one of the earliest published and complete
"how to" texts to break with that tradition of silence and
fully describing these techniques and the associated
technology.
*
A complete discussion, with illustrations of the plants,
tools, great presses, and other machinery and technology
$1088
associated with the production of sugar, Sake [rice wine],
oils, lacquer, Tofu, noodles from flower, cotton and hemp.
*
Not only a technology, but a superb botanical, a "how to
grow" also a text on how to identify which parts of plants
are used & at what time in their growth cycle. This is also
a commercial botanical, for cash crops for would-be growers.
*
This careful study outlines how to plan, make and use of
the plants and moreover how to extract the vital fluids
to effect manufacture of the finish product.
*
By and large Japanese native plants were used, each related
plant used is pictured in color, as a mature tree, showing
the flower, leaves, fruit and useful parts are clearly
identified.
***
THE CONTENTS:
Volume 1 begins with discussion of the lacquer tree. How
to extract the resin, what tools are employed, with
pictures of each tool and appliance. It continues with the
technique for the extraction of oil [sap] in the form of a
large plank is used with successive wedges pounded in to
put pressure against the berries, all wedges & tools shown
in detail. Other methods include steaming of the berries,
or grating against a great grader with steel blade, the
result is boiled, then pressed with a great wedge-like
beam with wedges hammered in to exert pressure. In one
technique, a great water wheel is employed in a series of
pestle-like hammers to crush some dried berries, while
other rotating boxes are also attached to the same water
wheel to sift and dry the grains. This primitive machine
was skillfully and completely made from wood.
**
Volume 2 continues with the making of sugar from sugar
cane. The plant is shown in color as are all plants used,
with the associated buckets, presses, dryers, boiling sheds,
and two pictures of what looks like a foreign-made boiler or
separator with each part is carefully identified & labeled
for reproduction by Japanese. The Japanese had almost no
steel for machinery at this time but did have a very limited
access to copper for such projects, but were still very late
in using steel for such machinery or complicated items.
Since sugar cane growth was limited to Okinawa and the
Southern-most parts of Japan, sugar from this source was
limited in supply and distant. A native kind of "sugar
beet" was also employed and could be grown in Northern
climes.
*
The work continues in the same vein, illustrating &
outlining a host of other valuable & useful plants to make
Sake [from fermented rice], Soy sauce and Tofu from soy
beans, and of special interest is the making of buck-wheat
noodles. The whole process is carefully illustrated ending
in the hanging to dry the nearly 2 meter lengths of noodles
on the rack, and final packaging.
*
The next major food was Tofu. The basic technique involved
the boiling of the soy beans, to extract the milk. The
tools are wooden boxes with holes to allow excess water
to flow out through fine silk mesh, after the Nigari a kind
of "bitters" or alum like material was added to make the hot
milk congeal into solid. The details of the box, its size &
location of holes are carefully drawn in instructional
sketches, followed by the techniques, temperatures &c.
Hemp is the next product discussed, having been grown and
used in Japan for ages. Its uses were for clothing fiber as
well as rope-making.
*
The method of extracting the fiber from the famous
cannabis-satavia [marijuana] is outlined & illustrated. The
last plant discussed is cotton. With lovely color pictures
of all parts of the plant, cultivating and harvest
processes, hand-ginning &c. Lastly are the agricultural
tools used, long handle hoes, rakes & other implements
carefully drawn with sizes and uses.
*
Each volume also has a chart at the front showing what
provinces and villages are producing which products and in
what quantities, with statistics. Since this work
discusses essential products, its understandable that the
Japanese could not function without these basic & essential
products.
*
LACQUERE TREE
Lacquer was used for bowls, boxes and in art manufactures.
Sake was of course, the national drink after tea, Tofu was
the main source of protein for the poor and lower classes
who could not afford or did not have access to fish or meat
[land-locked communities]. Noodles also a national product
was consumed in large quantity during the whole year, thus
the ability to dry and save noodles was important to their
diet.
*
OIL EXTRACTION
Oils were also essential and needed to cook, fry, lubricate
much of Japan. The whole work is truly a magnificent and
graphic record of early pre-industrial Japan.
*
This is also a great late record of the primitive wooden
machines and manual techniques employed on the eve of the
industrial revolution, which hit Japan just after 1900, some
seven years after the publication of this work. Its probably
the last look at the ancient & traditional methods, of
producing Japan's famous native products.
*
One gets the distinct impression that Miyazaki published
this book with the idea that it would also be important to
record for posterity the old native ways before they were
replaced by steel machines run by steam, and later
electricity.
*
ILLULSTRATED:
The work is so meticulous and written & illustrated in such
detail, that one can easily feel that Miyazaki had a
premonition of the eminent major changes in the next few
years. Living in Tokyo and near-by Yokohama, perhaps he
had seen what had happened to other trades under the
influence of foreign contact, which caused major changes to
Japan as foreign science and technology entered via Yokohama
& Tokyo which impacted all phases of native Japan culture &
business.
***
THE EDITOR:
Miyazaki Yasuda [1623-1697] was an agriculturist, born in
Hiroshima, who served Lord Tadayuki Kuroda, Lord of Chikuzen
Clan. He toured various provinces and made a firsthand study
of agricultural conditions and problems. Upon return, he
made attempts to introduce land reforms based on Confucian
ideology. He is regarded as on of the three great
agriculturists of his time. This title is ENCYCLOPEDIA ON
FARMING, completed one year prior to his death. See: Japan
Biographical Encyclopedia & Who's Who, p.889.
***
CONDITION:
Covers a trifle rubbed at extremities & corners, contained
in an indigo-blue folding Chitsu case, with bone clasps,
original title slips, contents bright hand-printed by
woodblocks on very white clean Washi hand-made paper.
.
OSAKA 1896 EDITION:
This is bound in the original yellow blind-stamped swastica
& bell-patterned stiff stitched covers, 15.2 x 22 cm. Each
cover has the title label stating "SAIBAN NOGYO ZENSHO", and
a brushed personal library # in the upper right corner, with
a cinnabar Hanko/seal in the upper right corner of the first
page in each volume reading Sakuramatsu, likely the former
collector's name.
.
The covers of vol.1 are dusty, with a red title page, the
balance of the set is by and large clean with a few minor
rubs here or there, contents bright, clean.. .
*
TITLE:
Ahead of title is KOHEKI, then the title continues: NOKOH
ZEN SHO [Edgren expresses a variation in the Romanization of
title], both are one in the same book.
*
AUTHOR:
Miyazaki Yasusada [1623-1697], and also Kaibara Rakuken
[1625-1702] [aka Gakuken], see Edgren's note p.261], which
is correct, being a slight variation on Miyazaki. There is a
slight variant to the author's first name, which is common
as he used several "Go" or "Studio" names. The co-author is
correct.
***
REFERENCES:
JAPANESE BOOKS IN THE ROYAL LIBRARY, p.260, #796.
*
Rosny: 279/67
*
KS 6-468
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, p.498, #1182 he lists
the 1815 edition only, in 11 volumes.
*
KSM: (Nogyo)6-648-4
*
Kraft: vol.1, no.563.
*
JAPAN BIOGRAPHICAL ENCYCLOPEDIA AND WHO'S WHO. 1964-1965,
p.889, states this was a 10 volume set, perhaps they refer
to a first edition, our 1684 edition is 11 numbered volumes.
***
NOT IN:
. Bartlett
. Walker
. Dawes
. Mitchell
. Toda
. Roberts
***
$952
310 MIZUNO, Chukyo.
SOMOKU KINYOSHUU: COLLECTION OF VARIGATED PLANTS & TREE
LEAVES.
[Kyoto 1944, Tamura]. Blue stiff stitched wrs., 7 vol.set,
very clean, solid, title slips,
31+35+31+29+23+41+75p.,
profuse b.w. illustrated, 18 x 265.5 cm., printed & bound to
look like the original 1828 edition, nicely done, complete.
This is a profusely b.w. illustrated botanical, and shows
several examples of variegated plants. .
***
THE AUTHOR:
The author was also known as Mizuno Issai.
***
LIMITED EDITION OF 500 REPRINTED COPIES:
This is a reprint of the original edition 1829, this edition
***
ART WORK:
The botanical illustrations were done by Ooka Umpo and his
disciple Sekine Untei.
.
Ooka Umpo [1765-1848] was also known as Ooka Narihiro
[Jokan] and had also other "Go" or studio names such as A.
Koritsu, Jihei and Unpo/Umpo. He was a Nanga painter, and
pupil of the famous sealmaker Taka Fuyo. Ooka also served as
a retainer to the Tokugawa Shogun, and lived at Obancho,
Yotsuya in Edo from which he took his nickname 'Yotsuya
Nampin' He is well collected by world museums. See Roberts
below.
.
Sekine Untei [1803-1877], was a Nanga painter, and he was a
known book illustrator, and is listed in Mitchell, see
below.
***
The work consists of 7 volumes in all, vols.1-6 + appendix,
vols. 1-3 Zenpen: part 1, vols. 4-7 Kohen part 2. The
complete work.
***
REFERENCES:
BARTLETT, Harley H.: JAPANESE BOTANY DURING THE PERIOD OF
WOOD-BLOCK PRINTING, exhibit 52, p.467, & illustrated on
p.468. Bartlett states: "...the best of the sort ever
published in Japan...the pictures are remarkable..."
*
MITCHELL, C.H.:THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA,
p.500.
*
DOUGLAS, Robert K.: CATALOGUE OF JAPANESE PRINTED BOOKS AND
MANUSCRIPTS IN THE LIBRARY OF THE BRITISH MUSEUM, 1898 p.83.
*
ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS
PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, see p.191
for Ooka; and p.192 for Seikine.
*
Not in:
.
MERRILL, Elmer D. A BIBLIOGRAPHY OF EASTERN ASIATIC
BOTANY.
.
DAWES, Leonard G. :CATALOGUE OF JAPANESE ILLUSTRATED BOOKS
IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
.
TODA, Kenji.: DESCRIPTIVE CATALOGUE OF JAPANESE AND CHINESE
INSTITUTE OF CHICAGO.
***
311 [MOMEN-YA.]
TOSEI SHIN MOYOH HINAGATA: NEW DESIGNS FOR TEXTITLE.
[Tokyo n.d. ca. 1860's, Momen Ya]. Maroon decorated cloth,
stitched binding, 27 double pages, all pages illustrated by
hand-drawn Sumi ink illustrations, 19.5 x 26 cm., very good,
solid copy, 27 double-folded leaves, 25 double page illus.
A lovely book. With tender hand-drawn illustrations. The
book is listed under the store name: Momen-Ya [The Cotton
Store], found in Yodoya, old Tokyo. These designs were found
on Kimono, Yukata and a wide variety of Japanese articles,
$551
like Noren [curtains] lacquer, woodblock prints and so many
others.
*
The drawings were the results of an unknown artist, the
designs were likely purchased by Momen-Ya to be used for
application to silk cloth for Kimono and other garment
design.
*
The subjects include double-page illustrations of
butterflies; cloud-pattern flowers and leaves; small
typical Japanese designs like chrysanthemum and Fusuma door
pulls; rabbits at play; sparrows and cherry blossoms; young
puppies; bats; small sea shells; flowers; bird feet and
cracked ice; mushrooms; snow flakes; pine boughs; pond
lilies; iris flowers and pond walk ways; ancient pine tree;
water scooter bugs; fans; one color page of rabbit; Iching
pattern and too many others to list here.
*
Each page has a black Momen-Ya seal, some with numbers hand
painted to identify each page design.
*
A lovely textile design book.
*
MINISTRY OF EDUCATION TEXTS ON WORLD HISTORY 1874
312 MONBUSHOO.[JAPAN MINISTRY OF EDUCATION]
BANKOKU SHIRYAKU: WORLD HISTORY.
[Tokyo 1875, Miyagawa]. Yellow stiff wrs., 2 vol. set, 57+61
double-pages, woodblock printed, 24 + 25 b.w. illustrations,
14.7 x 21.5 cm., covers soiled, contents complete.
FIRST EDITION
During the early Meiji period [1868-1912] the Japanese
government realized that Japan was greatly behind most other
modern nations in terms of educated populace. To correct the
Japanese population's ignorance of world history, science
and culture, the Ministry of Education compiled a series of
valuable and useful texts designed to inform the average
Japanese about the world.
***
The current set of 2 volumes outline world history, with a
good number of illustrations. The last volume discusses
countries and cultures from ancient times, Rome, Europe,
China, unusual animals [elephant], Columbus, Napoleon,
European Kings & Queens, Confucius, President Lincoln and
too many to list. A substantial number of the above are also
illustrated. See scans posted to our website.
$313
***
Edited by Shihan Gakko. With a total of 118 double-folded
leaves, and 49 b.w. illustrations in the text.
***
CONDITION:
The book covers are soiled, faded and the title slips
lacking small pieces. The contents is intact, woodblock
printed on very thin hand-made Washi paper. Solidly bound,
no worming, stitched binding.
REFERENCES:
http://www.theeuropeanlibrary.org/tel4/record/3000022668311?
content-language=jpn&provider-id=P01352
*
http://eastasia.digital-collections.de/en/fs3/search/query.h
tml?publisher_str=%7BMonbush%C5%8D+(%E6%96%87%E9%83%A8%E7%9C
%81)%7D&hl=true&mode=simple&fulltext=%E5%B1%B1%E6%9D%B1%E4%B
A%AC%E4%BC%9D&monogrTitle_str=%7BBankoku%20shiryaku%20(%E8%9
0%AC%E5%9C%8B%E5%8F%B2%E7%95%A5)%7D
***
NOT LISTED IN:
.
***
$143
STUNNING COLOR WOODBLOCKS OF KIMONO AND KIMONO PATTERNS
313 MORI, Yuuzan.
SHIKI NO YOSOH OI: DRESS UP FASHION FOR EACH SEASON,
A SEMBLANCE OF KIMONO PATTERNS.
[Kyoto 1903, Unsodo]. Stitched color pictorial stiff wrs.,
Japanese text, very good, minor cover scuffing edge wear,
contents bright, clean, 50+52 color woodblock printed pages,
16.5 x 24 cm., 2 vol. set, vols. 1 & 2 complete. S C A R C E
A stunning set of Kimono design and pattern books. Each page
shows a Kimono with stunning colors and amazing patterns.
Superb reference and showy book !
*
The last 20 pages are devoted to Kimono Mon [crests] and
other designs found on Kimono's to identify family
affiliations.
*
$1163
A COLLECTION OF THE MYRIAD OF WAVES & WATER PATTERNS
314 MORI, Yuzan.
HAMON SHUU: COLLECTION OF WAVE & RIPPLE DESIGNS.
[Kyoto 1903, Unsodo]. Blue stitched wrs., very good, 3 vol.
set, 76 double-folded sheets, 152p. woodcut illustraions of
waves, wave patterns & water, very good copy, 16 x 24 cm.
covers bright, contents clean.
With 4 pages of text. This work shows every conceivable
wave, water & theme possible. A designer's wish book,
lovely, unique drawings in Japanese. Basically this was done
as a guide for Japanese craftsmen to create sword
furniture, Netsuke, lacquer ware, Buddhist art works and a
host of other practical applications to Japanese arts.
*
Some of these designs are found on Tsuba, and in sword
blades, as well as sword cases & stands. These fabulous
forms are commonly found in paintings, handmade papers,
book covers, and decorations on ceramics, textiles, and on
any other object with appliqu� design. Books of this caliber
are not commonly found, as most were simply "used up" by
those who used them as a reference in the creative process.
*
Hokusai was one of the master print-makers and painters who
skillfully used water and wave patterns in his illustrated
books [E-hon], which have been copied and duplicated
throughout.
*
A COLLECTION OF THE MYRIAD OF WAVES & WATER PATTERNS
$728
315 MORI, Yuzan.
HAMON SHUU: COLLECTION OF WAVE & RIPPLE DESIGNS.
[Kyoto 1903, Unsodo]. Blue stitched wrs., vols. 1 & 3 only
of 3 vol set, 50 double-folded sheets = 100p. woodcut illustrations of waves, wave patterns & water, 16 x 24 cm., worn
covers, contents clean, tight, solid.
With 4 pages of text. This work shows every conceivable
wave, water & theme possible. A designer's wish book,
lovely, unique drawings in Japanese. Basically this was done
as a guide for Japanese craftsmen to create sword
furniture, Netsuke, lacquer ware, Buddhist art works and a
host of other practical applications to Japanese arts.
*
Some of these designs are found on Tsuba, and in sword
blades, as well as sword cases & stands. These fabulous
forms are commonly found in paintings, handmade papers,
book covers, and decorations on ceramics, textiles, and on
any other object with appliqu� design. Books of this caliber
are not commonly found, as most were simply "used up" by
those who used them as a reference in the creative process.
*
Hokusai was one of the master print-makers and painters who
skillfully used water and wave patterns in his illustrated
books [E-hon], which have been copied and duplicated
throughout.
*
EXCEPTIONALLY UNUSUAL 18th CTY. JAPANESE EROTIC WOODCUT BOOK
$447
316 [MORONOBU/SUKENOBU SCHOOL].
AMANJAKU DEN: A PERVERSE EROTIC JAPANESE LEGEND.
[A Bizzare and Unusual Erotic Japanese Woodcut Book]
[Japan c.1710-50, n.p.]. Brown & silver covered boards,very
good, 7 b .w. double-page erotic woodblock illustrations,
mounted on mica flecked paper, 18 x 25 cm., no title slip as
issued, accordion folded, illustration size is 31 x 12 cm.
***
***
***
.
.
.
A VERY RARE AND BIZZARE EROTIC BOOK
.
.
.
AN UNRECORDED PERVERSE & EROTIC STORY
.
.
.
UNSIGNED, CLEARLY THE WORK OF A FAMOUS ARTIST
.
***
A unique and hitherto unfound odd and most unusual erotic
book of the early-mid-18th century. One of the most bizarre
erotic books ever done in Japan.
.
The graphically explicit work portrays men and women with
genitals on their foreheads, engaged in heterosexual and
homosexual intercourse. There is no other book with such
unusual and strange illustrations.
.
***
.
THE TITLE: THE LEGEND OF AMANJAKU or AMAN NO JAKU:
[Chinese Title: TIAN XIE GUI YUN]
.
THE MEANING OF AMANJAKU:
Japanese Buddhist literature is abundant with variations on
the theme of "Aman-No- Jaku," aka. "Amanjaku," "Manojaku,"
commonly understood to be a "Heavenly Evil Spirit."
.
This spirit or demon-like creature in Japanese folklore is
usually depicted as being a male during the day and female
at night. The demon is usually depicted as a kind of small
Oni [devil], and is thought to be able to provoke a person's
darkest desires and instigate him into perpetrating wicked
deeds.
.
Amanjaku is also depicted in Chinese and Japanese mythology,
the AMANOJAKU is a changeling, a water spirit that
infiltrates the human world to play cruel tricks on people,
by reading their minds and twisting their requests or
desires to be used against them.
.
The "AMANOJAKU" is also known the "Lord of the River" and in
Japan serves Bishamonten, one of the four Deva kings of
Buddhism as a minor demon.
See Wikipedia below.
.
In Japanese, the term "Amanojaku" also refers to a person
who is deliberately contradictory, someone who argues for
the sake of arguing, or can be used in common Japanese
conversation to refer to someone who is a "Perverted Demon."
.
***
THE ILLUSTRATIONS: THE BUDDHIST THEME:.
This work is unusual in that the genitals of common people
are located on their foreheads. A symbolist meaning can be
in Buddhist concept, that sex and sexual hedonism is openly
on the minds of 'lay' people. The Buddha and his disciples
on the other hand do not have sex organs on their foreheads,
meaning their organs are covered and in a different [usual]
location. This can symbolize 'self control' over such
biological energies. Devout Buddhist disregard sex as a
pleasurable pastime, and devote themselves to monastic
focus. By contrast, "lay" people are distracted with
hedonistic pleasure, a path away from, rather than towards
the Dharma, or teachings of Buddhism.
.
In a sense, this work illustrates the overwhelming force of
evil, or the "Amanojaku" and how it distracts people from
the "Righteous Path" towards the Dharma, and the ultimate
goal of attaining Nirvana. It can be posited, that this work
is designed to give understanding to "lay" people by way of
visual example of what forces direct their energies away
from the Buddhist teachings, in an effort to redirect them
towards the "Righteous Path" and life style.
.
***
EXCEPTIONALLY RARE, UNQUE WORK:
.
The work is exceptionally RARE, unusual and erotic, there
are no other example showing genitals on the foreheads of
any other Japanese book cited anywhere in the bibliographic
literature, or record.
.
This work is certainly RARE in subject, content and
quantity. Though it was woodblock printed, and unsigned
which was usual for Japanese erotic works which were banned
by the Shogun, we have not found anything similar or
recorded anywhere in the bibliography. Being woodblock
printed one assumes there are other copies in existence. The
average printing from woodblocks were somewhere between
100-200 copies. However in this instance, no others exist.
We have the strong feeling, the book could have been the
production of a famous Japanese illustrator, and perhaps
financed by a Buddhist temple, again there are no known
facts about this rarity.
.
***
THE EROTIC ILLUSTRATIONS
Number 1:
This work begins showing the Buddha flanked by two of his
disciple monks. The title is written in four Japanese
[Kambun] & Chinese characters. The Buddha and his two
disciples listen to two elderly Buddhist believers: one is a
male, he has and erect penis on his forehead. The other is a
woman, she has a vagina on her forehead. Neither the Buddha,
nor his two disciples monks show genitals on their
foreheads. The couple have come to consult with the Buddha
about their grievances.
.
*
Number 2:
Shows a man and a woman in a Tatami matted room, both wear
lovely 18th century decorated Kimono. They embrace each
other, and are engaged in making love from their foreheads,
which show an erect penis and testicles, inserted into the
woman's forehead where her vagina is located. Adjacent to
the young couple is an older woman, who has become aroused
by the adjacent couple's making love. The old woman uses a
dildoe tied to a post which she hugs while inserting the
dildoe into the vagina on her forehead.
.
*
Number 3:
Shows a couple laying on a blanket, their Kimono pulled down
and opened and used as a top cover. They engage in
love-making and kiss. The man has an erect penis on his
forehead, the woman a vagina on hers. There is some used
Chirishi [toilet paper] just above her head on the floor,
used to wipe the love fluids. There is a folded package of
yet unused Chirishi in readiness. Chishiri shown in Japanese
Shunga [erotic prints] prints & paintings is an 'erotic
symbol' indicative of sexual excitement, with lots of
flowing love juices. Ergo the need for paper to clean up the
results of erotic love-making.
.
*
Number 4 shows an adult man with an erect penis on his
forehead, penetrating the anus of a younger man,
who's smaller but erect penis is seen on his forehead, as he
faces his lover. The younger man has no pubic hair yet,
indicating his youth.
.
Adjacent to these two men is a woman in the next room. The
door is open, she is voyeuring the two men. She has a vagina
on her. A Shogi board and two bowls for stones is located in
the front left of the illustration. Gay activities in
Japanese society were accepted as a norm, and were not
especially unusual. However to find graphic examples in
Japanese erotic books are exceptionally rare and seldom
found.
.
*
Number 5:
Depicts a fully clothed man on his knees, he bends over a
sleeping woman. He has a very large erect penis and begins
to penetrate a woman with her vagina on her forehead. She is
fully clothed and sleeping on a wooden "pillow" which
supports her elaborate hair coiffeur.
.
*
Number 6:
Depicts a lively scene of two men and a woman. One man with
a very large and erect penis pulls the woman's arm toward
him, while she fends him off with a straight arm to his
head. A second excited man also with a large and erect
penis on his forehead masturbates and ejaculates in ecstasy.
The woman has a vagina on her forehead. The scene is likely
an intended rape of a young girl. She looks away in an
effort not to allow him to pull her close enough to insert
his penis into her exposed vagina.
.
*
Number 7:
Illustrating a lonely old man in bed. He has an erect penis
on his forehead and holds a kind of pot with a large
opening. He faces down and inserts his penis into the pot
for gratification.
.
***
THE TEXT:
The text in Shunga [erotic Japanese books & prints] is often
an erotic dialogue, describing the erotic action. Often
these words are onomatopoetic mimicking the sounds of people
in orgasm, or making comments about making love or the
pleasure and good feelings. The size and hardness of the
penis or the flavor and the juices of the vagina, and its
supple feelings of euphoria when engaged in love-making. All
wear 18thcentury period Kimono.
.
***
MODE AND FASHION OF THE MID-18TH CENTURY:
The room furnishing and Kimono of the participants in this
work all wear 18th century period Kimono, with period
decorations. The style of Kimono and room screens reflect
this period.
.
*****
BINDING AND MOUNTING:
Binding:
The book has probably been rebound sometime after the 1750's
with a more recent thin brown decorated paper with a silver
chrysanthemum, and a Mon [family crest] with gold and black
on both front and rear covers. Each cover has a distinctly
different kind of illustration but of the same theme. The
corners and edges are a bit worn, some loss to the paper, as
usual for a work from this period.
.
Mounting:
At an earlier time, each page was expertly mounted on a
stiff Washi [hand-made Japanese paper], into an accordion
folded book. Each illustration is bordered with a rare and
stunning crushed oyster-shell powder mixed with rice-glue
and overlaid on the border paper. The stunning effect is a
rare shimmering pearl-like color and hue with a remarkable
effect. This rare and largely unknown effect has been used
for print backgrounds by some of the later masters.
.
This was no ordinary mounting, and appropriate for an
exceptionally and most unusual RARE book !
.
Contents:
By and large, the contents are clean, solid, with a two old
worm holes for the first 6 of 7 pages. These are small and
towards the edge, and does not detract from the overall
quality of the illustration. On page 7 there are a few
center margin old minor worm holes. All of these have been
restored when the prints were laid down on the thick Washi
paper, creating book format. The work is otherwise solid and
firm. There are a few 'rubs' on the old Washi paper, which
was made from very soft Kozo fibers, common to any item of
this period on this on handmade papers of the period.
.
***
CONDITION OF THE WOOODBLOCK PRINTS:
.
These are very early black and white woodcut prints.
Each print has an excellent and vivid impression, key blocks
are black and superbly printed with strong images. The paper
is old and has the patina of paper from that age, the usual
minor, mild surface rubbing or thumbing in the lower
corners, which is common.
.
We tend to be overly critical of any flaws found on our
books, and believe it is better to overly describe rather
than avoid such discussion any imperfections. Suffice to
say, by and large this is an excellent item in very nice
condition, something that any collector or museum
would be proud to own. Please review photos posted to our
website.
.
***
R A R I T Y OF SUBJECT:
The placement of the genitals on the forehead gives one a
lot of room to theorize on the meaning of such artistic
expression. In our 50 years of experience in dealing
Japanese woodblock printed books and painted original art,
this is the first and only example with such imaginative and
symbolist expression. With the beginning of the work
showing the Buddha and his two disciples lacking any
genitals on their foreheads, one can simply assume, that in
a Buddhist way, they have given up carnal desire, as
represented by common people who's foreheads display
genitals, perhaps meaning that sex is on their minds or they
simply view others as sexual objects, eager to make love and
engage in carnal thoughts and activities. Obviously seeing
an erect penis on some man whiles others see what he thinks
and feels is an insight to his innermost thoughts and
desires. In all cases in this book the men all show an erect
penis. The women are a bit more difficult to fathom. Their
vaginas are simply visible on their foreheads, and no
fluids are visible or other evidence of their carnal desire
or sexually excited stated. All of the men have public hair
adjacent to their sex organs, while all women are lacking
any pubic hair completely. This is an erotic symbolism,
giving full view to women's genitals.
.
***
"BANNED" or "PROHIBITED" BOOKS: Shun Pon, Haru Bon:
In the case of this item, it is very likely that it was
printed in a much smaller discreet quantity than the 200
copies possible off the blocks. Due to the "banned" nature
of such books, there is no date, publisher nor place cited.
One is simply left to determine the date and artist by
stylistic analysis. It is well-known that during the
Tokugawa period [1603-1868], erotic prints and books were
"BANNED" or "PROHIBITED" by decree of the Shogun. One of the
influencing factors was that during this period some Shoguns
were changing their views and being influenced by Christians
who entered Japan during this period. The Shogun did not
want foreigners, and Jesuit missionaries to think that Japan
was a crass and base nation. Naturally foreigners soon
learned that prostitution was rampant and so this strange
logic from the Shogun never had much affect on the
Christians and surely not on the Japanese.
.
The Shogun enforced severe punishments for persons involved
in drawing, printing, carving blocks and publishing erotic
books and prints. With out the "Kiwame" or censor's approval
seal, all such items were "Banned" outright by the Shogun
decree.
.
While these "Prohibited" books and prints were widely
circulated in an "underground" society, there are ample
examples of famous artists taking on commissions to produce
erotic books and prints fun or profit. The record and
bibliography is loaded with these examples. "Banning" such
erotic works simply meant that the number printed were
limited to smaller numbers and distribution was done under
the table, discretely circulating such books privately among
collectors. During these times it was not necessary for
artists to sign their such artistic creations, by-and-large
the population had a very good idea who the artist was by
being familiar with their style and other works, it was
simply a "public secret" who the artist was. Often the
artist poked fun at the Shogun with political jokes and
assumed names to confound any chance of being discovered by
the authorities.
.
Over the centuries, this knowledge decreased and is now the
domain of the art historian or scholar to identify and
determine the actual artist. Stylistic analysis remains
the standard method for unsigned works.
.
***
THE ARTIST/SCHOOLS:
While there are no signatures or seals indicating the
artist's name or even his alternate Go [studio name], we
believe this work is part of the "Primitives and First
Century of Ukiyo-e School 1660-1765" period. [See Lane
below]. The women's coiffeur is very similar to those found
in this period, as well as the drawing style, technique and
genre. It is this cataloger's opinion that this work was
likely the creation of one of the Moronobu School masters.
Perhaps done by Sukenobu, Yoshikiyo, Morishige, Sugimura,
Moronobu, Kiyonobu, Masanobu, or others from this period.
We believe this work was likely done from around 1710-1750.
It was also likely that it was done by one of the artists
listed below.
.
***
LIKELY ARTIST ATTRIBUTION:
.
MORONOBU SUKENOBU SCHOOL:
Nishikawa Sukenobu [1671 -August 20, 1750] often called
simply "Sukenobu", was a Japanese printmaker from Kyoto. He
was unusual for a Ukiyo-e in being based in the imperial
capital of Kyoto. He did prints of actors, but gained note
for his works concerning women. His Hyakunin Joro
Shinasadame: Appreciating 100 Women, in two volumes
published in 1723, depicted women of all classes, from the
empress to prostitutes, and received favorable results
His Hyakunin Joro Shinasadame: Appreciating 100 women, in
two volumes published in 1723, depicted women of all
classes, from the empress to prostitutes, and received
favorable results Leading members of this school were:
Nishikawa Sukenobu the founder; Nishikawa Suketada;
Kawashima Nobukiyo; Nishikawa Terunobu; and Takagi Sadatake.
.
*
HISHIKAWA MORONOBU SCHOOL:
Hishikawa Moronobu [1618-July 25, 1694] was a Japanese
painter and printmaker known for his advancement of the
Ukiyo-e woodcut style starting in the 1670s.
Leading members of the MORONOBU school were:
Hishikawa Moronobu the founder; Hishikawa Morofusa;
Hishikawa Moroyoshi; Hishikawa Moronaga; Hishikawa
Moroshige; Hishikawa Morohira; and Tamazaki Ryujo.
.
***
BIBLIOGRAPHY:
This title is NOT listed in any of the below resources:
*
SHIBUI, Kiyoshi. UKIYO-E NAISHI. BIBLIOGRAPHY OF JAPANESE
EROTIC ILLUSTRATED WOODBLOCK PRINTED BOOKS.
*
H. KERLEN. CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN
*
Richard Lane: IMAGES FROM THE FLOATING WORLD THE JAPANESE
PRINT; pages 28, 40-60 show examples of the Ukiyo-e
primitives [1660-1765], especially the Moronobu school,
pp.60-88 et al.
*
KSM: no entry found.
*
Nor any other usual bibliographies on Japanese Ehon
[woodblock printed books] or Japanese erotica.
*
See: WIKIPEDIA: http://en.wikipedia.org/wiki/Amanjaku
***
317 MORRA, Lella. et al.
CATALOGO N. 3. STAMPE E LIBRI ILLUSTRATI GIAPPONESI.
[Venezia 1992 ?]. Stiff rose wrs., very good, oblong format, 70 b.w. photos, bibliography, price list, [42]p., Italian text, English condition, notes sheet tipped in, covers
69 well described & illustrated items. A useful referernce.
$67590
Co-author Gianni. Covers a good variety of prints & illustrated woodblock printed books. Includes works by Hokusai,
Shunsho, Kiyonaga, Hoshu, Bosai, Hokkei, Hokuun, Hokusai
Taito II, Shinsai, Bumpo, Kosetsu, Gessho, Soken, Korin &c.
$26
318 MURAKAMI, Wagao.
KOHZUKE NO KUNI YOCHI ZENZU: COMPLETE MAP OF KOZUKE PROVINCE
Edo [1837], Yamashiro. Blue stiff covers, very good, color
woodblock printed, some folds tender, list of
shrines,
castles, famous places, color key, compass, 126 x 104 cm.,
folds down to 18 x 25.5 cm.
Shows the whole province, roads, cities, villages, rivers,
mountains, done in a "bird's eye" type aerial view. A very
attractive work, with pastel colors, rich green mountains
and forests. With a few small & old worm holes, otherwise
quite nice.
*
Handsome, suitable for framing and wall display.
***
BIBLIOGRAPHY:
Kurita #17.
***
MAP OF OLD EDO LOCATING THE HATAMOTO & SAMURAI RESIDENCES
$615
319 MURATA, Hikobei.
SHO GO DAIMYOO OYASHIKI GOH IN: CERTIFIED EDO MAP OF DAIMYO
RESIDENCES.
Edo 1861, Murataya. Single sheet, color woodblock printed
map, 96 x 68 cm., rebacked, some old worming now mended,very
clean, folds down to 12.5 x 18 cm., in indigo-blue folding
Chitsu case, bone clasps.
A lovely map of Edo, with an appendage at the East portion
of the map [31.5 x 15.5 cm]. Shows sail boats plying the
bay, the canals and all of the wards in the biggest city in
Japan.
*
Nanba states: "This map, drawn to scale of 1 bu to 20 ken
is much like many others of this type in both scale and
content. They all originated...from maps drawn by Ochikochi
Doin. What distinguishes this map from others is its
detailed information on residences of Daimyo, Hatamoto and
other Samurai."
*
The Mon [crest] of each family is clearly shown on
residences and on detached villas. Large directional
characters on each side, with colophon. The Hatamoto are
within the moat, near the palace. Clearly shows rivers,
roads, individual wards, important houses, ships ply the
harbor, with folded appendage at the East to show the whole
of the area.
*
A very nice, crisp copy, suitable for framing and display.
***
BIBLIOGRAPHY:
NANBA, Matsutaro. ed. et al. OLD MAPS IN JAPAN: see plate #
93, for a very similar item.
***
$952
320 NAGAKUBO, Sekisui.
NAGASAKI GYOEKI NIKKI: Nagasaki Travel Diary.
[N.p. 1767, n.p.]. Blue stitched wrs., 3 vol. set, very good
somewhat rubbed, minimal worming. Some damp stain on 1st few
pages of vol.2. Woodblock printed on handmade paper. R A R E
Interesting narrative of the Chinese and Dutch who lived in
Deshima. Well-illustrated, showing Dutch shipping customs,
unusual objects, the Chinese and their life-style.
FIRST MAP IN JAPAN TO USE & SHOW LONGITUDAL LINES
$7480
321 [NAGAKUBO, Sekisui.]
[SHIN] DAI NIPPON YOHCHI ROTEI ZENZU. COMPLETE REVISED MAP
OF JAPAN WITH DISTANCES.
[Japan] Bunka 8 [1811], Suharaya. Folded map, wooden covers
woodblock printed in color, with-hand coloring, 88.5 x 133
cm., folded, minor closed tears and a bit old restored folds
and old worming now solid, very good contition.
R A R E !
Although this map was printed with the blocks from 1779,
edition, it has a new imprint colophon at the lower left,
which shows this to be the 1811 or Bunka 8th year printing,
with publisher's name Suwahara. A grand size wall map
showing all of Japan, the major & minor islands, covering
from 30-41 degrees South to North.
*
Showing 10 hand colored compasses, rivers and lakes in blue,
mountains in green, cities, villages named, shrines, temples
& castles, famous places, ancient castles & battle grounds,
port towns, rivers, sea lanes distance chart, in the inset
on the lower left corner showing the later date.
.
Beautifully color woodblock printed, suitable for display.
Highly detailed work with through legend, with all provinces
clearly divided each in a different color.
*
WHO WAS NAGAKUBO SEKISUI:
This was the work of a Confucian scholar
from Mito, and his maps were considered more accurate than
his predes sors. This is the first Japanese example to
show, use and print longitudinal lines.
*****
BIBLIOGRAPHY:
H. Cortazzi: ISLES OF GOLD ANTIQUE MAPS OF JAPAN: p.110,
color plate 41 is the exact map we list here.
Our copy matches his illustrated version.
*
G. Beans: A LIST OF JAPANESE MAPS OF THE TOKUGAWA ERA: p.25;
p.24 1779.1; p.29 1791.2; p.33 1811.1 for the
variants.
*
H. Nakamura: MONUMENTA CARTOGRAPHICA JAPONICA: color
illustrated on p.70, plate 33.
*
M. Namba OLD MAPS IN JAPAN, color illustrated on p.41, #29.
*
A SUPERB OVAL PROJECTION OF THE WORLD
$6564
322 NAGAKUBO, Sekisui.
SHINSEI YOCHI ZENZU: NEW COMPLETE MAP OF THE NUMEROUS
COUNTRIES ON THE GLOBE.
Japan 1844, Denken. Orange stiff oxidized front cover, back
cover replaced with stiff text, contained in a blue cloth
Chitsu case, folds down to 11.7 x 17.8 cm., opens to 92.5 x
36 cm., woodblock printed by hand, on hand-made paper. RARE
A very nice reissue of his most celebrated & excellent 1788
CHIKYU BANKOKU SANKA YOSHI ZEN ZUSETSU: WORLD MAP OF THE
COUNTRIES ON THE GLOBE.
*
Hand-coloured outline for oceans, countries & the
continents. The sheet is very large and contains the
title and oval projection map on the right half; the left
half [about 40%] contains the descriptive text, dated
colophon and cartographer's name, and the key to symbols.
Truly a most lovely & charming primitive Japanese world
map. This map was influenced by Matthew Ricci's World
Map. Japanese cartography lagged Europe by about a hundred
years, due to the political policy of Sakoku or "closed
nation."
*
A very small amount factual cartographic information rickled
in through Deshima Island, a small island in Nagasaki
Bay. There the Dutch were restricted to living on a tiny
place, virtual prisoners and not allowed to visit the
mainland without invitation or armed guards. Nevertheless,
Rangaku-sha or Japan students of Dutch learning visited
Deshima, and studied under the Dutch, or learned from
those who learned from the Dutch which inspired many
Japanese scientists, doctors, innovators and even native
cartographers.
*
Because Japan, was a "closed nation" there was a great
thirst for Western knowledge. Maps of this sort were very
popular and gave the Japanese their first true "world view."
A famous cartographer and map, see Sir Hugh Cortazzi's ISLES
OF GOLD, p.35, where he discusses Sekisui at length.
Sekisui was the forerunner of the greatest Japanese
cartographer, Ino Tadataka. This slightly distorted version
of the world shows a large area is devoted to both the
Arctic & Antarctic regions. Asia is central, with a vague
North and South American continents.
*
An excellent example of early & primitive Japanese world
cartography. Nagakubo was also known as Genju Mito. This map
was revised by Den Rinkoku. The paper is remarkably white &
quite bright, by & large a most obscure example.
*
CONDITION:
There are three small light spots in top margin, not
affecting the map or text; and one faint spot in the text.
*****
BIBLIOGRAPHY:
G. Beans: LIST, SUPPLEMENT "A": p.23: as 1844.01.
*
Kobe City Museum: AKIOKA KOCHIZU KOREKUSHON MEIHIN TEN:
p.14, #13, & p.90.
*
M. Namba; OLD MAPS IN JAPAN, p.163 where he cites this first
edition of this map, with many other citations about
Nagakubo.
***
A LOVELY ZEN INSPIRED ILLUSTRATED SKETECHBOOK
323 NAKABAYASHI, Chikuto.
REPRINT: CHIKUTO SHIKUNSHI GAFU: ALBUM OF PAINTINGS OF THE
FOUR PARAGONS: BAMBOO, CHRYSANTHEMUM, ORCHID & PLUM.
[Kyoto n.d. ca 1868 Unsodo]. Dark grey boards, very clean,
accordion folded, 2 vol. set, 18 x 26.5 cm.,[29]double color
Sumi type woodcut illustrations, bright copy, reprint of the
Kyoto 1854 First Edition, complete, nicely done.
SCARCE
A lovely book, with tender illustrations from the Zen and
Confucian genre. Illustrates flowers, grasses, rocks, large
number of bamboos, plum, chrysanthemum, grapes, ancient pine
trees & ordhids. Reminiscent of the Chinese classics:
MUSTARD SEED GARDEN, and TEN BAMBOO. A stunning old reprint
edition.
*
This is a famous and illusive book ! Nakabayashi Chikutoh
lived between 1775-1853, was a native of Owari province, but
spent most of his life in Kyoto, where he studied under the
celebrated Miyasaki Impo. He was known for his rather
peculiar painting technique, using his paint as dry as
possible. His work was chiefly in landscape painting,
although some of the pictures of bamboos left by him are
$5304
very fine.
*
Other signatures used by him [studio names] were Seisho.
Narimasa, Hakumei, Taigen-an, Yusai and Tozan Inshi.
*
He used his great skill and artistry to leave a legacy of
other books: CHIKUTOH GAFU; YUSAI GAFU; CHIKUTO SANSUI
GAKOH, CHIKUTOH SANJIN JIMBUTSU, and this title, published
from 1812-1852 respectively. Much of above extracted from L.
Brown, see citation in bibliography.
*
Per Hillier: The most eminent among the teachers [of Chinese
-style painting] of the time was Nakabayashi Chikutoh. His
principal master was Kamiya Tenyu, by whose notable
collection of Chinese paintings Chikutoh was no doubt led in
the direction of Nanga [style], and an association with
Baitsu early in his career may have helped to broaden his
outlook. Ultimately, he became of the leading art theorists
and wrote several books on painting, beginning with one, as
early as 1801....gave some notion of his quiet, reticent
kind of painting, often carried out in Sumi, of a warmth of
tone and variety of brush-marks that are his hall-marks.
[p.923-4].
*
His works are clearly influenced by and reminiscent of the
most celebrated of all Chinese illustrated books, THE TEN
BAMBOO STUDIOI and the MUSTARD SEED GARDEN [please inquire
as we have these titles in stock] from the 18th century in
what has been called "boneless manner" that is printed
without lines or commonly referred to as the 'Shikunshi"
painting tradition or style. This technique was often
utilized by Zen eccentrics who painted in the Chinese manner
and what Hillier cites as "dream landscapes" on p.75,
wherein he includes Chikutoh and later Nanga artists.
*
CONTENTS:
Volume 1: Orchid and Bamboo: 15 double-folds, illustrating 4
orchids and 9 bamboos; volume 2: Plum and Chrysanthemum: 17
double-folds, illustrates 6 plums, 4 chrysanthemums and 6
copies of ancient works. All illustrations are of the line
type with subtle Sumi ink wash.
*
This is truly a stunning and unique study by an even more
obscure and unusual artist. This work was done in the Zen
eccentric style is superbly charming, from its stylized
title slip, written in Kanbun [Chinese style] introduction
and Spartan drawing techniques is reminiscent of the Chinese
Ch'an [Zen] monks technique.
*
Check with us to see if we have any others by this artist.
*
BIBLIOGRAPHY:
L. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION IN JAPAN:
~~ p.107 cites this book and biographical notes on Chikutoh
~~ under THE GANKU AND THE CHINESE SCHOOLS.
*
~~ ILLUSTRATED BOOKS: p.422, top of page cites this book.
*
~~ SHIJO & OTHER RELATED SCHOOLS OF JAPAN: A BIBLIOGRAPHY:
~~ p.238,
*
BM 1898, P.11, CITED AS Chikutoh Shikunshi Gafu
BM 1904, p16116.d.13 listed as Yusai Gafu, 1854
*
STOCKHOLM 517 listed as CHIUTO SHIKUNSHI.
*
J. Hillier: THE ART OF THE JAPANESE BOOK p.75, 923-4,
~~ plate 616
*
NOT CITED IN:
L. Roberts: DICTIONARY OF JAPANESE ARTISTS. This artist has
clearly alluded the discriminating eye of this author.
*
NOT CITED IN:
H. Kerlen: CATALOGUE OF PRE-MEIJ-JAPANESE BOOKS AND MAPS IN
THE PUBLIC COLLECTIONS IN THE NETHERLANDS: Apparently this
title has escaped the scrutiny of any Dutch collector or
museum, but he cites another title by this artist, #125,
p.52.
*
OBSCURE & SUPERBLY PAINTED WORK, DONE IN THE CHINESE STYLE
324 NAKABAYASHI, Chikutoh.
CHIKUDO SHIKUNSHI GAFU: ALBUM OF PAINTINGS OF THE FOUR
PARAGONS. [Which are Woodcut Studies Of Bamboo,
[Kyoto 1854, Fujii]. Blue covers, accordion folded, title
slip, ca. 16.5 x 27 cm., covers faded, edges bit worn,solid,
contents clean, solid, 2 volume set: 15+16 double leaves, 30
double-page illustrations, complete. R A R E FIRST EDITION
This is a famous and illusive book ! Nakabayashi Chikutoh
lived between 1775-1853, was a native of Owari province, but
spent most of his life in Kyoto, where he studied under the
celebrated Miyasaki Impo. He was known for his rather
peculiar painting technique, using his paint as dry as
possible. His work was chiefly in landscape painting,
although some of the pictures of bamboos left by him are
$588
very fine.
*
Other signatures used by him [studio names] were Seisho.
Narimasa, Hakumei, Taigen-an, Yusai and Tozan Inshi.
*
He used his great skill and artistry to leave a legacy of
other books: CHIKUTOH GAFU; YUSAI GAFU; CHIKUTO SANSUI
GAKOH, CHIKUTOH SANJIN JIMBUTSU, and this title, published
from 1812-1852 respectively. Much of above extracted from L.
Brown, see citation in bibliography.
*
Per Hillier: The most eminent among the teachers [of Chinese
-style painting] of the time was Nakabayashi Chikutoh. His
principal master was Kamiya Tenyu, by whose notable
collection of Chinese paintings Chikutoh was no doubt led in
the direction of Nanga [style], and an association with
Baitsu early in his career may have helped to broaden his
outlook. Ultimately, he became of the leading art theorists
and wrote several books on painting, beginning with one, as
early as 1801....gave some notion of his quiet, reticent
kind of painting, often carried out in Sumi, of a warmth of
tone and variety of brush-marks that are his hall-marks.
[p.923-4]. His works are clearly influenced by and
reminiscent of the most celebrated of all Chinese
illustrated books, THE TEN BAMBOO and the MUSTARD SEED
GARDEN [please inquire as we have these titles in stock]
from the 18th century in what has been called "boneless
manner" that is printed without lines or commonly referred
to as the 'Shikunshi" painting tradition or style. This
technique was often utilized by Zen eccentrics who painted
in the Chinese manner and what Hillier cites as "dream
landscapes" on p.75, wherein he includes Chikutoh and later
Nanga artists.
*
CONTENTS:
Volume 1: Orchid and Bamboo: 15 double-folds, illustrating 4
orchids and 9 bamboos; volume 2: Plum and Chrysanthemum: 17
double-folds, illustrates 6 plums, 4 chrysanthemums and 6
copies of ancient works. All illustrations are of the line
type with subtle Sumi ink wash.
*
This is truly a stunning and unique study by an even more
obscure and unusual artist. This work was done in the Zen
eccentric style is superbly charming, from its stylized
title slip, written in Kanbun [Chinese style] introduction
and Spartan drawing techniques is reminiscent of the Chinese
Ch'an [Zen] monks technique.
*
TADAMASA HAYASHI'S PERSONAL COPY:
Both volumes are stamped at the bottom of the title slip
with the celebrated collector and art dealer's personal
cinnabar chop or Hanko at the bottom, with characters:
"HAYASHI".
*
Tadamasa Hayashi (1853-1906) was one of the most important
figures in the development of Japonism in Europe, as well as
in the history of late 19th century Japanese art and crafts.
The inability of the Japanese to recognize the aesthetic
value of Ukiyo-e made prints readily and cheaply available
to exporters like Hayashi, who marketed them in Europe as
art prints, fetching appropriate prices and making large
profits. Hayashi became the most renowned Japanese art
dealer and collector who contributed significantly to the
formation of French taste and knowledge of Japanese art in
the late 19th century. He worked closely with Siegfried
Bing, where the two of them opened a magnificent art shop
called "Maison de l'Art Nouveau" in Paris in the late 19th
century, showing works of artists that would become known as
the "Art Nouveau" movement, named after their store.
Siegfried Bing, was important to the Japanese influence on
art nouveau, and he later released a whole series of books
titled: "LE JAPAN ARTISTIQUE" which influenced artists that
were read for example by Gustav Klimt, and set off a boom in
the collecting of Japanese art throughout Europe & England.
*
Hayashi went to Japan several times collecting art works,
Japanese prints, Japanese woodcut-printed books and placed
his personal seal on those he kept for himself which had
special merit. This example from his collection is evidence
of his discriminating and impeccable taste. Books or prints
with this personal seal are highly coveted and collected !
*
Check with us to see if we have any others by this artist.
*
BIBLIOGRAPHY:
L. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION IN JAPAN:
~~ p.107 cites this book and biographical notes on Chikutoh
~~ under THE GANKU AND THE CHINESE SCHOOLS.
*
~~ ILLUSTRATED BOOKS: p.422, top of page cites this book.
*
~~ SHIJO & OTHER RELATED SCHOOLS OF JAPAN: A BIBLIOGRAPHY:
~~ p.238,
*
BM 1898, P.11, CITED AS Chikutoh Shikunshi Gafu
BM 1904, p16116.d.13 listed as Yusai Gafu, 1854
*
STOCKHOLM 517 listed as CHIUTO SHIKUNSHI.
*
J. Hillier: THE ART OF THE JAPANESE BOOK p.75, 923-4,
~~ plate 616
*
NOT CITED IN:
L. Roberts: DICTIONARY OF JAPANESE ARTISTS. This artist has
clearly alluded the discriminating eye of this author.
*
NOT CITED IN:
H. Kerlen: CATALOGUE OF PRE-MEIJ-JAPANESE BOOKS AND MAPS IN
THE PUBLIC COLLECTIONS IN THE NETHERLANDS: Apparently this
title has escaped the scrutiny of any Dutch collector or
museum, but he cites another title by this artist, #125,
p.52.
*
A LARGE COLOR WOODBLOCK PRINTED WORLD MAP
$3128
325 NAKAJIMA, Jo.
SHINTEI CHIKYUU BANKOKU HOOZU: NEW MAP OF THE WORLD.
Edo 1852, Toryoh. Yellow stiff covers, symbol key, inset of
four color globes, woodblock printed by hand on hand made
paper, opens to ca. 1 meter 31.5 x 80 cm., folds down to ca.
17 x 27 cm., some folds mended, slight soil, toned. R A R E
This grand wall map is beautifully done, with Africa at the
far left, the Americas to the right, Asia in the central
area. Each country differently colored, profusion of place
names in Kanji or Katakana. Equatorial line, longitude and
latitude given, no Tropic of Cancer or Capricorn cited. The
four inset globes show different hemispheres.
*
This map was issued concurrent with the arrival of
Commodore Perry, and reflected the world at that time. A
large color wall map, handsome and ready for framing and
display. Japanese cartography lagged far behind Western
cartographer's renditions of world maps.
*
Receiving their Western cartographic education via the
Dutch in Deshima Island in Nagasaki harbor, the Japanese
world view was severely limited, their perspective was based
on what the Dutch brought in terms of atlases, globes and
maps. Most Japanese world maps lagged some one hundred or
more years, this example is considered an "early world map"
in Japanese terms. It was in Dutch interest to keep the
Japanese aware of as little of the "modern & new worlds' as
possible. Well executed, nicely drawn and colored.
Always RARE.
*
BIBLIOGRAPHY:
ERA: p.40, 1852.2.
*
CENTURY, pp. 214-215, he illustrates this exact map with a
full page color example.
****
A HORIZONTAL PILGRIMS WALKING MAP OF ALL JAPAN
$4896
326 [NAKAZAWA, Kashiro.]
DAI NIHON HAYABIKI SAIKEN EZU: PICTORIAL ROAD MAP OF JAPAN.
Nara 1857, Ezuya Shohachi. A folded map, woodblock printed &
colored by hand, opens to 1 meter 39 x 37.5 cm., folds down
to 19 x 8 cm., original brown covers, in brown cloth Chitsu
folding case, bamboo pegs.
S C A R C E
This map was essentially used by pilgrims who walked from
town to town on the roads performing their religious
obligation. Showing great detail of the roads, villages,
rivers, distance chart, key to shrines, temples, castles,
inns, tea shops, sights &c. This map was actually
designed with the pilgrim pedestrian in mind, who while
walking, could refer to this and keep neatly tucked into
his Obi sash or Kimono sleeve for quick reference.
*
This map is a narrow and very long accordion folded format
which segments of the county with each fold. With
directional compass, key to distances in Ri [Japanese
miles], red for small towns, yellow for larger towns, and
black for Kuni [now prefectures], shows ships in the
waters, and shipping lanes, key to symbols.
*
A complete map of all Japan, from Hokkaido in the North,
down to Nagasaki and the Southern islands. Excellent for
display and framing.
*
These maps are commonly called "Dochu" or "Itinerary Maps."
A very charming work, nicely illustrated with pastel colors.
Actually carried by pilgrims on holy journeys visiting
Shinto and Buddhist shrines.
*
REFERENCE:
M. Namba: OLD MAPS IN JAPAN, pp.64-71, plate 39 for a
similar item, ours is not so brightly colored, and was
published eight years earlier.
*
327 NARAZAKI, Muneshige.
HOKUSAI SKETCHES AND PAINTINGS.
Ahead of Title: Master works of Ukiyo-e.
Tokyo [1969], Kodansha. White cloth, very good, slipcase, 75
color, 5 b.w. Hokusai illustrations, 96p., English by John
Bester, 19 x 26.5 cm. An excellent reference source book.
FIRST EDITION
Covers a combination of Hokusai paintings, sketches, and his
illustrated books: The Manga, Thirty-Six Views of Fuji, One
$1906
Hundred Views of Mt. Fuji, & many others. Various color wood
block print series et al. Highly useful reference work.
$53
THE ART WORKS OF THE "DA VINCI" OF JAPAN
328 NARUSE, Fujio.
SHIBA KOHKAN: PICTURUES OF SHIBA KOKAN'S WORKS.
[Osaka 1983, Osaka Bijutsu-sho Kyodoh Kumiai]. Blue cloth,
very clean, slipcase, Japanese text,5 color, 133 b.w. photos
ca. 19 x 26 cm., solid copy.
An excellent art reference on Shiba Kokan's paintings and
calligraphy, western influenced paintings, the use of
perspective &c. With a biography of him, and the story of
his Dutch influenced career.
.
$97
329 NEWMAN, Alex R. et al.
JAPANESE ART: A Collector's Guide.
New York [1964],Barnes. Black cloth, over white,271p., index
15 figures, 106 b.w. photos, bibliograhy, co-author Egerton
Ryerson, 27 x 27 cm., clean, solid copy.
FIRST EDITION
This is a comprehensive and important reference source book
designed for collectors to identify and learn about every
aspect of Japanese art objects. Arranged by subject, this
work is monographic in design, devoting a complete chapter,
with bibliography on each art form.
.
Copious drawings & photographs accompany the text. Some
subjects covered are: arms and armour, books, printing,
boxes, ceramics, clocks, coins.
.
Dolls, dress, textiles, fans, games, ghosts, houses, Inro,
Netsuke & Ojime, lacquer, magic charms, masks, metalware,
ornaments, mirrors, musical instruments, painting & prints,
religions, smokers' utensils, Tea Ceremony, transport,
weddings &c.
.
Each section is well written and organized, with
ease of use the author's concern. Essential for any student.
$12
330 NIHON KODAI MOYO: JAPANESE ANCIENT DESIGNS.
NIHON KODAI MOYO: JAPANESE ANCIENT DESIGNS.
[Kyoto n.d. ca. 1910, Unsodo]. Stitched stiff wrs.,very good
volumes 2 & 3 of ? number set, each volume is complete in
itself, 25 double leaves per volume, ie 50 pages per volume,
all illustrations, no text, done in black & white.
An entirely delightful design book, based on B.C. era native
Japanese & Buddhist design and motifs. These designs were
found on early and primitive textiles, in and on temples and
shrines interiors, family crests or Mon found on Kimono,
items casted in bronze, incense burners, Imperial family
crests and Mon marks, embroideries, New Years toys [Hagoita]
and games, animistic use, and snow flakes. A superb look at
Japan's oldest patterns and designs. All done in a Shibui
style, using Sumi black and white line design. This sort of
book has long been coveted by textile and designers in the
West for refined inspiration. Scans can be sent by email.
A LARGE WOODBLOCK PRINTED SHEET OF THE GODS OF MANGAN-JI
331 NIKKO SAN MANGAN-JI: NIKKO MOUNTAIN MANGAN TEMPLE.
NIKKO SAN MANGAN-JI: PRINCIPAL GODS OF NIKKO MOUNTAIN MANGAN
TEMPLE. [A Broadside Large Kakejiku Sheet]
[Nikko n.d. ca.1850-60, Mangan Temple]. Broadside, 29.5 x 65
cm., 4 folds, woodblock printed in black outline, Kakejiku
format should be mounted, very good, clean, couple of folds
restored on verso, else nice item.
A LOVELY PERIOD LARGE BRAODSIDE SHEET, KAJIKU SIZE OF THE
.
. SEVEN PRINCIPAL GODS OF IDURU-SAN MANGAN-JI [TEMPLE]
.
.
.
THE SEVEN BUDDHIST ICONIC SCROLL:
.
$408
This is an excellent period Buddhist souvenir, either given
to or bought by pilgrims visiting the old temple.
.
There has been a long-standing Buddhist tradition for
believers to make a pilgrimage to several Buddhist temples
within their life time. This example is a fine
representation of proof of a visit to a high-mountain
temple, requiring great effort to climb the stone steps and
follow the steep path to it summit. Climbers were most
likely rewarded by receiving a blessing from the temple
monks and gifted this scroll.
.
This broadside shows the seven principal Gods of Mangan-Ji
[Mangan temple]. Each God is depicted as an iconic image,
the three at the top are seated upon a lotus flower, with
title text at the bottom.
***
CONDITION:
The work is in original clean, unblemished condition, with
folds as preserved from about 160+ years ago. Some of the
folds were worn and have been properly restored from the
verso many years ago using Washi paper and rice glue,
typical of the type of work done in Japan. The work is now
stable and solidly restored. It is ready to be mounted and
made into a Kakejiku [hanging scroll].
.
The images are clear, nicely woodblock-printed in solid
black Sumi in outline, no issues.
***
THE ICONS:
The Icons are not exactly the "Shichi Fukujin" [Seven Gods
of Luck and Good Fortune] in Japan. Each one of them
symbolizes a virtue: Honesty, Fortune, Dignity. Amiability,
Longevity, Happiness and Wisdom.
.
They were chosen from Hinduist, Buddhist, Taoist and
Shintoist gods or saints, and settled into Japanese Folklore
Gods, believed to have been grouped together around 17th
century.
.
However, at the very bottom is the confirmed image of
Daikokuten [Daikoku-san]. Originally, he was a Hindu warrior
deity named Mahakala and once introduced in Japan he became
the God of Wealth and Prosperity. He is well known for his
happy-looking smile and is often presented with a bag on
this shoulder filled with money and a magic mallet standing
on two bales of rice. The virtue he represents is Fortune.
*
The other icons are Buddhist and have no exact names
identifying them. The last three are seated or standing on a
dias. Please see the photos posted to our website.
***
REFERENCES:
http://www.city.kawanishi.hyogo.jp/english/7515/guidance/sig
htseeing/mangan.html
*
http://www.idurusan.com
*
"Shichi Fukujin" [Seven Gods of Fortune]:
https://www.kusuyama.jp/culture/shichi-fukujin-seven-gods-of
-luck-and-good-fortune/
***
$109
A JAPANESE WOODBLOCK PRINTED MAP OF CHINESE DYNASTIES
332 NINOMIYA, Seiken. comp. [NAGAKUBO, Seiksui]
SHINA REKIDAI ENKAKU ZU: HISTORICAL ATLAS OF CHINA
THROUGHOUT THE SUCCESSIVE DYNASTIES.
[Osaka 1857, Suharaya]. Grey stiff paper covers, very worn,
but contents intact,large size 24 x 37 cm.,accordion folded,
[14] double-folded leaves, consists of 13 color woodblock
printed maps, map 2 has ca. 20 x 10 cm missing @ top center.
The other maps are fairly clean, minor center folds mended
covers lacking cover papers, solid, else complete.
*
THE AUTHOR:
Ninomiya Seiken was the compiler and also wrote the preface.
It is interesting that Ninomiya did a private publishing of
this book which was by and largely copied from NAGAKUBO
Sekisui's work on the same subject. Actual production of the
maps are:
Maps 1 - 3 drawn by NAGAKUBO Sekisui's original title:
MOROKOSHI REKIDAI SHU GUN ENKAKU CHIZU.
Maps 4 - 6, NINOMIYA Seiken imitated NAGAKUBO's MOROKOSHI
REKIDAI SHU GUN ENKAKU CHIZU.
***
SUBJECTS OF THE MAPS:
As an historical atlas, this work shows each of the
dynasties beginning with the Great Ch'in, Western Ch'in,
Eastern Han, Three Kingdoms, Northern & Southern Dynasties,
T'ang, Ming, with a final map of Western Pacific region, it
shows the West coast of North America with "Night Country"
island at the top, all of Japan, Hokkaido all of Okinawa,
down to the Malacca straits, Cambodia, Annam [Vietnam],
Hainan Island, Guandong, Korea, Siberian and Tartary, with
parts of the Great Wall, Peking and what a unified Ming
Dynasty China looked like. Also other maps of the Yuan
Mongol, Later Chou, Warring States, Thirty-six Provinces of
Ch'in &c. This is essentially a Japanese impression of a
Chinese map.
*
Each map shows the degrees for both latitude and longitude,
as well as a Japanese compass, key to symbols. The ocean is
skillfully colored in a pastel blue for the depths, fading
and lighter blue effect near the coast lines. Each province,
or country is a different color & properly named, with
copious notes on the various islands, and inland waterways,
mountains, cities, and the Gobi desert noted. Mongolia,
Manchuria, Tartary is at the top, with a very large ocean
above named 'Mizuumi' or Lake but this joins the Pacific
ocean, leaving one the impression that this is part of
the Pacific. Other period maps get more complicated as
time passes into modern ages.
*
The earlier maps show fewer names, but still have
considerable detail, with a several waterways from Japan to
various destinations in China in red. Internal or land roads
within China are also in red. As more political control over
wider areas and the unification of China expanded, the
provinces shifted, changed in size. What makes this set of
maps fascinating, is they are all from a similar key block,
with subtle variations in the coast line & of course the
ever changing administrative areas.
*
An-nan [old Viet-nam or the 'Pacified South'] is always
shown, as are all of the 'outer' areas or tributary areas
that paid respect to the Chinese Emperors, thus the need to
show these lands. Many of the maps clearly show the central
or unified China area in a single color, with the outer
areas of tributary lands & tributary kingdoms shown in
separate and different colors. By the Han period [221 B.C.],
the Chinese clearly knew themselves to be people of "Han" in
contrast to other outlying ethnological people.
*
Very rare and unusual item and fascinating resource.
*
WOODBLOCK COLOR PRINTED:
Entirely color printed by woodblocks on hand-made Washi
paper.
****
BIBLIOGRAPHY:
George H. Beans: A LIST OF JAPANESE MAPS OF THE TOKUGAWA
ERA, Supplement C, p.20 as entry: 1855. In fact this map was
published in Ansei 4 [1857] and the colophon shows that
date, but Beans entered this by the introduction date of
Ansei 2nd year. Four entries later in the same volume on
p.21 Beans lists [1877.2] MAP OF CHINA UNDER THE TS'ING
[Qing] DYNASTY, which looks much more like this item, thus
the confusing dates. This work was authored by Mito Sekisui
per the colophon, so we think Beans has two errors.
*
STUNNING PRINTS FROM THE MASTER SHOWING WOMEN'S LIFE & PLAY
$4760
333 NISHIKAWA, Sukenobu.
KODAI BIJIN GAFU: ALBUM OF ANCIENT JAPANESE BEAUTIES.
[Tokyo? 1919, n.p.]. Grey cloth, accordion folded album,37.5
x 26 cm., very good, minor soil to front covers, corners bit
rubbed, contents clean, 12 color prints: 33 x 21 cm., reproduction of woodcuts by lithography.
This charming work contains lovely reprints of the master's
color woodcut prints of ancient feminine beauty.
A traditional view of Japanese women, showing them at their
daily activities.
*
Print:
1. Strolling with family
2. Playing music, the Koto, Shamisen
3. Wearing Kimono
4. Visiting with friends
5. Enjoying the out of doors
6. Burning sparklers in August
7. Dancing
8. Walking in the rain wiht umbrella
9. Ohkoh or burning incense
10. Walking with friends
11. Shamisen lessons
12. Studying from books.
*
A lovely work depicting women of the early 17th century.
*
A BOOK OF JAPANESE BIRDS
$177
334 [NISHIMURA, Kokyu.]
SHOBIN KO: THOUGHTS ON SMALL THINGS [I.E. JAPANESE BIRDS]
[Kyoto 1859, Kitamura]. Blue stitched stiff wrs., 32p., b.w.
woodblock printed, 8 b.w. illustrations of birds, 16 x 23 cm
some worming, restored, Japanese text complete, some stain
to covers.
A lovely work showing a variety of Japanese birds.
*
CONDITION:
The old worming has been restored with Japanese Washi
rebacked to the inside of the pages. One illustration has
some stain, else clean,.
*
$272
VALUABLE REPAIR GUIDE FOR CHINESE, JAPANESE & KOREAN BOOKS
335 NORDSTRAND, Ove K.
CHINESE DOUBLE-LEAVED BOOKS AND THEIR RESTORATION.
[Munchen 1967, Libri]. Extracted article, [26p.] in all, A4
size, 23 figures/illustrations, stapled photo copy, as new.
A fascinating resource for any student or collector of old
stitch-bound Chinese, Japanese & Korean books. A "how-to" of
mounting brocade corners, paper-sticks, knotting, stitching,
patching worm holes, backing paper, how to make the folding
protective covers.
*
With appendix of recipes for preparation of paste from
flour, Chinese paste, and the use of synthetic paste.
*
Nicely written with ample and good illustrations.
*
PHOTO COPY OF THE ORIGINAL. Not returnable, not refundable.
$26
STORY OF THE FAMOUS GENJI SAMURAI CHIEF IN THE HEIAN ERA
336 NOTEI, Gaishi.
YOSHINAKA KUN KO ZU E: DISTINGUISHED ILLUSTRATED SERVICES OF
KISO YOSHINAKA/MINAMOTO NO YOSHINAKA.
[Kyoto 1832, Maekawa]. Blue & brown stiff stitched wrs., 10
vol. set, complete, very clean, title slips, [311] double
folded pages, entirely wood block printed, 55 woodcut illustrations,17 x 24.5 cm., complete, solid, crisp, bright copy.
This is the biography of the celebrated Kiso Yoshinaka
[1154-1184] also known as Minamoto no Yoshinaka. He was the
hero of the Shinano-Kotsuke drama and was a well-know and
respected horseman & archer. Yoritomo had killed his father
father & ordered his death as a baby, seeking revenge and a
retaking of Taira lands, he campaigned with an alliance of
the Ashikaga. They triumphed and took no less than ten provinces from them. His brother Yoshitsune sent an army of
60,000 men against him [Yoshinaka] who was defeated at the
battle of Awazu in Omi, he died with his four trusted companions in arms Imai, Higuchi, Tate & Nenoi, they were called
his "Shi-ten." This very nicely illustrated work shows the
evolution of the story, one excellent double-page illustration shows a young Yoshinaka chasing his wild horse through
his mentor's Zashiki [mansion] causing a great comotion; a
great battle on with the wanton killing of men, women, and
babies aboard two small vessels; riding his great steed into
victorious battle as he dispatches his apponent's head !
Another shows the all-powerful Yoshinaga charging ahead on
his steed through a hail of arrows weilding his Katana [long
sword] dispatching some 14 enemy as they tumble and hit the
dirt ! With a host of other excellent action-packed dramatic
battle. One shows Yoshinaka, as he crashes into the Kyoto
Palace and siezes the Emperor as hostage ! This act enraged
his enemies who mustered the forces and spelled the end of
his life at 31 years old ! Although there is no written hint
to the artist's identity, it seems to be that of Kuniyoshi
or his school. F. Brinkley: A HISTORY OF THE JAPANESE PEOPLE
p.307-8, etal. In E. Papinot: HISTORICAL & GEOGRAPHICAL DICTIONARY OF JAPAN devotes a good paragraph on Yoshinaka & his
story on p.385. [H. Murakami]: GREAT HISTORICAL FIGURES OF
JAPAN p.86. For an excellent biographical note see THE JAPAN
BIOGRAPHICAL ENCYCLOPEDIA AND WHO'S WHO p.854. Scans can be
sent by e-mail. Quite S C A R C E in very crisp collector's
condition.
337 OEDO O-EZU: GREAT MAP OF EDO.
OEDO O-EZU: GREAT MAP OF EDO 1818.
[Edo 1818, Suharaya Mohei]. Large folded map, 41 x 34 cm.,
folds down to 16 x 23.5 cm., very good, in Chitsu, covers
scuffed worn, contents clean, woodblock printed in color, an
excellent example.
S C A R C E
A large folding map, neatly rebacked, showing the whole city
of Edo [Tokyo], with sail boats in the harbor, large directional symbols at each edge, key to famous places, list of
$4080
distances from Nihon-bashi, recommended foods, medicines and
other products. Showing the river system of the city, the
Shogun's Castle, its moat, the temples, shrines and listing
the various sectors, wards and suburban areas. Nicely done,
some worming, but re-backed and restored. Suitable for
display.
***
$2380
A CHARMING CLASSIC OF CONFUCIAN & MORAL ETHICS FOR SAMURAI
338 OGURI, Kojiro Sukeshige.
OGURI GAI DEN: TALES OF THE SAMURAI OGURI HANGAN: Being the
Story of the Lives, the Adventures & Misadventures of the
Osaka 1813, Kawauchi. Red & blue stitched stiff wrs., covers
rubbed, edges worn, contents solid, 18 volume set, Japanese
text, woodblock printed by hand on hand-made mulberry paper,
26+24+26+28+21+37+25+38+18+23+24+22+23+15 double-folded lealeaves, with many woodcut illustrations. A lovely Edo period
edition, a legend based on fact, "...containing essential
features of the enduring moral view of people, giving a continued life from generation to generation down the centuries centuries" is how De Benneville put it. A classic of
Japanese literature and moral education. Often performed in
the theatre or now in the cinema, this work is part of an
important method of learning the history of the land and the
deeds of famous fore-bears. A morale romance, set in 15th
century, in Hitachi province. It covers the houses of Oguri
& Satake, adventures & misadventures of Sukeshige & Terute,
a vendetta accomplished. For a surperb & rare English translation see TALES OF THE SAMURAI OGURI HANGWAN ICHIDAIKI...
translated by James S. De Benneville or inquire with us as
we may have a copy available. The work is a stunning story
or Kodan [dialogue-lecture] with excellent illustrations of
the characters & main events. De Benneville even cites this
edition on p.xi of the preface, from which one can expect he
did this translation. By and large a great example of from
Japan's rich pantheon of literary and Confucian moral classics. Stories of this nature were the foundation on which Bushido, or the Samurai's "spirit" was based, it was the kind
of book that most noblemen, noblewomen and Samurai read for
moral training, and the substance for generations. The first
7 volumes are in red, balance in blue, issued. Scans can be
sent by email.
$2040
AN EXCELLENT & MAJOR MARVELOUS REFERENCE RESOURCE
339 [OIKAWA, Shigeru.] et al.
KYOSAI NO GIGA: KYOSAI'S CARICATURE PICTURES.
[Tokyo 1992,] Tokyo Shoseki. Grey cloth, as new copy, 179p.,
165 color, 12 b.w. plates & illustrations, 2p. English essay
and list of caricatures, showing date, material, publisher,
title, size, owner or location, balance Japanese text, dj.
This superb monographic and color reference book covers a
host of hitherto unusual books, prints and illustrations by
the great master. Kyosai was one of two great innovators of
imagination in Japanese woodblock printing, along with
Yoshitoshi, these two artists represented some of the most
stunning and unique creations in this genre.
*
Kyosai drew traditional Japanese subjects with a keen focus
on humour, ghosts, goblins, deamons and Gods, touching on
Buddhist subjects, including representations of Buddhist
Hell.
*
This work covers how the Europeans viewed his works, commic
illustrations, parody, the world of the supernatural: including his magnificient and highly imaginative ghosts, goblins
and monsters !
This work brings together the best of his
great talent, delightful comic works, and gives the reader a
great insight to the talent and zany if not crazy
perspective he had on life ! An essential reference source
for any collector, student and researcher! A major
contribution to his genre !
*
Modern-day tattoos have been copied from his great images &
are still considered to be among some of the most
fascinating examples of native Japanese artistic images
found humans throughout the world.
*
Japanese text by the celebrated Kyosai scholars Prof.
Shigeru Oikawa and Seiichi Yamaguchi, Susugu Yoshida
compiler. With English essay ON KYOSAI'S CARICATURE by
Israel Goldman, the co-author of HIROSHIGE: Birds and
Flowers.
*
Large size format, 22 x 30.5 cm., printed in high quality
color on heavy paper.
*
$241
CARICATURS IN COLOR, COMIC ODES, SENRYU,, JIGUCHI &c...
340 OISHI, Matora. et al.
SHINJI ANDOH: FESTIVAL LANTERNS.
Co-Artists include: Ichiyusai Kuniyoshi, Keisai Eisen,
[Nagoya 1822, Eirakuya]. Orange stitched wrs., very good,
covers rubbed, cracked contents, very good, a bit thumbed,
21 double folded leaves, [44]p., 41p., color woodblock illustrations, 15.5 x 22.5 cm. First Series.
S C A R C E
This is a very wonderful work, consisting of caricatures,
comic odes, Senryu, puns, Jiguchi &c. Vol. 1 of a 5 vol.
series, issued through 1847, complete in itself. This first
volume is basically drawn by the artist Matora, who was not
an Ukiyo-e painter. Completely illustrated in pastel, vegetal colors, with key block or black outline. Most have puns,
or comical remarks along with the illustrations. Shows a
varitey of Samurai & warriors, court nobles, priests supressing deamons, women and babies, itinerant priests, palanquin
carriers, musicans, drunkards, singers of Kyogen, long-sword
bearing warriors, Sumo wrestlers, women writing letters,rats
overtaking the temple priests, Samurai warriors dueling &c.
*
Per the citation in Mitchell,
*
Per Roberts, ..."Tosa painter, illustrator, born in Nagoya,
son of a doctor. Later took the name of OOishi, claiming
descent from OOishi Yoshhio of the Forty-Seven Ronin. Pupil
of Choo Geshoo and Watanabe shuukei; also studied Tosa
style, probably on his own. Lived and worked for a short
time in Edo, later in Osaka. Good at historical themes, with
a remarkable accurate knowledge of historical and costume
details. as Oishi."
*
*
BIBLIOGRAPHY:
1. C. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA,
--MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN,
--p.476. Ours matches exactly with the vol.1 entry.
2. K. Toda: RYERSON COLLECTION, p.302.
3. J. Edgren: CATALOGUE OF THE NORDENSKIOLD COLLECTION,
--#268.
4. Rosny 57/5
5. KS 4-682
6. L.P. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.105
*
Nicely done, delightful work !
A CHARMING ILLUSTRATED BOTANICAL & NATURAL HISTORY
$816
341 OKA, Genpoh Kohyoku.
MOSHI HINBUTSU ZUKO: ILLUSTRATED TREATISE ON THINGS IN THE
BOOK OF ODES. An Illustrated Botanical, Zoological & Natural
Kyoto 1785 Kitamura. Red stitched wrs., 7 vols. bound in one
replacement covers, 18 x 24 cm., 7 vols.:25+10+23+20+12+11+8
double-folded leaves, ca.100 woodcut illustrations, Chinese
paper covers, nicely done.
R A R E
A valuable illustrated reference on botany: pharmacopoeia,
zoology, entomology, ichthyology, ornithology &c. Almost
every page is illustrated with adjacent descriptive Japanese
text.
*
Each example is named with both Japanese and Chinese, sounds
reading. The first two volumes concern herbs and
pharmacopoeia.
*
A large percent of the plants have been used for centuries
in both China and Japan. Therefore, their identification has
been always been valuable information to both physicians and
lay people.
*
THE CONTENTS:
Vols.1 & 2: herbs: water plants, ferns, bamboo, grasses,
iris, cannabis sativa [marijuana/hemp], lotus, horse hair,
cat tails, gourds, welsh onion, bamboo shoots, wheat &c.
*
Vol. 3 herbs & trees
*
Vol. 4 birds
*
Vol. 5 warm blooded quadrupeds
*
Vol. 6 insects, arachnidan & reptiles
*
Vol. 7 fish and reptiles. Complete in 7 volumes.
***
This book was done after the famous and Chinese classic the
Book of Odes, to show the kinds of things found in nature
which were of use to man.
*
The Chinese found medicinal properties in most living things
and used them for treatment of medical illness. This book is
a basic guide to the plants and animals for that use. It
was common practice for Japanese of this period to import
Chinese and Korean ideas, books and knowledge.
*
The current example shows the very ancient and honorable
tradition of keeping and respecting ancient Chinese classics
for valuable and useful references.
*
Nicely illustrated, by Yuhosai Kunio active [1752-1785],
author: Oka [1737-1786].
*
EDITION:
This is the FIRST AND ONLY EDITION of this book.
*
CONDITION:
A bright & clean copy, woodblock printed by hand on
hand-made Washi mulberry paper.
*
BINDING VARIATION:
The book was bound in a number of formats: 7 volumes; 7
volumes in 3; 7 volumes in 1.
*****
BIBLIOGRAPHY:
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS...p.461,
item #1078 for complete bibliographic details.
*
H. Bartlett: JAPANESE BOTANY DURING THE PERIOD OF
WOOD-BLOCK PRINTING, p.506, exhibit 77 & illustrated in
figure 71.
*
KSM [honzo] 7-696-2
*
Kraft vol.2,no.361.
*****
A CHARMING ILLUSTRATED BOTANICAL & NATURAL HISTORY
342 OKA, Genpoh Kohyoku.
MOSHI HINBUTSU ZUKO: ILLUSTRATED TREATISE ON THINGS IN THE
BOOK OF ODES. An Illustrated Botanical, Zoological & Natural
Kyoto 1785 Kitamura. Blue stitched wrs., 7 vols. bound in 3,
covers rubbed, no labels, 25+10+23+20+12+11+8 double pages,
ca.100 woodcut illustrations, no worming, contents clean,
solid, nicely done, 18 x 25 cm. FIRST EDITION
R A R E
A valuable illustrated reference on botany: pharmacopoeia,
zoology, entomology, ichthyology, ornithology &c. Almost
every page is illustrated with adjacent descriptive Japanese
text.
*
Each example is named with both Japanese and Chinese, sounds
reading. The first two volumes concern herbs and
pharmacopoeia.
*
A large percent of the plants have been used for centuries
in both China and Japan. Therefore, their identification has
$2720
been always been valuable information to both physicians and
lay people.
*
THE CONTENTS:
Vols.1 & 2: herbs: water plants, ferns, bamboo, grasses,
iris, cannabis sativa [marijuana/hemp], lotus, horse hair,
cat tails, gourds, welsh onion, bamboo shoots, wheat &c.
*
Vol. 3 herbs & trees
*
Vol. 4 birds
*
Vol. 5 warm blooded quadrupeds
*
Vol. 6 insects, arachnidan & reptiles
*
Vol. 7 fish and reptiles. Complete in 7 volumes.
***
This book was done after the famous and Chinese classic the
Book of Odes, to show the kinds of things found in nature
which were of use to man.
*
The Chinese found medicinal properties in most living things
and used them for treatment of medical illness. This book is
a basic guide to the plants and animals for that use. It
was common practice for Japanese of this period to import
Chinese and Korean ideas, books and knowledge.
*
The current example shows the very ancient and honorable
tradition of keeping and respecting ancient Chinese classics
for valuable and useful references.
*
Nicely illustrated, by Yuhosai Kunio active [1752-1785],
author: Oka [1737-1786].
*
EDITION:
This is the FIRST AND ONLY EDITION of this book.
*
CONDITION:
A bright & clean copy, woodblock printed by hand on
hand-made Washi mulberry paper.
*
BINDING VARIATION:
The book was bound in a number of formats: 7 volumes; 7
volumes in 3; 7 volumes in 1.
*****
BIBLIOGRAPHY:
H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS...p.461,
item #1078 for complete bibliographic details.
*
H. Bartlett: JAPANESE BOTANY DURING THE PERIOD OF
WOOD-BLOCK PRINTING, p.506, exhibit 77 & illustrated in
figure 71.
*
KSM [honzo] 7-696-2
*
Kraft vol.2,no.361.
*****
$2720
EROTIC TALES FROM JAPAN'S ANCIENT PAST
343 [OKADA, Hajime].
KON TAN IRO ASOBI FUTOKORO OTOKO: JAPANESE LOVE AFFAIR BY A
JAPANESE 'DON JUAN.'
[Tokyo 1955, Miwa]. White board spine over Washi hand-made
decorative paper covers, very clean bright copy, Japanese
text, illustrated, [169]p., contained in original box, with
titles. FIRST & ONLY LIMITED NUMBERED EDITION OF 500 COPIES
This charming work covers the erotic exploits of a young
buck in Japan. Someone wrote the following inside of the
front cover in pencil; "Hanashi wo kiku Musume An
Inquisitive Girl for Love Affairs, erotic literature of old
Japan."
*
Nicely bound with deckle edge hand-made type Washi paper, a
very clean lovely copy, with nice illustrations from period
old woodcut books.
*
A MAGNIFICIENT GUIDE TO MIYAJIMA & ITSUKUSHIMA SHRINE
344 OKADA, Kiyoshi.
ITSUKUSHIMA ZUE: PICTORIAL DESCRIPTION OF ITSUKUSHIMA-SHRINE
$14
AND MIYAJIMA ISLAND.
Hiroshima 1848, Hiroshima Shurin. Blue stitched stiff wrs.,
10 vol. set, 508 double-folded leaves, 316 double-page, 6
full page woodcut illustrations, woodblock printed on handmade mulberry paper, ca. 18 x 25.5 cm., covers bit rubbed,
contents clean, solid, contained in a blue cloth folding
case Chitsu, bone clasps. An important guide to the shrine
and island.
***
THE ARTIST/ILLUSTRATOR:
Illustrated by students of the Tosa school, Fujiwara
Kai, Hoen, Uchi Takumi no Kami Taira no Ason Zaimei, Kokei
et al., famous Fujiwara family artists.
***
DESCRIPTION OF THE FAMOUS 'SHRINE ISLAND' MIYAJIMA:
The first part is devoted to the description of the island,
shrines, processions & festivals. The balance illustrates
and describes the magnificent early treasures owned by the
Itsukushima shrine.
*
TEMPLE TREASURES:
This includes a collection of Noh and other masks, drums,
Koto, flutes, Biwa, musical instruments used in performance
of dances and plays on the stage which is seems to
float and be suspended over the water. Also screens, hand
scrolls, Uchiwa or fans, early Kimono, other clothes and
costumes used for the dance and theatre.
*
BUDDIST OBJECTS:
Vrajna or Tibetan Buddhist ritual objects, lacquer ware,
Buddhist art works, portable Buddhist shrines. Volume 8 is
devoted exclusively to swords, sword furniture & Samurai
Armour.
***
ONE OF THE MOST FAMOUS BEAUTIFUL PLACES IN JAPAN:
.
Itsukushima Island is located just below Hiroshima on the
Inland Sea in the ancient province of Aki. It is famous
for being one of Japan's three most beautiful landscapes.
It is celebrated for its Shinto temples dedicated to the
three daughters of Susano-o commonly called Miya-jima
[shrine island]. In 1555, Mori Motonari built a castle in
Itsukushima, it was in this island that he defeated Sue
Harukata. The island is a magnificent treasure-house for
antiquities from the mid-16th century. The work is a
charming guide to the Island, known for it's tame deer and
wonderful ocean views.
***
STUNNINGLY ILLUSTRATED:
Loaded with lovely period illustrations of the people,
shrines, festivals & celebrations. Miyajima Island is loaded
with wonderful shrines of all sizes & descriptions, this
work shows a great amount of them in their pine-forest
setting. Perhaps the most copious single period resource
on the island and its great shrines. Being one of three
most beautiful places in all of Japan, makes this an
important and valuable reference
source.
***
REFERENCE:
.
E. Papinot: HISTORICAL AND GEOGRAPHICAL DICTIONARY OF
JAPAN, p.219.
*
SHIJO...p.312-3, L. Brown, p.110.
*
JAPANESE BOOKS...p.181, #550.
***
A STUNNING AND VERY LONG PANORAMIC VIEW OF THE PROCESSION
345 OKAMI GOYO TASHI GUBU GO YAKUNIN. Imperial Household.
OKAMI GOYO TASHI GUBU GO YAKUNIN: THE IMPERIAL HOUSEHOLD
ENTOURAGE ACCOMPANIED BY THE OFFICIALS ON THE WAY TO KYOTO.
[N.p. 1863, n.p.]. A large b.w. woodblock printed broadside,
1 meter 48.5 x 45 cm., consists of 5 larger than Oban sheet
side by side, very nice condition, with minor folds, a small
piece missing in the margin,hand printed on hand-made paper.
This tremendously long procession of the Emperor on his trip
from Edo to Kyoto. The procession occupies the top half of
this work, utilizing three whole columns [each 6, 6.7 and
9.5 cm wide respectively] to show the full length of the
elaborate and pompous Imperial procession. It starts at top
left, with the end of the whole procession and continues to
snake along, going to the right, at the end of the first
column it continues by dropping to the next column and continues downward, again for the full length of the work, to
the next lower column where it finally ends at the far right
with the beginning of the whole procession. Some fifteen
palanquins are being ported by Samurai, each containing an
important person, with the central and most elaborate palanquin containing the Emperor, over which stands a giant umbrella protecting him from the sun. Large numbers of Hatamoto
or the Emperor's most close and loyal Samurai retainers are
marching along, each group being led by a horse-mounted Lord
or Yakunin [official]. The next column shows the various
fiefdoms to be passed wh o will offer local protection, many
of whom are named Matsudaira and part of that great clan,
showing their individual Mon [family crests]. The next column shows the names of the places to be passed along the way,
and below that is a lovely linear map showing the start in
Edo and the fifty-five stations [stops] along the way in a
pictorial walking map format with landscape, castles, Mt.
Fuji, rivers, names of villages and cites listed. A lovely
historical record and example of how and where the Shogun
traveled along the Tokaido Highway [Eastern Seaboard Road].
The procession contains a large number of banner-bearers, as
$4080
well as Samurai with their own standards and banners. This
kind of grand scale broadside has always been RARE, seldom
surviving the attrition of time, natural disasters and wars,
and are seldom found on the market. An historical record of
an actual Imperial procession. Color scans can be sent by
email.
A 1695 ILLUSTRATED TREATISE ON ACCUPUNCTURE & MOXA POINTS
346 OKAMOTO, Ippo.
JUSHIKEI RYAKI WAGO: TREATISE ON ACUPUNCTURE & MOXA.
Alternate Title: JUSHIKEI HAKKI, SHIN-KYU CHI-HO.
[Edo ? 1695, Akatsujyu]. Brown stitched wrs., covers worn,
solid, bit of old minor marginal worming, text mostly not
affected, [50+5] double folded leaves, 3 vols. bound in one
vol., 15 full page illustrations, new title label.
R A R E
A very early illustrated and most excellent monograph. This
legendary work is written in Chinese [Japanese Kambun] with
the Furigana for easy Japanese reading.
*
PER MESTLER IN HIS "GALAXY":
.
"...this work was "explained" by Okamoto and drew heavily
upon JUSHIKEI HAKKI by Katsu Ju in 1684 Jushikei Hakkei is
likely the work of a Chinese physician, then followed with a
theoretical discussion by Katsu. The book is chiefly on
acupuncture but equally on moxa, not on how to cure but on
the more fundamental nature of the subject. This discusses
the basic Chinese and Japanese belief in a relationship
between the internal organs and their diseases & curative
treatment for them at specific sites on the outside of the
body. The balance is on moxa. Thus, Okamoto "explained" what
he read and studied in this work, based on the earlier
Katsu title. Mestler states on p.476 this is a 3 vol. set,
Vol. 2 has 16 stunning illustrations of "channels & points"
for acupuncture and moxibustion.
.
Moxa or moxibustion uses the herb artemisia vulgaris
latifolia which is burned either on the skin directly, or
on top of small slabs of garlic over the "points." Damp moxa
is also formed at the top end of acupuncture needles, then
lit on fire to provide maximum therapeutic benefits,
after insertion in the appropriate "point."
***
RELATIONSHIP TO DATE/EDITION:
Our 2nd volume shows the back colophon, the first printing
to be 1684, and a 2nd printing to be 1764. Although Mestler
$2720
cites on p.476, the work was published in 1693, there is
always the possibility that he or his assistant wrongly read
the dates.
*
This title, and also KATSU, Juu.: JUSHI KEI HAKKI: THE
FOURTEEN CHANNELS: An Early Japanese And Chinese acpuncture
& Moxabustion Medical Treatise [our book no. 200334 also
part of the Gordon E. Mestler collection]. Chinese Title:
SHI SI JING XU, [1684] are related. The 2nd part of this
was with title JUSHIKEI KETSU CHI-HO, and later re-written &
re-explained by Okamoto as JUSHIKEI RYAKU WAGO, [this title
now described], published later. See Mestler "GALAXY"
pp.475,476 & plate I B opposite p.474 for additional details
and information.
***
THE AUTHOR'S ALTERNATE NAMES:
The author was also known as Ipposhi, Ichiku, Ittokusai and
also: Tametake or Hakujin, this was a common practice for
Japanese to have 'studio' or alternate first names. See
Mestler, p.474 footnote 10 at the bottom of the page.
Okamoto's famous brother, was an author and playwright who
was emenintly known as the "Japanese Shakespeare." See
Whitney p.317.
***.
REFERENCES:
Mestler, Gordon E. JAPANESE MEDICAL BOOKS WITH
MISCELLANEOUS NOTES ON EARLY MEDICINE IN JAPAN: p.474; plate
1, B.
*
*
Not listed in:
*
IN JAPAN: see pp.317, 419 #428:listed as JIUU SHI KIYOO RAKU
HAKKI 1665. This is an alternate reading of the title.
Whitney lists many titles by Okamoto.
*
[KURE, S.]: REPORT OF THE MEDICAL EXHIBITION VI CONGRESS OF
THE EXHIBITION COMMITTEE OF THE CONGRESS, TOKYO, #430.
***
1699 TREATISE ON METHODS & TREATMENT BY ACUPUNCTURE & MOXA
$4848
347 OKAMOTO, Ippo.
SHINKYU BASSUI TAISEI: COLLECTION OF MEDICIAL WRITINGS ON
ACUPUNCTURE AND MOXABUSTION.
[Osaka 1699, Okuda]. Brown stitched wrs., 7 vol. set, 17.5 x
26.5 cm., very good, woodblock printed on hand-made mulberry
paper, a few faint stains, 61 illustrations,some old worming
mostly in margins, minor loss of text,else clean,solid.RARE!
A famous early work on moxabustion and acupuncture by the
celebrated Japanese physician, Okamoto Ippo.
*
Printed on double folded leaves, pagination is: 28+18+18+27+
23+11+13, each volume has a table of contents. Written in
Kambun, or a Japanese version of Chinese, with Furigana or
Japanese sound characters adjacent to the Kanji [Han zi] for
easy reading by Japanese. There are occasional small red
character brushed in indicating passages of especial
importance. This was a commonly added feature for many texts
in Japan and China.
*
This like many other early Japanese medical treatises were
influenced or copies from an older Chinese texts. This one
addresses acupuncture & the treatment of various disease and
symptoms. The models used in the text and their chairs are
also clearly Chinese. It is a comprehensive and complete
dictionary of treatment for all known illness of the time.
*
THE ILLUSTRATIONS:
Volume one begins with illustrations of the various medical
instruments and needles used. It then illustrates the
various parts of the anatomy and the "points" where the
needle should be inserted. It starts with hands and forearm,
discussion & illustrations of the liver, large intestine,
stomach, heart, spleen, small intestine, kidneys, and
nervous system. The exact methods of inserting the
acupuncture needles, how to hold and twist, tap and pound
in.
*
Volume two shows a chart of illness and associated "points"
to use acupuncture on, it continues with treatment of male &
female problems & various illness by inserting needles in
the back along the spinal column, the tying of the thumbs
together for acupressure, with some five illustrations of
the proximal, ventral and dorsal views, all of the major
acupuncture "points" carefully named & located.
*
Volume three focuses on the "points" located around the
head, ear, face, nose, eyes, cheeks, the forehead, and
throat areas.
*
Volume four attends to the upper shoulders, and spinal
column the sides of the body to the hips and frontal view of
the central meridians.
*
Volume five concentrates on the limbs: arm and hand, thigh
to the foot and toes.
*
Volumes 1-5 are illustrated. Volume 6 & 7 focus on a
catalogue of illness and treatment by both burning Moxa and
application of acupuncture needles. This work was based on
a lost Chinese treatise probably meaning the Rei-su or
Ling-shu [Ling-Ch'u] [See Mestler's GALAXY pp.292, 303,321,
472, 476, 188-189] traditionally ascribed to the famous
Chinese physician-Emperor Hwang-Ti.[See Mestler also for
several other Reisu entries].
***
COLLATION IN DOUBLE-FOLDED LEAVES::
Vol.1. 28
Vol.2. 29
Vol.3. 18
Vol.4. 27
Vol.5 23
Vol.6. 13
Vol.7. 11
***
SUBJECT: ACUPUNCTURE & MOXIBUSTION:
This work contains impressive details per Mestler: "...on
some 22 sections covering aspects of moxa [artemisia
vulgaris latifolia] and acupuncture: theory, relationship to
the pulse; stomach; other internal organs; treatment;
'philosophy' of acupuncture; cautions in the use of
acupuncture and moxabustion; preparation and use of moxa
cones; how to remove needles; broken needles; how to twist,
hit & use needle tube; names of spots and extreme caution;
secret spots; how to measure location of sites to apply
treatment; names and lengths of bones; interrelations among
nerves." This historic and landmark work was widely quoted
in subsequent writings on the subject.
*
This edition was "explained" by Okamoto, and contains
additional illustrations. See Lessa below.
in his CHINESE BODY
DIVINATION
*
WHO WAS OKAMOTO:
Okamoto Ippo [aka Ichiku or Ittokusai] was a celebrated
physician and author of several medical works of the time,
He wrote popular explanations to contemporary and difficult
medical subjects, to give the common people a basic
understanding of Chinese & western medicine..
*
CONDITION:
The work, by and large in very good condition for a book now
some 300 + years old. The covers are a bit mottled, but
soundly sewn, complete with all pages present and solid, a
small portion of the blank fly of volume 4 is torn away, not
affecting the text at all. With the original dusty title
slips, bound in the original ochre stiff covers. Complete
examples of illustrated books of this period and rare
subject are always difficult to find. The set is contained
in an indigo blue cloth folding case [Chitsu] with bone
clasps.
.
!Note not all copies come with this case.
***
BIBLIOGRAPHY:
Gordon E. Mestler: A GALAXY OF OLD JAPANESE MEDICAL BOOKS:
pages 474 footnote no. 10; 476,477. For more on Okamoto see
pp.474, 476, 126 & 132.
*
Gordon E. Mestler: INTRODUCTION TO WESTERN INFLUENCES IN
PRE-MEIJI
JAPANESE MEDICINE.
*
William A Lessa: CHINESE BODY DIVINATION: Its Forms,
Affinities & Function: see pp. 89-111; he also has an
excellent discussion on the hands, and how the hand and its
lines are used. There are illustrations in SHINKYU BASSUI
TAISE showing several views of hands, their "points" or
"channels" for acupuncture and moxibustion.
*.
W. Whitney; NOTES ON THE HISTORY OF MEDICAL PROGRESS IN
JAPAN: p.421, p.435 item #1001.
*
JAPAN BIOGRAPHICAL ENCYCLOPEDIA AND WHO'S WHO, 1958, p.1154
biography of Okamoto.
*
VEITH, Ilza. [trans.]: HUANG TI NEI CHING SU WEN: THE YELLOW
EMPEROR'S CLASSIC OF INTERNAL MEDICINE.
*
Not listed in:
P. Kornicki: JAPANESE MEDICAL & OTHER BOOKS AT THE WELLCOME
INSTITUTE.
***
Note:
Anyone interested in purchasing any of the above reference
book, please inquire with us as we try to keep them in
stock.
***
A FASCINATING COLOR WOODBLOCK PRINTED ECCLECTIC GUIDE
348 OKAMOTO, K.S.
ANCIENT AND MODERN VARIOUS USAGES OF TOKIO, JAPAN.
Tokyo 1885, Morito. Stitched Japanese style binding, [125]p.
double folded leaves, profusely illustrated with many color
woodblocks, English text, 15 x 23 cm., very good,minor cover
wear contents clean.
Q U I T E
S C A R C E
A marvelous dictionary of things Japanese from 1885, also a
language dictionary, showing both English and Japanese words
for articles illustrated. Superb color woodblock illustrations by the celebrated Chikanobu.The table of contents lists
the subjects as: the figure of female hair; common trade
marks; Japanese hat and cap; Hair-tool of women; Hair-pins &
combs; Japanese female clothing; The amusements of children;
The words of children; Exhibitions for money; The kind of
beggar; The celebrated articles and food in Tokio; The names
of cake. The coiffeur section shows 60 different styles.
About 176 trademarks, 94 hats, 12 hair tools, 23 hair pins,
18 combs, 24 different kinds of clothing & Kimono, 36 picttures of boys amusements; 16 for girls, 60 for both boys and
$4735
girls. Some 32 Japanese exhibitions or entertainments, passtimes, 48 beggars. Each of the pictures show the Japanese
word in Romaji, Kanji or Kana, with the English translation,
thus making this useful to both English and Japanese native
speakers. A very good illustrated dictionary and reference
tool. A whole array of fascinating objects from mid-19th
century Meiji Japanese life. A color scan can be sent by
e-mail.
A L W A Y S
R A R E
AN EARLY TREATISE ON ACCUPUNCTURE, RENAL SYSTEMS & BLOOD
349 OKAMOTO, Tametake Ippo.
KEI KETSU MITSU GO SHIU: COLLECTION OF CONFIDENTIAL TALKS
ON THE ORDER OF LONGITUDINAL BLOOD CIRCULATION SYSTEMS.
[Kyoto 1715, Nakagawa Shigemon]. Brown stitched wrs., 3 vols
original covers, back of vol. 3 variant, woodblock printed
on hand-made paper, [114] double folded leaves or [228]p.,
some old minor worming, solid, original throughout. R A R E
A famous book on the subject, this is also similar to the
one illustrated in Ilza Veith's THE YELLOW EMPEROR'S
CLASS OF INTERNAL MEDICINE. Strangely enough, this early
work was missed by the great Japanese medical book bibliographer: Gordon Mestler in his "GALAXY," but there are
several other references to Okamoto & similar books on the
JUSHIKEI [14 CHANNELS]. NOTES ON EARLY MEDICINE IN JAPAN.
*
Okamoto used alternate names: Ichiku, Ippo [shi] & Ittokusai
in his career as a physician. He was the younger brother of
the most famous & celebrated SHAKESPEARE OF JAPAN, Monzaemon
Chikamatsu the great playwright. He was the disciple of Sampaku Ajioka, a physician. After he was excommunicated by his
master, he endeavored to popularize medical works among the
masses, and was prolific writer of medical books. This work
has 7 superb illustrations of the renal system, acupuncture
points. Written in Kambun [Chinese], with Furigana grammar
& sounds added so Japanese can read & understand this text.
*
Quite early monographic study of the therapeutic & practical
application of acupuncture, utilizing detail diagrams showing the renal system its treatment & the "29 Difficult
Acupuncture Points" the "14 Major Channels [JUSHIKEI]."
This work has drawn on the Chinese classic "I Tsung Pi Tu,"
compiled about 1575 with similar illustrations used in the
"Ling Shu Su Wen Chieh Yao" and other Chinese medical
works on acupuncture and medicine. An historic look at
early Chinese influenced medical practice in Japan.
*
$1056
This extremely rare illustrated work deals with the
recognition of and curing of renal problems.
A most fascinating early illustrated resource.
*
BIBLIOGRAPHY:
W. N. Whitney: NOTES ON THE HISTORY OF MEDICAL PROGRESS IN
JAPAN, in the Chinese and Japanese book index as item 494,
with a wrong date of 1716.
*
Ilza Veith:THE YELLOW EMPEROR'S CLASS OF INTERNAL MEDICINE
*
Gordon Mestler: A GALAXY OF OLD JAPANESE MEDICAL BOOKS WITH
MISCELLANEOUS NOTES ON EARLY MEDICINE IN JAPAN, NOTES ON
EARLY MEDICINE IN JAPAN see p.474-476 & plate I, figure B
for similar illustrations and entries, as well as other
entries on pp.126 & 132.
*
AN EARLY 1844 PICTORIAL RESOURCE ON AGRICULTURE PRODUCTS
350 OKURA, Nagatsune.
KOHEKI KOKUSANKO: TREATISE ON AGRICULTURAL PRODUCT
PRODUCTION.
Edo 1844, Suhara-ya. Green stitched blind-stamped wrs.,8 vol
set, indigo blue cloth Chitsu case, bone clasps, very good,
some usual wear to edges, excellent impression,complete work
15.5 x 22.3 cm., all in all very nice copy.
FIRST EDITION
This fascinating treatise instructs the farmer in crop
production, harvesting, marketing care of live stock, edible
natural plant identification & collection, propagation &
grafting techniques for fruit trees, care & harvesting of
fruit, processing of oils, papermaking, cottage industries,
tools, tea culture, weaving, viniculture, Washi hand-made
papermaking and other rural activities.
***
OKURA Nagatsune [1768-c.1850] was a famous author and
renaissance man. He studied rural production, innovated and
$4080
wrote easily-read books indented to assist the beleaguered
and hitherto neglected of Japan's lowest class citizen, the
peasant-farmer.
.
His extensively illustrated and instructive texts assisted
the lowest social class of people in Japan. This kind of
work helped the poor farmer how to endure natural disasters,
severe weather, positive steps to successfully pass through
harsh winters and improve their productivity.
.
His works were avidly read and heeded by Japan's farmer
class. Okura was selfless in his efforts to improve the life
of the average peasant-farmer who often starved to death due
to pestilence, drought, famine and common illness.
***
This work is profusely illustrated, teaching the average
farmer "how to" produce more and also ways to propagate
plants to expand their production. A lovely and practical
encyclopedia of farming and production techniques.
***
WHO WAS OKURA:
Okura [1768-1856?] was an agricultural scientist who
inspected conditions in various provinces & experimented
with many growing methods. He authored some 20 useful and
practical works on agricultural based on his own observation
and experiences of as a farmer's son in Bungo, a Southern
island of Kyushu and also from old experienced farmers.
.
He was greatly influenced by Chinese & Dutch learning
[Rangaku] in Nagasaki as well.
.
Some of his works covered cultivation of sugar, cotton,
indigo, paper, wax trees, cedar and other useul cash crop
plants for impoverished farmers.
*
See us for other works by Okura.
***
REFERENCES:
Rosny: 35, KS 3-374
*
EDGREN, J.S.:CATALOGUE OF THE NORDENSKIOLD COLLECTION OF
JAPANESE BOOKS IN THE ROYAL LIBRARY, #799
*
BARTLETT, Harley H. et al. JAPANESE BOTANY DURING THE PERIOD
OF WOOD-BLOCK PRINTING, p.69, 151
*
JAPAN BIOGRAPHICAL ENCYCLOPEDIA AND WHO'S WHO,1962-1964
edition, p.1182-3.
***
NOT IN:
Merrill & Walker: A BIBLIOGRAPHY OF EASTERN ASIATIC BOTANY
***
BY OKURA: JAPAN'S MOST CELEBRATED AGRICULTURE TECHNOLOGISTS
$4308
MEMPO YOMU: THE ESSENTIALS OF COTTON CULTURE AND FARMING.
Osaka [1833], Kawachiya. Stitched blue wrs., 2 vols., set,
minor worming [mended], 65+64p., 18 b.w. illustrations,woodblock printed on hand made Washi paper, 14.5 x 22 cm.,covers
scuffed, faded, contents clean, solid. FIRST & ONLY EDITION
This excellent monograph was written by the altruistic
Okura Nagasune [1768-1856?]. He was some what of a
renaissance man, and worked to improve the lot of the
impoverished Japanese farmer. He introduced many new and
unusual cash crops including cotton, sugar cane, indigo,
cedar, Paulownia, paper-making plants and the tallow or wax
tree and several others. .
*
The work begins with an introduction extolling the virtues
of the cotton plant, and a fine illustration of its
botanical taxonomy: leaves, stem, buds, flowers, seeds &c.
The next illustration shows a lowly farmer and is wife; she
rotates the home-made wooden cotton gin by hand, while their
elderly and helpless grandfather looks on. The husband and
his companion are loading up cotton balls into rice straw
bails. It continues with explanaations for cultivation
techniques, preparation of the planting beds, planting of
the seedlings, fertilization by use of two wooden buckets on
the shoulder yoke with the application of "night soil" to
the plants.
*
A double-page picture of all of the farming implements with
names of each, many are steel on wooden handles. He offered
commentaries on the use of one tool over another in terms
of time need to do the same job with his improved tools
based on actual time and motion studies ! As the plants
grow, so the birds come to feast on the fruit & flowers.
*
Volume 2 continues with more excellent illustrations on the
watering & irrigation of the plants and shows a great number
of shallow water well pump poles used to pull up the field
water. As the cotton balls are harvested, some are put into
bamboo baskets, weighed and prepared for transport to the
buyer. Variant forms of the raised bed method are also shown
with water trenches for abundant water. The farmer knew
cotton was a heavy water and fertilizer feeder since his
grandfather was a cotton farmer. He introduced the use of
sardines for fertilizer to shorten growing season. Another
page shows an old grandfather supplements family income by
rotating a hand powered homemade spinning wheel. The last
picture is of the cotton market, with coolies moving great
numbers of bailed cotton to waiting barges, others unload
the horses.
*
ABOUT OKURA NAGATSUNE:
An excellent essay on him and this title by the late Prof.
R.C. Rudolph is found in Okura's SEI-YU ROKU: ON OIL
MANUFACTURING [1974], Olearius which is an English
translation of the original 1836 edition on pp 67-70. In
this Prof. Rudolph points out Okura's origins as the son of
a cotton farmer, who witnessed the suffering of the crop
failures in 1883 & 1787. This work was an improvement over
his predecessor's landmark study: NOGYO ZENSHO: GENERAL
TREATISE ON AGRICULTURE published in 1696 by Miyazaki Antei.
Okura added his own observations on the sexuality of the
cotton plant by use of a microscope submitting very accurate
drawings of the various parts. He also extolled the good
results of using different fertilizers, irrigation, cotton
ginning and seed selection.
*
Another fascinating and highly informative essay on Okura is
found in a book edited by A.M. Craig et al: PERSONALITY IN
JAPANESE HISTORY, pp.127-154 by Thomas C. Smith. Wherein
Smith outlines more about this "technologist" and hitherto
unsung hero-champion of the common farmer in Japan. The
metaphor that best suits Okura was: "Farming was like an
illness that could be cured by proper treatment" and Okura
fancied himself the doctor !
*
A most valuable contribution to the agriculture genre by
Japan's pre-eminent agriculture technologist. Please inquire
with us about his other title: SEI-YU ROKU: ON OIL
MANUFACTURING and others as we may have them in stock.
*
REFERENCES:
edition, p.1182-3.
*
H.H. Bartlett et al: JAPANESE BOTANY DURING THE PERIOD OF
WOOD-BLOCK PRINTING, p.363 & p.445; exhibit 34.
*
H. Kerlin: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS IN
*
J. Edgren: CATALOGUE OF THE NORDENSKIOLD COLLECTION.
*
Okura Nagatsune: SEI-YU ROKU: ON OIL MANUFACTURING
*
ISSUED IN A LIMITED EDITION OF 1000 COPIES
$2720
SEIYU ROKU: ON OIL MANUFACTURING.
[New Brunswick] 1974, Olearius Editions. Reprint of 1836 ed.
with English translation, very good, with stitched binding,
in folding box Chitsu, 79p.
LIMITED EDITION 1000 COPIES
A superb and early treatise on Japanese technology. Showing
manual but mechanical processes for expressing oil from
seeds, oil bearing oil cake, and from other natural items.
*
This is a full English translation from the original 1836
edition, with added essay and commentaries. Dicusses and
illustrates the Kanto [Tokyo area] method of oil
extraction, watermill, and the use of the Kansai or Osaka
area methods. Also shows the process for making white sesame
oil [vs. black sesame oil].
*
WHO WAS OKURA:
Okura (1768-1856?) was an agricultural scientist who
.
.
***
REFERENCES:
H. H. Bartlett et al: JAPANESE BOTANY DURING THE PERIOD OF
WOOD-BLOCK PRINTING p.363 & 445 for details.
*
edition, p.1182-3.
*
$204
ISSUED IN A LIMITED EDITION OF 1000 COPIES
SEIYU ROKU: ON OIL MANUFACTURING.
[New Brunswick] 1974, Olearius Editions. Reprint of 1836 the
edition, English translation, as new, stitched blue wrs.,
blue folding cloth Chitsu box, profusely b. w. illustrations
by Matsukawa Hanzan, 79p.,
A LIMITED EDITON OF 1000 COPIES
A superb and early treatise on Japanese technology. Showing
manual but mechanical processes for expressing oil from
seeds, oil bearing oil cake, and from other natural items.
*
This is a full English translation from the original 1836
edition, with added essay and commentaries. Dicusses and
illustrates the Kanto [Tokyo area] method of oil
extraction, watermill, and the use of the Kansai or Osaka
area methods. Also shows the process for making white sesame
oil [vs. black sesame oil].
*
WHO WAS OKURA:
Okura (1768-1856?) was an agricultural scientist who
.
.
***
REFERENCES:
H. H. Bartlett et al: JAPANESE BOTANY DURING THE PERIOD OF
WOOD-BLOCK PRINTING p.363 & 445 for details.
*
edition, p.1182-3.
*
THE AINU OF NORTHERN JAPAN, LIFE, CULTURE AND RESISTANCE !
354 OUCHI, Dosai.
HIGASHI EZO YOBANASHI: STORIES TOLD BY NIGHT ABOUT EASTERN
EZO. ALTERNATE TITLE: TOH KAI YAWA.
[Edo 1861, Bunenkaku]. Stitched blue wrs., covers rubbed,
worn, 3 vol. set, complete, 33+31+34 double folded leaves, 6
6 maps,40p. woodcut illustrations by Tazaki Soun & Hashimoto
printed by hand on hand-made Washi paper. FIRST ONLY EDITION
The majority of the illustrations were executed by trhe
celebrated and famous Hashimoto Gyokuransai [Sadahide]. His
unique technique of showing 'bird's eye views' is
legendary. The has been the leading exponent of superb book
illustrations and prints. He captures the essence and flavor
of the Ainu with great charm.
*
A famous and important work on the Ainu of Hokkaido and
their unique culture. Illustrating their way of life,
dwellings, bear hunt, the neighboring flora and fauna,
detailed maps of Ezo, or modern Hokkaido.
*
Navigational sea route maps from N. Japan to Ezo, and
through the Kurile Islands.
*
It the early 19th century, the Japanese traded with the
Ainu, in exchange for rice they bought tobacco. Included is
a graphic historical illustrated essay of the Ainu repulsion
of Russian sailors.
*
This work is charmingly illustrated and shows the native
skills of the, who mastered their snowy and harsh
environment. The work is RARE and seldom found on the
market.
$82
*
CONDITION:
While the covers are rubbed its clear, this book was a
fascinating early primary resource. Manihy of the double
folded leaves are split on the leading edge, or are starting
to split, there is no damage to the text or its
illustrations. Being printed on thin hand-made Washi
mulberry paper, this is a common problem. The contents
remain clean and solid. The illustrations are finely
printed. There is no worming.
*
REFERENCE:
Bartlett & Shohara have cited and illustrated this on p.186,
fig.55.
*
Mitchell p.295
*
Edgren no.556
*
$6149
355 PERZYNSKI, Friedrich.
HOKUSAI.
Bielefeld 1908, Von Delhagen. Limp red & white cloth, gold
stamped, clean copy, 7 color, 101 b.w. photos, top gilt, in
in original slip case, German text, a bright copy, unused, a
bit of minor wear on case corners, else clean, 2nd, best ed.
This excellent monographic study covers a wide spectrum of
this master's prints, illustrated books and drawings. Fine
reference source.
*
From: K�nstlermonographien, Band 68
***
356 PIGGOTT, Juliet.
$20
JAPANESE MYTHOLOGY.
London [1969], Hamlyn. Cloth, very good, 141p., dj.,24p. of
color, 100p. b.w. photos, index, clean solid copy.
FIRST EDITION
Covering those myths unique to Japan, its creation, history,
beliefs, deities, creatures, spirits, heroes, heroines, men,
animals, stories old & new. Utilizing the rich graphic
tradition of Japanese woodblock prints, paintings, sculpture
and carvings to illustrate her point, the author successfully conveys to the reader the true nature of Japan's rich
traditional past, drawing on old woodblock prints & woodblock printed books, with excellent essays. Nicely illustrated with Japanese prints, netsuke, sculpture &c.
$5
357 PINCKARD, William Jr.
CATALOGUE #2. JAPANESE PRINTS, OSAKA PRINTS & ILLUSTRATED
BOOKS. Fine, Uncommon, Inexpensive or Otherwise Attractive.
[Oakland] 1980, Pinckard. Stiff orange wrs., very good, 94
b. w. photos, [29p.], bibliography, [57p.]., about A4 or 8.5
x 11 inches.[FIRST AND ONLY LIMITED EDITION OF 500.] OBSCURE
Covers the works of Chikanobu, Eizan, Harunobu, Hiroshige I
& II, Hokusai, Kiyochika, Shunga, Kunisada, Kotondo, Kuniyoshi, Shikimaru, Shunsho, Shuntei, Yoshitoshi...A host of
Osaka prints: Hirosada, Hironobu, Ashiyuki, Hokuei, Kunimasa
& many others too numerous to list. Illustrated books: Bumpo
Eisen, Hiroshige, Hokusai, Kuniyoshi, Toyohiro, Taito II,
Shunsho, Toyokuni, Utamaro et al...
$65
358 POMEROY, Charles A.
TRADITIONAL CRAFTS OF JAPAN: Illustrated with the Eighteenth
Century Artisan Prints of Tachibana Minko.
New York [1968], Walker. Grey cloth, red boards over cloth,
very good, dj., 119p., 56 color plates, clean solid copy.
FIRST EDITION
Illustrated with the artisans froma Tachibana Minko's book:
"Saiga Shokunin Burui", 1770, See Dawes p.103. Illustrating
and describing the art of the hatter, mirror poilisher, carpenter, swordsmith, armorer, cordmaker, hairdress tier, weaver, papermaker, engraver, maker of bamboo blinds, quivermaker, basketmaker, ballmaker, glassblower, fanmaker, maskmaker, brushmaker, potter, maker of straw mats (tatami),
woodworker, paper mounter, cardmaker, umbrella maker, millstone maker, needlemaker, maker of inkstones &c.
$46
A VERY IMPORTANT AND FASCINATING CATALOGUE OF TSUBA
359 PONCETTON, Francois.
LES GARDES DE SABRE JAPONAISES.
[Paris 1924], Morance. New grey stiff wrs., folio, 16 x 12
inches, ca. 26 x 34 cm., about 100 sword guards [Tsuba] are
illustrated on 24 plates, in all ca. 50 b.w. plates, text &
captions in French, pencilled in price notes. Ex Vever copy.
Covers a total of 465 well described items, including Tsuba,
Japanese Samurai helmets, ceramics, Netsuke, lacquer, ivory,
Okimono & woodblock printed books [E-hon]. Hotel Drout sale
no. 11 of March 11, 12 & June 12, 1929. Most useful reference formerly H. Vever's copy, with his pencilled name.SCARCE
$224
360 [POOLE, Hester M.]
LESSONS FROM JAPAN.
Philadelphia 1883, The Continent. An extracted article from
this early journal, pages 673-678, 12 illustrations or photo
plates, clean, solid copy.
FIRST APPEARANCE OF THIS ESSAY
An excellent & early article on Japanese art, Japanese
woodblock printed books [E-Hon], designs, stencils designs &
art works.
.
Covering the meaning of Japanese art, as this was an early
article on the subject, when Japanese art was first being
introduced to Europe & Western countries.
.
Nicely done, with a wide variety of examples. Useful early
background for all subjects: lacquer, prints, stencils,
flowers, birds, Mt. Fuji fans, insects & the beauty of
nature found in Japanese art.
$15
361 RAWSON, Philip.
INTRODUCING ORIENTAL ART.
London [1973], Hamlyn. Green pictorial boards, 96p.,49 color
photos, 39 b.w. photos, 2 color end paper maps, index, dj.
very good, clean solid copy. FIRST EDITION
Good introduction to the arts of China, Japan, India, Southeast Asia. Chinese bronzes, jade, calligraphy, ceramics, sculpture, seals, tomb art, painting, lacquer, porcelain and
architecture. Japan: Shinto architecture, Buddhist art, painting, temples, screens, woodblock printed and illustrated
books, lacquer, ceramics, woodblock prints.
$7
362 RAWSON, Philip.
INTRODUCING ORIENTAL ART.
London [1973], Hamlyn. Green pictorial boards, 96p.,49 color
photos, 39 b.w. photos, 2 color end paper maps, index, dj.,
ex-library copy, spine clean, top edge rubber stamped, else
clean solid copy. FIRST EDITION
Good introduction to the arts of China, Japan, India, Southeast Asia. Chinese bronzes, jade, calligraphy, ceramics, sculpture, seals, tomb art, painting, lacquer, porcelain and
architecture. Japan: Shinto architecture, Buddhist art, painting, temples, screens, woodblock printed and illustrated
books, lacquer, ceramics, woodblock prints.
MANUSCRIPT HAND SCROLL SHOWS SUMO POSITIONS OF LOVE-MAKING
363 RIKISHI ZUKAN: ILLUSTRATED SUMO WARRIOR LOVE-MAKING.
RIKISHI ZUKAN: THE SUMO OF LOVE-MAKING: OSUMO SHUN GA:
QUAINT EROTIC HAND SCROLL OF SUMO POSITIONS OF LOVE-MAKING.
Japan n.d. ca. 1890-1900. Gold silk brocade outer cloth
cover, 4.02 meters long by 23 cm., 15 color painted erotic
views, minor faint central stain throughout, stronger last
1/3, does not detract severely, else clean, no worming.
A most charming Rakuga or caricature type hand-painted Sumo
scroll. A humorous work, basically shows three people: the
Sumo wrestler against a stout and stock woman and the umpire
in most scenes.
*
It begins with an introduction of the three Sumo wrestlers
and the three woman opponents. All are in the nude and
prepared to battle in the "Sumo Love War." The next vies
shows the beginning match with each prepared to start. The
man reaches for the woman's vagina, while she tries for his
penis. Then he inserts his hand into her vagina while
she grabs his erect shaft. They embrace while she wraps
her leg around his back, the umpire watches with a large
erection. The couple roll and tumble while making love.
Then the man puts his head into her vulva, while the umpire
is thrown away.
*
A truly delightful frolic surely done by an artist with a
keen sense of humor ! The scroll is painted on a thick
paper, with crushed mica dust on the back side, enforced
with a thin brown edging, and with dark brown hard wood
ends, which have been turned on a lathe.
$5
*
The subject of erotic Sumo wrestlers is quite unusual and
unique in the genre of erotic Japanese art.
*
$1986
364 ROKUJIUYEN.
THE MAGICAL CARPENTER OF JAPAN WITH 70 FULL-PAGE WOODCUTS
BY HOKUSAI. THE STORY OF THE HIDA CRAFTSMAN.
Rutland [1965], Tuttle. White cloth, very good, 260p., 70
b.w. plates from Hokusai's illustrated books, translated
by F.V. Dickins, 15 x 23.5 cm.
FIRST EDITION
A modern translation of the 1808 original work. Covers the
progress of Suminawa in his art, a tale for the plain folk
of Japan, charming book, nicely illustrated. A classic work.
A KEEN MONOGRAPH WITH FOCUS ON SANSHUI: MOUNTAINS & WATER
365 RYUZAWA, Kiyoshi.
SEN RYU DOH GAFU: MOUNTAINS, WATERFALLS, BRIDGES & PEOPLE.
[Tokyo 1881, Hanzo]. Blue stitched stiff wrs., very good,bit
of minor scuffing to cover, contents solid, 46 double leaves
b .w. woodblock printed, 15.5 x 23 cm., small stamp embossed
in upper right corners, else clean bright copy.FIRST EDITION
This monograph addresses the beauty of landscape mountains,
waterfalls, bridges, people, ships, pavilions, and lovely
views of Mt. Fuji, as an exemplary mountain.
*
Some illustrated are a single full page size, others have
from six down to two per page.
*
A lovely work, showing the tender beauty of Chinese style
landscape used by the Japanese. A good number have the names
of the place illustrated.
$9
**
Senryu-doh Gafu:
THE COMPLETE SET:
Consists of six volumes:
Vol.1: BIRDS AND FLOWERS
Vol.2. FISH
Vol.3. MOUNTANS & WATER
Vol.4. GRASS, FLOWERS, INSECTS
Vol.5. PEOPLE
Vol.6. FURRED ANIMALS
****
PUBLISHER:
Published by the celebrated author and innovator,
renaissance man, Matsuzawa Hanzo.
*
ILLUSTRATOR:
Each volume was illustrated by Takizawa Kiyoshi, a
celebrated and skilled artist.
***
BIBLIOGRAPHY:
H. Kerlen: p. 599, no. 1451; ours is a slightly variant
sub-title, but with the same title.
*
KSM [Kaiga]
*
DAWES, Leonard G.: JAPANESE ILLUSTRATED BOOKS, p.163
***
NOT LISTED IN:
H. Bartlett, L. Roberts.
*
L. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION IN JAPAN.
*
A CHARMING LOOK AT THE TOKAIDO
366 SADAYOSHI, Kishuntei. et al.
TOKAIDOH GO JU SAN TSUGI: THE FIFTY-THREE STAGES OF THE
TOKAIDOH HIGHWAY.
[Tokyo n.d. ca. 1830's]. Blue stitched wrappers, small size
11.5 x 16.5 cm., title slip, 14 double pages, 26 color woodblock printed illustrations of scenes & places along the
Tokaido highway, co-artist Sadahiro Kokado [1825-1875].
Very good, excellent color, registry, clear, crisp copy. Sadayoshi lived & worked 1837-1850 as a woodblock book artist.
This charming work shows the several views of the Tokaido &
the stories of its travelers, legendary & historic battles,
famous people, dangerous waters, giant octopus, beautiful
$340
women, Samurai, ghosts &c. Nicely done, seldom found. Not in
Brown or other usual references.
A SUPERB WOODCUT MAP OF JAPAN'S "BANISHMENT ISLAND" & GOLD
367 SADO BUN-KAI.
SADO IKKOKU SAN SUI GA: BIRD'S EYE PANORAMIC MAP OF THE
MOUNTAINS AND WATERS OF SADO BANISHMENT ISLAND COUNTRY.
Tokyo 1830, Egawa Sentaro [carver]. Single sheet woodblockprinted map, 48 x 33.5 cm., very good, two cinnabar collector's seals Kurita Genji + another ulnread, surface a bit old
dusty, seven small old mended worm holes, else a solid copy.
This is a lovely, charming and complete "birds's eye view"
perspective of Sado Island. This is the only map published
during the Edo period of Sado Island, located off the coast
of Echigo province. Sado island was known for both its large
gold reserves and prison-labor gold mines and as an island
for criminals & political exiles from the mainland.
*
A fascinating experiment with sociology, Sado Island was
the traditional place for banishment of political opponents
as well as convicted criminals during the Tokugawa period.
These banished people were sent to live on Sado in a "free"
society, however, return was never possible. All persons
sent there were given a small pittance of money and were
then banished for life. Both men, women and children were
sent to Sado, where an alternative society continued. Many
of these unfortunates worked as slave-like labor in the
harsh and brutal gold mines.
*
This excellent map, was drawn in a bird's-eye view type of
unique Japanese perspective and shows the whole island in
much and fine detail. Citing the names of all mountains,
towns, villages, bays, harbors, urban and suburban areas
named. A large number of fishing and other vessels are at
anchor in the various small harbors & bays. At the center
and is the highest mountain peak called "Kinbei Zan" or
$1190
"Northern Gold Mountain," the cite of the Sado gold mines.
*
Per the N.Y.P.L. item cited below, "A major gold mine of
this period was located on Sado, an island in the Japan
Sea, which formerly served as a prison. By the Shogun's
order, Okubo Choan, the powerful governor of Sado, undertook
the digging of a large complex of gold and silver mines. A
labor force of ex-prisoners dug three hundred shafts in
order to create an underground labyrinth almost one mile
long. SADO KINZAN NO ZU, two painted scrolls done in the
mid-19th century, depicts the different types of work that
took place in the Sado mines...Under the Tokugawa government
the Sado mines flourished. During the 17th century the mines
supported a population of over 100,000 workers and camp
followers and plentifully enriched the coffers of the
Shogun."
*
Nicely woodblock printed on a large single-sheet of handmade
mulberry paper, suitable for framing and library display.
The work is exceptionally R A R E and seldom found on the
market. Very few wood cut prints were ever printed on such a
single large sheet of paper, and this means that this print
was a Deluxe printing and the paper very special. Commonly
larger maps were printed on several sheets of paper joined
together. Nicely executed.
*
CONDITION:
The map is basically clean and nice but it does have faint
pair of stains at the upper left corner and middle center
both near or in the margin as well as a bit of the print,
this is minor and not greatly obvious, nevertheless overall
a nice and obscure work. The whole map was rebacked ages ago
and does have a few old worm holes which have been
stabilized and are now solid. A collector's cinnabar seal
graces the right lower margin, and also one small seal
inside the left lower corner. There are two other such seals
[Hanko] or chops in the upper left corner, placed by the
artist which reads Gago.
*
SPECIAL NOTE:
If you are interested in other mining items from the 19th
century, please inquire as we may have other manuscripts on
the technology of smelting, mining and related subjects.
*
BIBLIOGRAPHY:
This map is also very similar to the one listed by
G. Beans: A LIST OF JAPANESE MAPS OF THE TOKUGAWA ERA,
Supplement B, p.34 [1830.9], and is dated Tempo 1st year.
*
K. Yamashita: JAPANESE MAPS OF THE EDO PERIOD, this map is
cited and illustrates the later 1873 Meiji edition on
pp.68-69.
*
New York Public Library: JAPANESE TECHNOLOGY YESTERDAY &
TODAY, An Exhibition in the Astor Hall of the N.Y.P.L.
April 19 to July 17, 1979, pp.12-16.
*
.
$2040
CHARMING PERIOD SET OF ILLUSTRATED BOOKS ON ANNUAL FESTIVALS
368 SAITO, Kosei.
TOTOH SAIJIKI: ILLUSTRATED ANNALS OF EDO FESTIVALS & ANNUAL
EVENTS BY SEASONS.
Edo 1838, Suharaya. Blue stitched wrs., 5 vol., covers rubbed and soiled, contents clean, solid, 25+10, 24+33+35+25+9
double leaf pages, 136 illustrations, some double page, wood
block printed by hand on hand-made mulberry paper.
SCARCE
Saito [1804-78], was an Edo author. The book was illustrated
by Hasegawa Settan [1778-1843, and his son Settei [1819-82].
The father was a pupil of Toyokuni, particularly well known
for this work as well as EDO MEISHO ZUE. The work is chronologically arranged to show every festival or event held
in the Edo area. It is a lovely and most profusely illustrated record of the events, the people and the location where
celebrated. This work covers a great breath and width, with
such old classics as Hanami or spring cherry blossom viewing, musical recitals, Daimyo processions, tug-of-war, chrysanthemum viewing, a wide variety of Buddhist and Shinto
shrine celebrations, Sumo wrestling, Yoshiwara parade of the
prostitutes, New Years, swords, scrolls and old book and a
host of other festivals and celebrations. This also lists
the whole year's celebrations in an index by dates. Many of
these same festivals are still celebrated today in Tokyo.
A throughly quaint resource, and joy to behold. The set has
some minor and occasional old worming, thumb marks, faint
marginal and cover stains, but all in all a good copy of a
very SCARCE title. Cited in D. Chibbett: A DESCRIPTIVE CATALOGUE OF THE PRE-1868 JAPANESE BOOKS... p.90, as item #244.
AN EXCELLENT EARLY COLOR ILLUSTRATED JAPANESE BOTANICAL
369 SAITO, Nobuhiro.
SOMOKU ROKUBU KOSHU HO: METHODS OF CULTIVATING PLANTS.
[Tokyo 1874], Izumiya. Yellow stitched wrs., 20 volume set,
bound in 16 parts, contents very clean, solid, 490 doublefolded leaves, 25 color, 9 b. w. woodcut illustrations, 15 x
22.5 cm., complete, nice set.
FIRST EDITION
The author, Saito Nobuhiro Genkai [1769-1850], was a
Japanese horticulturist and botanist in the Edo period. This
excellent title was directed at farmers and others who grow
$2040
vegetables, root crops legumes and fruit trees.
.
Enhanced with stunningly nice color woodcut illustrations of
example vegetables. Beautifully woodblock-printed in full
color.
***
COLLATION OF THE 20 VOLUME SET:
Volume #: double leaves
number of illustrations:
---------------------------------------------------1. 29 double folded leaves
2. 22
"
"
"
, 4 color pages
3. 45
"
"
"
, 17 color, 1 b.w. pages
4. 31
"
"
"
, 4 color, 1 b.w. pages
5. 24
"
"
"
6. 20
"
"
"
7. 22
"
"
"
8. 30
"
"
"
9. 27
"
"
"
10.24
"
"
"
11.16
"
"
"
12.22
"
"
"
, 4 b.w. pages
13.27
"
"
"
, 2 b.w. pages, blue title page
14.22
"
"
"
, 3 b.w. pages
15.17
"
"
"
16.19
"
"
"
17.17
"
"
"
18.18
"
"
"
19.36
"
"
"
20.22
"
"
"
***
BINDING:
The 20 volumes are uniformly bound in 16 parts: bound
together are: volumes 5-6; 9-10; 11-12;15-16; blue title
page in vols. 1 & 13. Each volume is bound in bind-stamped
Swastika patterned yellow stiff wrappers.
***
CONDIDTION:
The set is bound in yellow blind-stamped covers in the
traditional Buddhist or "Swastika" pattern.
.
Volumes 1,2 front covers are "dusty;"
Vol. 20 lacks cover title slip.
Else front/back covers minor discoloration here and there,
else by and large very clean, all solidly stitched bound,
complete. The contents are exceptionally bright, clean, free
from any worming, printed on clean Washi paper.
***
REFERENCES:
PUBLIC COLLECTIONS IN THE NETHERLANDS: page 696, #1656,
lists the 1876 edition.
*
KSM:[Nogyo] 5-291-1
***
Not Found In:
BARTLETT, Harley H. et al. JAPANESE BOTANY DURING THE PERIOD
OF WOOD-BLOCK PRINTING.
*
*
MERRILL, Elmer D. et al.: A BIBLIOGRAPHY OF EASTERN ASIATIC
BOTANY.
***
$2108
EARLY REFERENCE ON BIOGRAPHIES OF JAPANESE PAINTERS
370 SAKA, Masakazu.
FUSO GAJIN DEN: LIFE STORIES OF ARTIST PAINTERS IN JAPAN.
Edo 1884, Kohitsu Ryochu. Green cloth, 5 vol. set bound in 1
volume, complete, Japanese text, woodblock printed on Washi
paper, no illustrations, 46+73+42+75+64 double leaves, 6 cm.
thick.
FIRST AND ONLY COMPLETE EDITION
This is the complete work, copious in nature and
comprehensive.
*
CONDITION:
The work was rebound in western style green cloth. There is
some very minor and small amoutn of worming by and large the
text is solid and not problematic.
*
ONE OF JAPANS MOST STUNNING & COMPLETE COLOR FLORALS
371 SAKAI, Hoitsu. et al.
SHIKI NO HANA: FLOWERS OF THE FOUR SEASONS.
Kyoto 1907-8, Yamada Unsodo. Accordion folded, 9 of 10 vol.
set, covers worn, chipped, contents very good, clean, sound,
ca. 19 x 28 cm., prints open to ca. 37.5 x 18 cm., woodcut
printed in color by hand on hand-made paper.
R A R E
ONE OF THE MOST STUNNINGLY BEAUTIFUL JAPANESE BOTANICALS OF
.
.
THE MEIJI PERIOD
$187
.
. PRINTED ENTIRELY BY HAND ON WOODBLOCK USING WASHI PAPER
.
THIS IS ONE OF THE MOST FAMOUS JAPANESE BOTANICALS EVER DONE
.
REPRESENTING THE FOUR SEASONS, ITS FLOWERS & FRUITING TREES
.
.
A most superb example of the best in Japanese period
polychrome woodblock printing. Per Bartlett [below]:
"The work was published just a century after it was begun.
It is so extensive and deals with so many more plants than
the conventional 'Flowers of the four seasons' of most
artists that it is botanical as well as artistic in
conceptions."
.
THE SET:
The set was issued in 10 volumes, displaying seasonal
flowers and fruits.
***
THE ARTIST:
The artist Sakai [1761-1828] served in the Imperial court
and was the son of a Daimyo of Himeiji in Harima province.
He painted this work from living specimens, and was assisted
by Suzuki who supplemented the work.
.
Upon Sakai's death, the work was continued and finished by
Nakano [1833-1892]. He rounded out the work to contain
some 1000 examples, then it was published for the first time
in 1908.
.
The work is so extensive that it could be considered a
Japanese flora if it were not entirely unclassified and
without text except for a table of contents.
.
The work contains a profusion of stunningly beautiful color
woodblock-printed flowers as well as fruits & fruiting
trees, illustrated in Deluxe large Oban size.
.
The Co-painters/artists were Suzuki Sonoichi and Nakano
Sonoaki. [See Roberts below for more on all the painters]
***
COLLATION OF THE BOOKS:
The title pages list the names and numbers of illustrations
found in each volume. The complication arises in the method
of counting the full-page v.s.single page prints.
.
This set contains a total of 206 individual prints in all,
193 are double-page, 13 are single-page. The list of plates
counts pages even though two pages equal a single print per
above. Suffice to say the below volumes are complete as
issued. The book calls for 208 pages of plates, our count is
correct as we are counting double-page + single page prints.
.
Collation of Each Volume:
.
HARU: SPRING: 2 Volumes:
1. Title page, list of 49 plates
Parts 1-2 [2 vols., unnumbered plates] total is 76 plates
1. 24 double page + 1 single page plates= 25 prints in all
2. 21 double page + 6 single page = 27 prints in all
[all unnumbered]
*
NATSU: Summer: 4 Volumes:
Parts 1-4
. plates 1-20, 16 double page + 4 single + 20 in all
2. plates 21-43, 22 double page plates
*
AKI: AUTUMN: 3 Volumes:
Parts 1-3:
. plates 1-23=22 double page +1 single page=23 prints in all
2. plates 24-46 = 22 double page prints
3. plates 47-69 + 22 double + 1 single page=23 plates in all
*
FUYU: WINTER: Not present.
.
***
.
SIZE OF THE BOOKS:
The cover size is 18.8 x 27.7 cm., a double-page print from
margin to margin is 37.5 x 27.7 cm., a bit larger than
"Oban" size. The single-page is 18.8 x 27.7 cm., or a bit
larger than "Chuban" size.
.
***
Due to the exceptional beauty of the color prints in this
work, complete copies are exceptionally difficult to find.
Many have been broken and individually framed. This set
lacks the winter single volume, which as the least examples.
The most lavishly illustrated volumes are spring, summer &
autumn. The set is sold "as is," incomplete.
***
By & large a most impressive & beautifully color-illustrated
botanica japonica.
.
***
REFERENCES:
.
H. Bartlett: JAPANESE BOTANY DURING THE PERIOD OF WOODBLOCK
PRINTING, pp.243-4, exhibit 103 & figure 94.
*
L. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION IN JAPAN for
details on Sakai and his son et al., pp 60-61.
*
Laurance P. Roberts.: A DICTIONARY OF JAPANESE ARTISTS, he
devotes considerable space on p.47. Sakai published two
important books on Korin.
***
A STUNNINGLY BEAUTIFUL COLOR WOODBLOCK PRINTED BOOK !
$2720
372 SAKAI, Hoitsu.
OSON GAFU: A BOOK OF PICTURES BY OSON.
[Tokyo 1879, Kobayashi]. Yellow stitched wrs., very good,
18 x 22.5 cm., [27] double-folded leaves [54] pages in all,
25 double-page color woodblock printed illustrations, very
clean, a bit of transfer on some, else clean, solid binding.
This is a famous and quite lovely color woodblock printed
book.
.
The contents contains tender pastel views of Mt. Fuji, a
bamboo stick, traditional poem written on paper tied to a
tree branch, tree branches, flowers, teacup, a scene from a
classical court yard with officials, iris, ceramic bottle
with flowers, waves, lily flowers, fan, court noble woman at
her writing desk, cranes, court noble in nature, deer, a
basket with two pears and a pair of turtles. Typical and
traditional classic drawings.
.
For a complete list of the color pages, see Mitchell p.443 &
Toda pp.362-362.
.
Each double-page color illustration has cinnabar [red]
seal/hanko/chop by the artist.
***
THE ARTIST:
OHSON was the 'studio' name of SAKAI Hoitsu [1761-1828], who
was a very famous artist from the Edo [old Tokyo] area. Per
Toda: "Sakai Hoitsu's personal names were Eihachiro and
Tadayori. His names as a painter were Hoitsu, Oson, Kuzen,
and others....his studio name was Ukwa-an, and his name as
Hokku poet was Toryu." See Toda below
.
Roberts cites this artist as a celebrated Rimpa painter, son
of Lord Sakai of Himeiji Castle. He studied in Kyoto, also
painted in the Kano style, the under Utagawa Toyoharu he
began work in the Ukiyo-e and Nanga school. In 1797 he
became a Buddhist priest, spent the last 21 years of his
life in seclusion, painting and studying the life and works
of Korin. See below for more in Roberts.
***
BOOK CONTENTS:
The contents are clean and solid, there are no worming or
other defects except for some transfer of color where the
color oxidized over a period of 100 or more years, this is
entirely natural and to be expected for a book of this age.
Solidly stitched spine. The inside covers have silver-mica
flecks giving this a touch of elegance and class. Two pages
of introduction + a half title.
***
EDITION:
This is the 1879 edition, a reprint of the Bunka 14th, 1817.
edition. The preface states the Bunka date.
***
CONDITION:
The covers are intact with some of the usual soiling
expected with yellow, blind-stamped from the inside with a
floral pattern. The red cover label has some chipping on the
right side, but that does not affect the title characters.
Just below the upper edge of the front cover is the name of
the former owner. Solidly stitched spine.
***
REFERENCES:
.
PUBLIC COLLECTIONS IN THE NETHERLANDS: #1298, look at p.535
for "OSON GAFU", entry begins on pl534-535; and a good list
of other references where this famous work can be found.
*
INSTITUTE OF CHICAGO: pp.262-363.
*
MITCHELL, C.H. et al. THE ILLUSTRATED BOOKS OF THE NANGA,
Bibliography: pp.443-444, notes by Jack Hillier. Page 444
lists this exact copy with its description.
*
BRITISH MUSEUM [O.A.534]
*
BM [1898], P.6 [1 vol., 1879]
*
BM [1904], 16115.a.18 3 vols. 1880
*
BROWN, Louise N. BLOCK PRINTING AND BOOK ILLUSTRATION IN
JAPAN: p.79
*
BINYON, Laurence. et al. JAPANESE COLOUR PRINTS: p.225.
*
PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER: p.47.
*
For more and copious bibliographic entries, see Mitchell and
Kerlen.
*
A MOST COMPREHENSIVE & IMPRESSIVE REFERENCE WORK !
$615
373 SEGI, Shinichi.
YOSHITOSHI THE SPLENDID DECADENT.
Tokyo [1985], Kodansha. Purple cloth, very good, dj., 157p.,
folio, index, bibliography, 157 pages of color illustrations
translated by Alfred Birnbaum, small folio, 23 x 30.5 cm.
bright, as new copy. QUITE RARE
This is an important and valuable reference source, covering
in much detail, the Utagawa school, the career of Yoshitoshi
and the world of Yoshitoshi's art. Profusely illustrated in
color, showing a large percentage of his whole bibliography
in terms of single sheet prints, series, tryptiches and illustrated books. With lucid essays, and commentaries on each
example. By and large one of the best color illustrated
essays on Yoshitoshi prints and series in English. A useful
resource for any curator, student or collector.
A LOVELY WOODCUT ILLUSTRATED CHINESE NOVEL
374 SEIEI, Shujin. [trans.]
SHINMIN GUNDAN: INTRIGUING STORIES OF THE QING MILITARY.
[A Chinese Novel Translated into Japanese]
[Japan n.p. 1854, n.p]. Stitched brown paper covered wrs.,
very good, bit of rubbing to front covers a few old worm
holes, solid, contents very bright, sharp images, 5 vol. set
complete, 18+21+22+21+21+ double leaves, 108 pages in all.
With 35 full-page woodcut illustrations. A lovely work
translated from Chinese into Japanese. An illustrated novel.
*
The work covers a Qing dynasty [1644-1912] story of military
battles, intrigue with Emperor. Of how the English had to
"Kowtow" to the Emperor [see illustration no. 5], when they
visited the palace, court intrigues and battles at sea.
*
Per Kerlen, the blocks were owned by Sei Eijuku [Kerlin
gives his name in error: Seieijuku], there is no author
$202
cited but it was a Chinese. There is no colophon, see
Kerlen's notes.
*
THE SET:
The work is complete in five illustrated volumes, per Kerlen
p.628. There are 35 full-page illustrations. Text in Kanbun
a form of old Chinese used by the Japanese, Kanji with
Furigana.
*
CONDITION:
The covers are some what rubbed, soiled with a touch of some
old worming to the covers and title slips. The contents has
some minor thumbing, but by and large is printed in very
clear solid black line illustrations and good clear text on
white Washi paper. All volumes are solidly stitched.
*
There is no colophon in this book, Kerlin lists what
bibliographical information there is recorded about the
owner of the blocks who was Seieijuku, "Honyaku Ehon"
"Translated illustrated book" means taken from a Chinese
source.
****** ,
BIBLIOGRAPHY:
KSM: [Yomihon] 4-776-2
*
PUBLIC COLLECTIONS IN THE NETHERLANDS, p.628, no.1510.
******
USE THE WESTERN ALPHABET TO TEACH JAPANESE
375 SEIYOH MONJI CHIE: WISDOM OF WESTERN ALPHABET.
SEIYOH MONJI CHIE: WISDOM OF THE WESTERN ALPHABET.
[Japan, 1875]. A small folding album, 8 x 17 cm., original
blue covers, [18]p., accordion folded, soiled covers, verso
blank, but evidence of a Japanese practicing his attempt at
writing in English alphabet,128 color woodcut illustrations.
$1698
A very charming early attempt to teach the Japanese English
alphabetical letters and numerals. Folded and reading from
traditional left to right, this work shows the Japanese the
familiar "IROHA" alphabet in both Katakana & Romanized alphabetical letters [Romaji], with Hiragana above. The most fascinating part are the profuse color woodblock illustrations
of familiar Japanese objects, each with Romanized letters &
the appropriate Japanese. Such cute things as Inu, Roonin,
Hato, Niwatori, Potsukkuri [Pokkuri], Hyotan, Tonbo, Ringo,
Dobin, Soroban, Taiko, Daikon,Yoroi, Wakizashi, Kani, Katsuo
and a plethora of others. This work basically was used to
train the Japanese to read Romaji first for familiar objects
and thus begin the process of learning English ultimately to
read English letters. Works of this subject are now quite
RARE and seldom come to market, many were basically used up
in the learning process. This example well used, cover soil,
bit thumbed, but remarkably complete. Back cover has the
Sumi penned date: Meiji 7 nen, with a later cover title slip
pasted on, and Sumi ink title written. Brief commentary on
the English language, some text worn away, balance complete.
A LOVELY AND DELICATELY PASTEL-COLORED ILLUSTRATED BOOK
376 SEKI, Bunsen.
BUNSEN GAFU: ALBUM OF DRAWINGS BY BUNSEN.
Tokyo 1848, Suwaraya. Pink stitched wrs., very good, covers
a bit scuffed, contents clean, solid, a few old worm holes,
mostly in the margin, 17 x 24.5 cm., 2 introductory doublefolded leaves + 19 double folded pastel-color leaves. RARE
A famous book, that illustrates birds, flowers, mythological
characters &c. With a preface by his old friend, Kamo Suetaka [1752-1848], then 80 years old, when he wrote the preface
in 1831. A truly lovely and tender work. The artist was exceptionally skilled at portraying typical Japanese subjects
from the ancient past in a flowing and sensitive brush. He
captured the essence of what is distinctly Japanese design
and figures. A delight to behold, with the most delicate of
$989
pastel tinting executed tastefuly. His experimentation with
color was very successful and not over done like so many
other artists of the same time. Cited in many of the usual
bibliographies: see C. Mitchell:THE ILLUSTRATED BOOKS OF THE
NANGA, MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A
Bibliography: pages 232-234, ours is example "C". H. Kerlin:
CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLCOLLECTIONS IN THE NETHERLANDS: p.43, #103. L. Brown: BLOCK
PRINTINGAND BOOK ILLUSTRATION IN JAPAN, p.81. Also KSM 7-142
-2; Kraft: vol. 3, no. 47. Surprisingly Bunsen is neither
lisisted in L. Roberts: DICTIONARY OF JAPANESE ARTISTS, nor
in J. Hillier: ART OF THE JAPANESE BOOK.
$1156
377 SEN SHIN TAI ZO GYOKU SEKI ZASSHI.
SEN SHIN TAI ZO GYOKU SEKI ZASSHI: IMPERIAL HOUSEHOLD
ARTICLES AND FESTIVAL OBJECTS.
[Osaka 1843]. Odd Volume 5. [56]p. Stitched binding, double
folded leaves, full text in Japanese, with 16 pages of b.w.
woodblock printed illustrations.
Depicts archery, horses, riding gear and decoration.
LATE 18TH CENTURY WOODBLOCK BOOK ABOUT KYOTO CONFLAGRATIONS
378 SENSHU, Rojin.
HI NO YOJIN HANA MOMIJI MIYAKO BANASHI:
STORIES ON PRECAUTIONS AGAINST FIRE IN KYOTO.
Edo 1788 Suharaya. Brown stitchd wrs., very good,, 3 vol.set
16 x 22.5 cm., covers/title slips rubbed, some marginal old
worming, text/illustrations unaffected, woodblock printed &
illustrated on hand-made Washi paper.
This is a collection of interesting true stories about the
famous conflagration of Jemmei era. Contains detailed
stories and other topics about Kyoto throughout the four
$340
seasons. With many lovely woodcut illustrations.
*
CONTENTS:
Vol. 1: 70 pages [24 numbered leaves], 9 illustrations [on
14 pages]. In these illustrations on can see the outline of
the fire, causes, number of shrines burned down, strange
stores, poems and so on.
*
Vol. 2: 40p. [20 numbered leaves], detailed description
about how the fire started, and spread throughout Kyoto.
*
Vol. 3: 22p., Kyoto after the great fire, collection of
poems about the fire.
*
Nicely illustrated.
*
CONDITION:
The set is 16 x 22 cm., is in its original brown stiff
wrappers, stitched, with rubbed title slips, mild staining
to vol. 2, contents by and large are clean, but has some old
worming, mostly in the upper and lower margins, just a bit
touches the text.
*
BIBLIOGRAPHY:
Not In Usual Bibliographical sources:
Brown, Toda, Mitchell, Chibbett nor Kerlin. While this
obscure work has eluded the scrutiny of most bibliographers,
it is never-the-less a most fascinating primary resource for
Kyoto and its famous fires.
*
BY JAPAN'S LEONARDO DA VINCI, THE RENAISSANCE MAN
379 SHIBA, Kokan.
CHIKYU ZENZU RYAKUSETSU: EXPLANATION OF THE COMPLETE MAP OF
THE WORLD. Revised Version. Cover title: BANKOKU RYAKUSETSU.
[Edo 1815, Tohto].
Brown stitched stiff wrs., 3 vol. set
$1324
woodcut printed & illustrated on hand-made Washi paper, many
illustrations, minor rubbing to covers, contents clean, no
worming, 4th. edition.
This important work describes the universe in geocentric and
heliocentric terms. Explains the movement of the sun around
the earth, and the reason for day and night as the sun
travels along its elliptic. This is the 4th and last
edition of the book, Shiba wrote the first 2 volumes, the
3rd volume elaborated on the descriptions of countries,
bizarre tales of the customs & more foreign peoples. With a
crude view of two men from Coromandel and a couple from
Greenland, with foreign soldiers, American steamship [Kuro
Fune or Black Ship]. The text of vol. 3, likely written
after 1815, as it mentions the defeat of Napoleon.
*
This work enjoyed considerable popularity as it discussed
foreign countries, established borders, capital cities,
world geography, and even discussed "California." Much of
the text was derived from Buy's Encyclopedia & Valentijn's
geography.
***
WHO WAS SHIBA KOKAN:
Shiba Kokan [1747-1818], also known as Suzuki Harushige was
an eminent Japanese painter and printmaker of the Edo
period, famous both for his Western-style yoga paintings, in
imitation of Dutch oil painting styles, methods, and themes,
which he painted under the studio name of "Kokan." His
Ukiyo-e primarily forgeries of the works of Suzuki Harunobu,
which he created under the name Harushige. Kokan did not
seek to hide or disguise his forgeries, and in fact is said
to have boasted of his ability to forge the great master so
well.
.
Kokan was known as Japan's Leonardo da Vinci, a renaissance
man, a prolific author & writer publishing some 33 works in
all. A most fascinating work and superbly illustrated
resource on early Japan by an astute and most scholarly
intellectual observer. All of his books and maps are
important works and have earned great respect.
.
Above all, Shiba was a Rangakusha or a student of Dutch
Learning, as well as being a very important and great
artist, scholar, geographer, a celebrated innovator and
pioneer in the Westernization of Japan and an august
Renaissance man of Japan. He was responsible for explaining
the workings of the sun, earth and moon, and has always been
considered the "father of Japanese cartography."
.
He also learned from the Dutch in Nagasaki about the
principles of Western perspective, until then an unknown to
the Japanese. He acquired knowledge of copper-engraving,
oil-painting, and produced Japan's first copper-etched
graphic illustrations.
.
Shiba was a student of Suzuki Harunobu, So Shiseki, and
Hiraga Gennai, and mastered a number of very different
styles, and was also a great innovator, exploring new
methods and styles on his own. He became the first Japanese
artist, in 1783, to use copper plate engraving. Following
Harunobu's death in 1770, Kokan placed Harunobu's signature
on a number of his own prints, which were supposedly
accepted as true works of Harunobu at the time.
.
Today, art historians have noted the distinctive
calligraphic style of the faked Harunobu signature, the use
of Western-style perspective, and the somewhat less delicate
figures in works by "Harushige" [Kokan].
.
Like many other Edo period artists, Kokan used a great
variety of other names at various points in his career,
though "Shiba Kokan," "Suzuki Harushige", and close
variations on those appear far more often. Variations
include Shiba Shun and Suzuki Shun [Shun being an alternate
reading of the same character that forms the Haru of
Harunobu or Harushige], while his other names include Ando,
Kichijiro, Katsusaburo, Fugen-dojin, Kungaku, Rantei, and
Shunparo.
.
Kokan lived in Nagasaki, and studied under Dutch physicians
and scholars [Rangaku Dutch studies] in addition to his
pursuits as an artist. Interested in astronomy in
particular, he wrote and illustrated a book on Copernicus'
theories, entitled Kopperu Temmon Zukai, Illustrated
Explanation of Copernicus' Astronomy. He acquired knowledge
of copper engraving, oil-painting and learned astronomy,
history and geography, authoring several famous books. He
has always been considered the Da Vinci of Japan, a
renaissance man.
***
ILLUSTRATIONS
This set contains some 6 double-page and 8 single-page wood
cut illustrations. The subject of these include a "KURO
FUNE" or an American black [steam] ship, several hemispheric
views of the earth, North & South America, California is
also discussed, how the sun casts a moon shadow on the
earth, orbit of the planets, the seasons, shooting star,
including elaborate descriptions of countries, foreign
peoples, a couple from Greenland, and two men from
Coromandel &c.
***
EDITION:
This edition does not state date, publisher nor place, but
being a 3 volume set, we defer to French, on p.127 & 169 who
cites this as the 4th edition, written after 1815, we can
not find additional bibliographical evidence in any of the
usual resources to confirm or contradict that impression.
The first edition was published in 1797. Regardless, the 4th
edition did indicate a developing interest in foreign
countries among the Japanese and the continuing reputation
of Shiba as a geographer.
.
Per French, p.127 "...first two [vols.] containing the
complete text of the 1797 edition. Vol. three elaborated on
the descriptions of countries, replacing factual
geographical detail with extraordinary and often bizarre
tales of the customs and mores of foreign peoples.
Kokan...did not write the last volume."
***
COVER TITLE: BANKOKU RYAKUSETSU
The cover title is an abbreviated title of the true and
actual title which remains CHIKYU ZENZU RYAKUSETSU.
***
BIBLIOGRAPHY:
C. French: SHIBA KOKAN: Artist, Innovator, and Pioneer in
the Westernization of Japan. Cites a large number of pages
discussing this work, see index; p.169 outlines the various
editions of the work in 3 volumes [See #4.; p. 127, index
et al. for copious notes on Shiba and on this book.
*
L. Brown: BLOCK-PRINTING AND BOOK-ILLUSTRATION IN JAPAN
FROM THE EARLIEST PERIOD TO THE TWENTIETH CENTURY, p.147.
*
*
E. Papinot: HISTORICAL AND GEOGRAPHICAL DICTIONARY
OF JAPAN, p.562.
*
M. Hosono: NAGASAKI PRINTS AND EARLY COPPERPLATES
*
R. Lane: IMAGES OF THE FLOATING WORLD
*
W. T. De Bary: SOURCES OF JAPANESE TRADITION
*
M.B. Jansen. CAMBRIDGE HISTORY OF JAPAN.
*
BY JAPAN'S RENAISSANCE MAN THE LEONARDO DA VINCIA OF JAPAN
380 [SHIBA, Kokan.]
TENCHI RIDAN: LITERARY WORKS BY SHIBA KOKAN.
[Tokyo 1930], Oka Shoin. Brown cloth, very good, compiled by
Muraoka Noritsugu, 91p., Japanese text, 25 b.w. photos from
the original text, top gilt, head, tail of spine bit worn,
covers bit scuffed, contents clean, tissue guards. SCARCE
Shiba Kokan [1747-1818] was one of Japan's leading Rangakusha or Dutch learning scholars. He lived and worked in Nagasaki, where he studied European methods of drawing, including perspective & copper-plate engraving. This is a copy of
one of his rarer books & studies, including pictures & notes
on foreign animals, Western astronomy, foreign languages:
Korean Hangul, Sanscrit, Western alphabet & numbers.
*
An important work, by Shiba [1747-1818], the great and most
celebrated artist, scholar, geographer, innovator, artist,
and pioneer in the Westernization of Japan, and august Renaissiance man of Japan. He was also a celebrated Rangakusha
or scholar of Dutch learning. He is responsible for explaining the workings of the sun, earth & moon, and is considered
the "father of Japanese cartography."
He also learned from
the Dutch in Nagasaki the principles of Western perspective,
until then unknown to the Japanese. He acquired knowledge of
copper-engraving, oil-painting.
*
Shiba Kokan [1747-1818], also known as Suzuki Harushige was
a Japanese painter and printmaker of the Edo period, famous
both for his Western-style yoga paintings, in imitation of
Dutch oil painting styles, methods, and themes, which he
painted as Kokan, and his ukiyo-e prints, primarily
forgeries of the works of Suzuki Harunobu, which he created
under the name Harushige. Kokan did not seek to hide or
$4848
disguise his forgeries, and in fact is said to have boasted
of his ability to forge the great master so well. Shiba was
also important and great artist, scholar, geographer, a
celebrated innovator and pioneer in the Westernization of
Japan & august Renaissance man of Japan. He was responsible
for explaining the workings of the sun, earth & moon, and is
considered the "father of Japanese cartography."
He also
learned from the Dutch in Nagasaki the principles of Western
perspective, until then unknown to the Japanese. He acquired
knowledge of copper-engraving, oil-painting.
*
Shiba was a student of Suzuki Harunobu, So Shiseki, and
Hiraga Gennai, and mastered a number of very different
styles, and was also a great innovator, exploring new
methods and styles on his own. He became the first Japanese
artist, in 1783, to use copperplate engraving to successful
effect. Following Harunobu's death in 1770, Kokan placed
Harunobu's signature on a number of his own prints, which
were supposedly accepted as true works of Harunobu at the
time. Today, art historians have noted the distinctive
calligraphic style of the faked Harunobu signature, the use
of Western-style perspective, and the somewhat less delicate
figures in works by "Harushige" [Kokan].
*
Like many other Edo period artists, Kokan used a great
variety of other names at various points in his career,
though "Shiba Kokan", "Suzuki Harushige", and close
variations on those appear far more often. Variations
include Shiba Shun and Suzuki Shun [Shun being an alternate
reading of the same character that forms the Haru of
Harunobu or Harushige], while his other names include Ando,
Kichijiro, Katsusaburo, Fugen-dojin, Kungaku, Rantei, and
Shunparo.
*
Kokan lived in Nagasaki, and studied under Dutch physicians
and scholars [Rangaku Dutch studies] in addition to his
pursuits as an artist. Interested in astronomy in
particular, he wrote and illustrated a book on Copernicus'
theories, entitled Kopperu Temmon Zukai, Illustrated
Explanation of Copernicus' Astronomy.
*
BIBLIOGRAPHY:
*
FRENCH, Calvin L.: SHIBA KOKAN: Artist, Innovator, and
Pioneer in the Westernization of Japan. See index for a
large number of entries. Nicely illustrated, with several
hemispheric views of the earth.
*
L. Brown: BLOCK-PRINTING AND BOOK-ILLUSTRATION IN JAPAN
FROM THE EARLIEST PERIOD TO THE TWENTIETH CENTURY, p.147 for
more information on Shiba.
*
*
E. Papinot: HISTORICAL AND GEOGRAPHICAL DICTIONARY
OF JAPAN, p.562.
*
M. Hosono: NAGASAKI PRINTS AND EARLY COPPERPLATES
*
Kokan was known as Japan's Leonardo da Vince, a renaissance
man, a prolific author & writer publishing some 33 works in
all. A most fascinating work and superbly illustrated
resource on early Japan by an astute and most scholarly
intellectual observer.
*
THE EROTIC ADVENTURES OF EMPEROR OF JAPAN
381 [SHIBATA, Hoshu.] [After Taigado]
DAITO KEIGO: BOUDOIR TALES FROM THE EAST [East = Kyoto].
[An Erotic Painted Japanese Album, 34 Color Genre Paintings]
[Nagoya n.d. ca. 1867]. Brown silk brocaide covers,accordion
folded, silver pages with 34 paintings laid down, album size
22.5 x 21 cm., painting size 19.5 x 16.5, corners minor rubs
contents bright & very clean.
EXCEPTIONALLY RARE WORK !
This marvelous and delightful genre style painted work. It
is attributed to Shibata Hoshu [Hohshuu], by the late
professor Dr. Richard Lane, [see below] after the original
album he attributes to Taigado.
*
THE SOCIAL MILEAU & BACKGROUND OF THE KYOTO IMPERIAL COURT:
THE ROLE OF SEXUAL INTRIGUE:
.
This work illustrates the sexual activities of the Emperor
of Japan, his court, courtiers & concubines. Several
references to him or his Imperial court are found in the
text. Where any reference implicating the Emperor or his
immediate courtiers are concerned, a blank box is found in
the text, to protect the Name of the Emperor or his
paramours. It was disrespectful to name the Emperor and
associate him with licentious activities, nevertheless this
work was done to give pictorial illustration to the
activities of the Imperial court. Obviously, the artist was
not allowed to use the Emperor's name, but based on the
dates of the artist's active period, the record shows
Emperors Sakuramachi [1736-1747] Gembun period; Momozono
[1748-1762] Meiwa period; and Go-Sakurmachi [1763-1770]
Meiwa period, as the three likely subjects of this
illustrated sexual frolic. The exact Emperor's name will
always remain a mystery.
.
THE EMPEROR'S SELECTION OF NEW CONCUBINES:
Annual selection of new concubines by The Emperor was
conducted by selecting the most beautiful girls from each
province. These stunning young girls were groomed, educated
in the ways of serving the Emperor and lived in the Imperial
Palace. As they came of age they were presented to the
Emperor. Any that caught his fancy were selected for his
personal use and attendance. Often these young girls had
$187
interest in other court men but had a primary duty to serve
the Emperor.
.
The Emperor had his choice of any woman who lived in the
Palace, including those married to his courtiers. It was
common for married women to be selected by the Emperor for
his personal sexual service. These women and their husbands
advanced in stature and status within the Imperial Household
social structure and were granted fiefdoms, land, rice,
treasure and were appointed Governor of provinces and had
their own Hatamoto [supporters] as well as a large stable of
Samurai protectors. Thus having one's wife selected by the
Emperor was a great honor and an opportunity for success.
The pleased husband was happy at his social advance and gave
homage and thanks to the source of his worldly success, i.e.
his wife's vagina ! See below for more about this
vis-�-vis album illustration number 15 below also Lane's
notes on the same illustration #451 found in his book.
.
There is ample Japanese [Kambun] text surrounding each
painting, indicating the people involved in licentious
affairs. There were a lot of palace intrigue and romantic
affairs were common. Infidelity, sexual offerings for
personal favoritism by women and men was common to the time.
***
THE ARTIST:
SHIBATA HOSHU [a.k.a. Hohshuu]: THE ARTIST OF THIS WORK:
The artist of this work is attributed to SHIBATA Hoshu
[1840-1890] by Dr. Richard Lane on p.277 of his work cited
below, and illustrated as plate #451 in his book.
.
Lane further attributes the artistic work to being "Shibata,
"...a Nagoya Bunjin-ga artist. "It is also noteworthy that
Lane cited this as a "woodblock-printed album..." while ours
is a painted album. The plate & text he illustrates is
identical to the one found in this album.
.
We acquired an exact 3 volume woodblock printed title from
Dr. Lane while visiting him in Japan, in 1978. That item was
9 x 11.5 cm. in size. At that time, sadly, we did not record
the Kanji for Hohshuu's name.
.
A PAINTING DONE IN "RESPECT" AND ADMIRATION FOR TAIGADO:
In respect and admiration of Taigado, the original artist of
this work, Hohshuu did his rendition of the album in his own
Nanga style. It was not uncommon for Japanese & Chinese
artists to give "homage" to their teachers or to other
artists by making their own stylistic copy of the earlier
master's work. There was no intent to "fake" or "copy" for
financial gain, but merely in the ancient Confucian way to
show "respect" and "admiration" for one's teacher by making
a copy. In this case, due to the erotic nature of the
subject, Imperial licentiousness was indeed an uncommon
subject and seldom addressed by any Japanese artist. Thus
the rarity of subject and the very charming painting
technique in caricature to show the Imperial Palace people
as human as any other class of people !
.
Lane's illustration #451 is the exact same as this album's
#15. The text found on Lane's example is again the exact
as found in this album, except the first 3 Kanji characters
are omitted in favor of a blank box. It is therefore with
great certainty, that we can state with factual supporting
evidence that our album is the one in the same as cited by
Lane.
.
Several other texts found on other paintings in this album
have the same blank boxes where reference to the Emperor is
omitted in respect for His Highness. It was considered a
crime under the Shogunate to mention the Emperor's name, or
cite him in any books, and especially erotica escapades of
an Emperor ! This was punishable by death in Japan at that
time.
**
THE ORIGINAL ARTIST:
TAIGADO [a.k.a. TAIDO] [1723-1776]:
Was a famous Nanga painter, calligrapher, born and lived in
Kyoto. In 1742, he took the name Taiga, in about 1750 he
studied Chinese style painting in Edo and was familiar with
the famous Chinese treatise on painting: THE MUSTARD-SEED
GARDEN, the manual for all Bunjin-ga artists. He was also a
student of Zen and calligraphy, a disciple of Hakuin, a
collaborator of Buson. He used over 113 "Go" [studio names]
which can be found in the supplement of Tanaka Ichimatsu's
IKENO TAIGA GAFU. Known for his gay and witty paintings,
this current example is one of his best and most enjoyable
works. Although this title is not listed in Mitchell. This
is NOT surprising, being a manuscript, as Mitchell only
listed woodblock printed works. Mitchell does not list
"prohibited" or 'banned' books, but he does refer to
Taigado, see below for details.
*
BANNED WORKS ARE NEVER SIGNED BY THE ARTIST:
This superb work is not signed. It was common at the time
for artists not to sign "Banned" or "Prohibited" items of an
erotic or political nature. Hohshuu [flourished 1840-1890]
is the "Go" [studio name] of a Ukiyo-e painter, and skilled
Bijin-ga artist. He exhibits a charming and unique humor
similar to that found in the Nanga, with good Kano & Nanga
painting styles. Although we scanned each of the Roberts
choices none seemed to fit what Lane has assigned to this
artistic work. For sure this was done by an admirer of
Taigado, or one of his better students. We therefore follow
colleague Lane's lead and attribute this work to Hohshuu
[Hoshu].
*
******
DESCRIPTION OF 37 FINE COLOR PAINTINGS:
No. 1: Shows a couple getting ready to make love.
.
She is semi-nude with an open Kimono, he is nude.
.
No. 2: Three people chatting, two men and a woman.
.
No. 3: Man and woman making love, the man fans himself.
.
He is nude, she with Kimono open and nude.
.
No. 4: A voyeur man listens to two women talking about
.
a love-making experience.
.
No. 5: Man and woman making love, the Koto in the
.
background. Both the man and woman are nude.
.
A Shamisen is in the background.
.
No. 6: Couple under the Futon [blanket covers] making love.
.
No.
.
.
No.
.
No.
.
.
No.
.
.
.
No.
.
.
No.
.
.
.
.
No.
.
.
.
.
No.
.
.
.
.
No.
.
.
.
.
.
.
.
.
.
.
No.
.
.
No.
.
.
No.
.
.
.
No.
.
.
No.
.
.
No.
.
.
.
7: A male courtier strokes the long hair of his lover
while she sleeps. He is semi-nude exposing his penis.
8: Associated text for the above illustration.
9: An archer makes love with his semi-nude lover.
His bow and arrows along side.
10: A man with an erect penis points to the open vagina
of his beloved. He is fully nude, she has her Kimono
open ad is exposing her semi-nude body.
11: A man fondles his beloved's vagina. Both have their
Kimono open, and are semi-nude.
12: A man readies his erect penis by preparing to add
saliva to its tip, his beloved shields her face
below her eyes being shy. He is nude, she has her
Kimono open and is semi-nude.
13. A Samurai sheds his armor as he rapes a local girl.
He is semi-nude, she has her Kimono opened exposing
her body, while she pushes her arm under his chin in
protest.
14. A male courtier sheds his armor and sits with his
erect penis at the ready. He has two women both with
spread legs, Kimono's open exposing their vaginas
and bodies for him. He points to their vaginas.
15: This scene shows a courtier's wife who was the
beloved of the Emperor Go-Saga. As a result of her
sexual prowess with the Emperor, she bestowed great
"Face" & honor upon her husband. Here the cuckold
husband is seen bowing down and paying homage to the
open vagina, the source of his worldly success!!
Illustrated in Lane [see details below].
["He bows down to show homage to his wife's open
vagina in an offering of great thanks."] Quoted from
Lane, p.277 and associated illustration #451.
16: The man mounts his beloved and makes love both are
nude.
17: A man sits with his erect penis which his beloved
fondles. He is nude, she has her Kimono open.
18: A man with and erect penis waits while his beloved
lays down and is absorbed in looking at his penis.
He is semi-nude, with his Kimono open.
19: A man sits before an oil lamp as he scratches his
head.
20: A mother teaches her three children. They study at
their desk, reading books, while she holds a baby.
21: A man sits with an erect penis, he fans himself
being too excited. His beloved looks on covering her
face being shy, all the while her legs are spread
wide open exposing with her eager vagina. Her Kimono
.
.
No.
.
.
No.
.
.
.
No.
.
.
.
No.
.
.
.
.
No.
.
.
No.
.
.
.
No.
.
.
.
No.
.
.
.
.
No.
.
.
.
.
No.
.
.
.
.
No.
.
.
.
.
.
.
No.
.
.
.
.
No.
.
.
.
.
***
is opened. exposes her body to him.
22: A couple making love, the woman is on top, both are
nude.
23: A man makes love to his beloved from the rear in a
"shadow' drawing behind the Shoji screen in early
evening.
24: A male courtier makes love to his beloved, their
genitals are exposed. Her Kimono is open giving him
full access.
25: A nude man with an erect penis prepares to mount his
beloved from the rear. In great surprise she farts,
[Onara] he covers his nose in surprise. She exposes
her nude rear end to him.
26: A man and woman engage in love-making, both are
nude.
27: A man and woman make love behind a folding screen.
They are hidden so all we see are their naked legs
and his rump.
28: A man and woman make love, He mounts her from above,
the tip of his penis is red, she spreads her legs in
welcome. He is nude, her Kimono is spread open.
29: A couple are seated and the woman sits on top of the
man as he inserts his erect penis into her vagina
from the bottom rear. The are both semi-nude with
open Kimono.
30. A couple prepare to make love, from the rear. He is
nude, she has her Kimono spread wide open. Scrolls
are on a small table in the background. One can
assume these are likely erotic in nature.
31: Two women discuss their private life. One holds her
hand over her nose and mouth, a typical Japanese
gesture of shyness, when talking about private and
sexual matters.
32: A man and woman prepare to make love, he fondles her
vagina, she feigns shyness and tries to cover her
face with her Kimono sleeve. The view is from the
garden looking into a house with sliding Shoji
screen doors partially open, A kind of voyeur's eye
view !
33: Two men chat, the one on the left exposes a very
surprisingly large erection. The man on the right is
probably holding and looking at some Shunga [erotic
art picture.
34
A male courtier makes love to his beloved, the are
hot, he fans their genitals, both are nude. She
supports herself on her elbows. His penis has
entered her vagina, they both look on eagerly and he
smiles.
A TRIBUTE TO TAIKAGADO:
This stunning and superbly drawn and executed work is very
likely a tribute peace to Taikagado by Shibata Hoshu, one of
his star students & great admirer.
***
"BANNED" or "PROHIBITED" BOOKS: Shun Pon, Haru Bon:
Due to the "banned" nature of this kind of erotic book, it
is not surprising that it lacks date, artist's name, or even
artist's "Go" [assumed studio/artist's name, and no seal or
Hanko anywhere.
.
It is well-known that during the Tokugawa period [1603-1868]
erotic paintings, prints and books were "BANNED" and
"PROHIBITED" by decree of the Shogun.
.
One of the influencing factors was that during this period
some Shoguns were changing their views and being influenced
by Christians who entered Japan at this time. The Shogun did
not want foreigners, and Jesuit missionaries to think that
Japan was a crass and base nation.
.
Naturally foreigners soon learned that prostitution was
permitted and rampant throughout Japan, so this strange
logic from the Shogun never had much affect on the
Christians and surely not on the Japanese. Nevertheless, the
publication of every book, poster and print had to have the
"censor's" seal on it to be a legitimate item. Any item
without this seal was subject to seizure and forfeiture, the
artist, publisher or seller was imprisoned. Mostly this was
a 'gesture' sentence of a few days or a few weeks. There was
of course no Shogun control over hand-drawn or painted works
that were by and large a 'one of a kind' item.
This item surely falls into that category, but specifically
erotic books, prints, paintings were officially banned by
the Shogunate.
***
*
EXCELLENT PROVENANCE:
This item was acquired directly from Dr. Richard Lane by us
in 1978. At that time he cited to us the known bibliographic
details, and informed me that a very similar image and title
would be listed & illustrated in his then forthcoming and
major reference book on Japanese woodblock prints, printed
books and paintings: IMAGES OF THE FLOATING WORLD.
.
Although this is a variant to the one cited, illustration
number 15 is remarkably close to the image found on p.451 of
his book. The one illustrated and cited in his book was
retained by Lane. Lane stated that Hohshuu did several
variants to the one he illustrated in his book. Lane liked
this kind of genre and had collected several variants, most
of which he sold to us. Other variants we bought were in the
form of miniature scrolls, woodblock printed books of the
same subject and genre during that visit.
.
After some 36 years, of course the all have been sold,
except this one. We have reserved this one for our later
years ! This is the last of those items we purchased from
him. It is now being offered for sale for the first time.
***
RARITY:
Books of this Genre style and subject matter are
exceptionally rare and seldom found on the market for sale.
It was our good fortune to have known and visited Dr. Lane
many times in Kyoto and buy from him some of the most
stunning of all Japanese erotica, his specialty.
***
CONDITION:
The work is beautifully bound in the original brown brocade
silk cloth, with blank silver title slip. Seven of the eight
corners are a trifle bit wear, else clean and solid. The
actual paintings are all quite clean, there is no worming or
other detractions. Each paper painting is beautifully
mounted using silver paper borders. Each is solid and very
clean, with a touch of oxidizing patina due to the age of
the paper. There is evidence of a something gently removed
from the inside front end paper leaving a small amount of
red color behind, we assume this may have been a private
ownership bookplate. The end papers are 'gold-flecked paper'
and are otherwise very clean.
Page edges on three sides are lovely solid silver gilt with
the usual oxidation due to age.
.
All in all a very clean lovely example of a very RARE erotic
album.
**
CONTAINED IN A CUSTOM-MADE JAPANESE CEDAR WOODEN BOX:
This work is contained in a very nice custom two-part
Japanese wooden box. The bottom lacks two of the four lips,
but the top seals down correctly, protecting this lovely
work any bug intrusion. Otherwise a few old worm holes,
nicks, bumps, scratches to the exterior of the box as
expected.
.
The box has protected this charming work from any attrition
and has done its job.
*
COLOR SCANS:
Please view the color scans posted to our website.
***
BIBLIOGRAPHY:
Richard LANE: IMAGES OF THE FLOATING WORLD, p.277, photo #
451 shows Hoshu as the artist, original attributed to
Taigado. Sadly, Dr. Lane did not put the actual Kanji for
Hohshuu in his work, so we are still left without the exact
characters for his name.
.
For comparison sake, we have made a scan Lane's
illustration and posted it to our website as image
illus11.jpg, along with many others of our album.
*
MITCHELL, C.H. et al.: THE ILLUSTRATED BOOKS OF THE NANGA,
Bibliography, p.180-181 where he has a very generous
paragraph on Taigado. He also attributes his 'studio' name
as Arina, his true name was Kin, other studio names used
were Taisei, Kaemon, later as Shuhei, Kasho and others !
An excellent Nanga ["Southern Style" artist], and native to
Kyoto.
*
Not found in:
Laurance P. Roberts: DICTIONARY OF JAPANESE ARTISTS. On page
239 he lists several choices for studio name "Hoshu," but we
can not find the exact one Lane cites. Shibata entries again
did not yield additional details.
We shall leave it there and defer to the eminent professor
Dr. Richard Lane's excellent scholarship.
*
SUSKI, P.M.:THE YEAR NAMES OF CHINA AND JAPAN. See p.30 for
Emperor's name and dates.
***
CONCURRENT WITH COMMODORE PERRY'S JAPAN VISIT
382 SHIBATA, Shuzo.
SHINTEI KONYO RYAKU ZENZU: REVISED OUTLINE MAP OF THE WORLD.
Edo 1852, Shibata. Yellow stiff covers, very good, woodblock
printed, color outline map, egg-shaped projection of the
world, Japanese text, sheet size: 1 meter 5.5 x 49 cm., map
size 75.5 x 49 cm., woodbock printed on hand-made paper.RARE
This work was based on the Mercator projection, which was
getting popular during this period in Japan. But the author
chose the egg shape projection to illustrate the very new &
then accurate view of the world to the Japanese. Carved in
wood block by Takeguchi Teisai. This beautiful work is ready
for framing and wall decoration.
*
This work is historically important since it was published
the year that Commodore Perry of America arrived in Japan
to open trade. The author states that "...Ancient maps show
a continent called MEGARANI SHU but there is no actual
place with that name, and if so then there would be six
continents.
*
On the South Ocean there is no continent except for New
Holland and New Guinea..." Some folds a bit tender, minor
mended fold tears but otherwise clean, key to places,
mountains, rivers, cities &c.
*
A handsome color example of Japanese woodcut and colored
world cartography during the mid-19th century. World maps
in Japan remained primitive due to the fact that they had
little contact with the Western world until 1854.
Contemporary Japanese maps remained influenced by the maps
brought to Japan by the Dutch from 1600 onwards, and did
not show much significant improvement when compared to
contemporary Western maps. The Dutch were happy to keep
the Japanese in the dark as to the true nature and latest
discoveries in world cartography.
*
BIBLIOGRAPHY:
$8000
Listed in G. Beans: LIST B, p.38, as 1852.4,
*
T. Oda: THE WORLD IN JAPANSE MAPS UNTIL THE MID-19TH
CENTURY, p.212-213, as plate #95
*
SUPERB EXAMPLE SIMILAR TO THE MUSTARD SEED GARDEN MANUAL
383 SHIBATA, Zeshin.
FUNGI AND PINE NEEDLES. Shinkin To matsuba
[Symbols of Immortality]
[Japan c 1880's]. A color woodblock print, 25 x 24 cm., very
strong impression, registry and color, artist signed and red
Hanko [seral/chop], immaculate condition, nearly square size
format similar to Surimono.
***
***
***
.
.
.
.
A STUNNINGLY IMMACULATE COLOR WOODBLOCK PRINT:
.
. SHOWNG THREE FUNGI OR MUSHROOMS IN THE GRASS
.
.
This is a superb work, with marvelous gradiation of pale
green background, with an impressive black-brown fungi in
the foreground. A tall mushroom occupies the right
background, in a lovely composition, by the master
Shin-hanga artist.
.
***
WHO WAS SHIBATA ZESHIN 1807-1891:
Was a superb and talented Shin-hanga painter and woodblock
print designer. While his production of prints was very
small when compared to his contemporaries, his high-quality
and stunning composition was beyond most other artists of
his time.
.
Ernest Fenollosa was fascinated with Zeshin, and said about
him: "The Japanese genius lay in the line of art objects
featuring decoration and design."
.
Zeshin also did a great number of the most superb lacquer
ware designs, may inspired or tested in his woodblock
prints. he remains one of the highest masters of all time,
respected as one of the all time ten best from Japan. His
stature continues unquestioned, and admired by museums and
$6120
collectors throughout the world. His "Zen" simple designs
reflect his keen ability to express simplicity which is
essentially Japanese. Bar none he stands out in the artistic
world.
.
***
ABOUT THE SEAL:
Per Henderson [2nd.entry below] he cites the artist's seal
is Tairyukyo, no.36 in the seal index of his 1976 catalog.
.
***
REFERENCES:
HENDERSON, Milne.. AN EXHIBITION OF PRINTS & PAINTINGS ON
NETSUKE SUBJECTS BY ZESHIN & RELATED ARTISTS 28 JUNE-14 JULY
[1980]. See item #4, illustrated in this catalog.
.
--. AN EXHIBITION OF PRINTS, PAINTINGS AND LACQUER BY
SHIBATA ZESHIN 25 JUNE-9 JULY 1976. See seal #36, Tairyukyo.
*
O'BRIAN, Mary L. et al.: THE ART OF SHIBATA ZESHIN THE MR.
AND MRS. JAMES E. O'BRIEN COLLECTION AT THE HONOLULU ACADEMY
OF ARTS.
.
***
website.
A MOST STUNNING COMPOSITION AND DESIGN BY THE MASTER !
384 SHIBATA, Zeshin.
HAGOITA: SHUTTLECOCK [BAT] WITH HANE AND PLUM FLOWER.
[A Color Shin-Hanga Japanese Woodblock Print]
[Japan ca.1880's]. Color woodblock print, very clean, nice
impression, minor rubbing, with Zeshin Signature, Tairyukyo
seal in read, 24.9 cm., 24 cm.
***
***
***
.
.
.
A FAMOUS PRINT, EXPRESSING NEW YEARS'S IN JAPAN
.
.
"HAGOITA"
.
.
The "Hagoita" [Battledore or 'paddle'] is use in Japan
during the New Year celebration in a game of "Shuttlecock"
where a tiny "birdie" with feathers is batted back and forth
$1085
between friends.
.
***
WHO WAS SHIBATA ZESHIN 1807-1891:
Was a superb and talented Shin-hanga painter and woodblock
print designer. While his production of prints was very
small when compared to his contemporaries, his high-quality
and stunning composition was beyond most other artists of
his time.
.
Ernest Fenollosa was fascinated with Zeshin, and said about
him: "The Japanese genius lay in the line of art objects
featuring decoration and design."
.
Zeshin also did a great number of the most superb lacquer
ware designs, may inspired or tested in his woodblock
prints. he remains one of the highest masters of all time,
respected as one of the all time ten best from Japan. His
stature continues unquestioned, and admired by museums and
collectors throughout the world. His "Zen" simple designs
reflect his keen ability to express simplicity which is
essentially Japanese. Bar none he stands out in the artistic
world.
.
***
ABOUT THE SEAL:
Per Henderson [2nd.entry below] he cites the artist's seal
is Tairyukyo, no.36 in the seal index of his 1976 catalog.
.
***
REFERENCES:
.
HENDERSON, Milne. :AN EXHIBITION OF PRINTS & PAINTINGS ON
NETSUKE SUBJECTS BY ZESHIN & RELATED ARTISTS 28 JUNE-14
JULY [1980]. See #12 and photo.
*
.
--. AN EXHIBITION OF PRINTS, PAINTINGS AND LACQUER BY
SHIBATA ZESHIN 25 JUNE-9 JULY 1976. See seal #2, Tairyukyo
seal #8..
*
O'BRIAN, Mary L. et al.: THE ART OF SHIBATA ZESHIN THE MR.
AND MRS. JAMES E. O'BRIEN COLLECTION AT THE HONOLULU ACADEMY
OF ARTS.
*
JACKSON, STUART GALLERY.:WOODBLOCK PRINTS OF SHIBATA ZESHIN
[1807-1891] see #6.
*
.
***
website.
***
A BOOK ON JAPANESE WOMEN POETS & OTHER FAMOUS WOMEN
$1301
385 [SHIGENOBU]
YEHON FUJI BAKAMA [OR BAKAWA]: PORTRAITS OF THE FIFTEEEN
FAMOUS WOMEN OR PICTURE BOOK 'FUJIBAKAMA.'
Edo 1823, Kakumaru-ya Jinsuke. Black stitched wrs.,very good
vol. 1 of 2 only, 22 x 15.5 cm., 16 double folded leaves,
ves, [32]p., 16p. woodcut illustrations by Shigenobu who was
known as Tanishiro Shigeyama, pupil of Yanagawa Shigenobu...
A rather well-known work, illustrating the anecdotes of 8
celebrated women in Jaanese history. The artist succeeded
his master as an adopted son, the name taken from Zoku
Ukiyo-e Ruikoh. Cited in: Brown, p.130. Toda p.283. The
meaning of Fujibakama=eupatorium Chinesnse [a long-flowering
plant representing the kind of accolade that laurels imply
to us]. Wonderful illustrations, nicely executed. According
to J. Hillier: THE ART OF THE JAPANESE BOOK, vol.2, pp.785789: "the artist was originally named Tanishiro Shigeyama, a
pupil of Yanagawa Shigenobu, whose name he assumed when his
master died, and who is consequently known as Shigenobu II.
First issued in 1823 and the artist named was Shigeyama, but
in the reissue of 1836 [after the death of the first Shigenobu], the colophon gave the artist as Yanagawa Shigenobu
from which it has WRONGLY been credited to Shigenobu I." The
book was color printed, but ours seems to be the RARE black
& white edition, Not cited by Hillier or others. This work
deals with the events in the lives of famous women, and also
depicts Kaga no Chihyo, an 18th century poetess remembered
principally for a Hokku that, in 1823 was much in people's
minds because of the current craze, discussed in the next
chapter for Asagao, the 'morning glory.' Text by Saeda Shigeru.
A SUPERB FOLIO SET WITH STUNNING COLOR EXAMPLES
386 [SHIMADA].
MOTONOBU GA SHU: Collection of [Kano] Motonobu Paintings.
[Tokyo 1903-07, Shimbi Shoin]. 3 folio vols, 17 x 12 inches,
in folding slipcases with ivory clasps, all edges gilt, many
color woodcut plates, 146 b.w. plates.
FIRST & ONLY DELUXE EDITION
Covers the major efforts of this mid-16th century painter.
Strong ink brush style, bright color. This edition is a
production of Japan's most honored publisher, the Shimbi
Shoin.
*
The work is a DeLuxe printing on high quality paper, bound
in the traditional Japanese fashion in stunning condition.
*
$612
FIRST & ONLY EDITION: The work was so luxurious that it was
only printed once, in the present edition.
*
CONDITION:
The Chitsu folding cases have some wear and two clips are
wanting, the balance present. There is some end wear and a
small piece missing from the Chitsu, else, the books are in
pristine condition, with just a little minor and usual
rubbing but by and large extremely clean, and a lovely copy.
The gilt is bright and excellent.
*
This is a very large and heavy set. Appropriate extra
packing, insurance and shipping charges will apply.
*
$500
PUBLISHED IN A LIMITED EDITION OF ONLY 750 COPIES
387 SHIMIZU, Yutaka.
NARA PICTURE BOOK. [NARA E-HON].
Los Angeles 1960, Dawson. Brocaide silk, stitched, very good
double folded leaves, 2 paper samples tipped in, 4 color, 6
b.w. photos,slipcase, 17.7 x 25.5 cm., translated by Richard
Zumwinkle, new copy.
LIMITED EDITION 750 COPIES
This unique English language reference monograph covers the
bibliographical features, nomenclature, book titles, history
the painatiings & calligraphy, with notes on the literary
significance.
*
Nicely color & b.w. illustrated, a most valuable reference
in English for any student or collector of Nara-Ehon.
*
One of the very few substantial references in English.
There are virtually no other monographs in English on this
obscure subject in any depth.
*
These Japanese manuscript books were firt made abut 1440, &
were negelected from 1467-1575 and flourished again from
1574 to about 1736. They orignated in Nara by Buddhist
artists but were not on buddhist subjects.
*
FIRST AND ONLY LIMITED EDITION OF 750 COPIES
*
$12
A GIANT SIZED COPPER-ETCHED COLOR WORLD MAP
388 SHINKAN YOCHI ZENZU: WORLD CHART ON MERCATOR'S PROJECTION.
SHINKAN YOCHI ZENZU: WORLD CHART ON MERCATOR'S PROJECTION
WITH NUMEROUS OCEAN ROUTES. AHEAD OF TITLE: KANKYO SHINKAI
Edo 1861, Satoh. Green stained cloth covers, color woodblock
printed, copper etched outline, sheet 1 meter 35.5 x 1 meter
36 cm., light margin & small center stain, a few old mended
worm holes, else solid, grand size wall map.
R A R E
This is a superb example of one of the largest wall maps
printed during this period. Of special merit are the 159
flags of foreign nations in color. Sato Masayasu the
publisher was a student of Katsu Kaishuu, the celebrated
Dutch Scholar [Ran Gakusha].His name appears in the
introductory text.
*
This work represented the end of the Edo period &
influenced world maps of the Meiji period. This work is the
most up-to-date cartographic view of the world, accurate,
with names of countries, cities, mountains, rivers, seas &c.
The inside title reads: SHINKAN YOCHI ZENZU.
*
A choice large wall map, suitable for wall display. Done in
the Mercator projection showing sea routes, oceans, currents
with all places of major interest named. An important & most
valuable historical world map.
****
BIBLIOGRAPHY:
ERA: LIST Supplement A, p.31, 1861.1.
*
Kurita p.23,
*
Kobe City Museum: AKIOKA KO CHIZU KOLEKUSHYON MEI HIN TEN:
EXHIBITION OF THE AKIOKA COLLECTION OF FAMOUS OLD MAPS: and
is illustrated as plate 34.
****
A PERRY ERA NATIVE JAPANESE RELIGIOUS PRAYER BOOK & SUTRA
$4214
389 SHINTO KYKUU SHUU OH HARAI: SHINTO BIBLE.
SHINTO KYKUU SHUU OH HARAI: SHINTO BIBLE: A Shinto Prayer
Book & Sutra.
[Kyoto 1855, Yamato-Ya]. Accordion folded down to 6.2 x 15
cm., 2m. 43.5 cm long, printed on both sides, on mica-flecked paper, lacks back cover, but complete, some folds mended,
essential solid, pocket size, actually used.
S C A R C E
Shinto is Japan's most primitive and basic set of beliefs,
not a religion as it lacks dogma & morals, but is the
foundation of the origin of the Japanese Imperial line and
is the basis of Japan's spiritual life. KAMI [Invisible
God], cosmogony of the "heaven and the earth" are main
themes.
*
This sutra was done during the time of Commodore Perry's
historic visit to Japan. This holy scripture was written
entirely in Japanese Kanji with much Furigana and is
pronounced strictly in Japanese, rather than any Chinese
reading of the characters. The palm-sized Ori-hon
[folding-book] is designed to be used by a Shinto disciple
or follower, while praying to Japan's native gods and
spirits. Shinto [WAY OF THE SPIRITS] is the national belief
of Japan, is a mixture of the veneration of ancestors &
nature worship.
*
To loosely quote an excerpt from Papinot: "The Shinto
mythology mentions a first God AME-NO-MINAKANUSHI [Lord of
the Middle of Heaven] who remained motionless in the
centre of the universe at the time of the creation, or
who, according to others, was the first born at
Takama-ga-hara [Plain of Heaven]. After him, come
Takamimusubi, Kamimusubi, Umashi-ashikabi-hiko,
Kunito-kotachi, Kunisatsuchi, Toyokunu then a host of
others, finally the most famous are Izanagi & Izanami the
two
that created Japan and an infinite number of Gods. Of them
were born Amaterasu-o-mikami...who sent her grandson
Ninigi-no-mikoto to rule over Japan. He is the
great-grandfather of Jimmu-tenno, the first Emperor. Shinto
has personified all the forces and all the phenomena of
nature, and sought to render them propitious; whence, the
Gods of the wind of the sea of the mountains of epidemics
&c. It even added to them Gods of food, kitchen, the hearth
&c. In the beginning there was no other temple but the
Imperial Palace. The readings and ceremony consists of
purifications & ablutions." See Papinot citation below.
*
Often, Japanese will throw a handful of salt to purify their
home or establishment after a bad experience, part of
this purification practice. The temple of Ise was the
first erected outside of the Palace for Shinto worship
outside the Palace. The three treasures are the mirror,
sword & the jewel. Absent of metaphysical dogma, Shinto was
challenged in 552 by the introduction of Buddhism with its
higher moral code.
*
There are 163,861 Shinto temples in Japan. Capt. F. Brinkley
in his historic A HISTORY OF THE JAPANESE PEOPLE, devotes
substantial space to this all important & most primitive of
Japanese beliefs. Works of this period woodblock printed
on the very special mica-flecked hand-made Washi paper
are truly rare and seldom if ever found on the market for
sale.
*
When thoroughly worn out, they are usually burned at the end
of the year in as an offering, rather than kept. Prey few
old examples remain due to this reason. There are also
Shinto rituals related to the purification and acquisition
of Japanese Samurai swords. A great example of Japan's
oldest and most unique and native pantheon.
*
BIBLIOGRAPHY:
Capt. F. Brinkley: A HISTORY OF THE JAPANESE PEOPLE
*
E. Papinot: HISTORICAL & GEOGRAPHICAL DICTIONARY
OF JAPAN: pp.578-579.
*
.
$818
390 SHOBAI OURAI: HAND BOOK OF BUSINESS
SHOBAI OURAI: HAND BOOK OF BUSINESS.
[Edo 1847, Fujikaya]. Red stitched wrs., 10 double leaves,21
pages in all, Japanese text, illustrated title page, 3 illustrations a the top of the page, woodblock printed on handmade Washi paper, 17.5 x 25 cm., well worn, Japanese text.
How to make money & get rich, count products, business vocabulary, how to read Japanese business characters, and business man's guide.
FASCINATING [1810] EROTIC STORY OF LUST, SEX AND RAPE
391 SHUNTEI.
$136
HARU SAME NO NIKKI: THE [EROTIC] JOURNAL OF A SPRING RAIN.
[Japan n.d. ca. 1810]. Stitched thick color printed woodblock print decorated covers, 3 vol. set, [14+10+8] doubleleaves, very good impressions & registry, polychrome printed
erotic set, 30 color illustrations, 25 erotic illustrations.
A very clean copy, 15.5 x 22.5 cm. An excellent set of Harubon or erotic illustrated woodblock printed books. Shuntei
[1770-1820] was a celebrated book illustrator & print artist
of the time. Volume one begins with an erotic introduction,
discussing the sensual gentle spring rain season. The first
double page plate shows Geishas getting ready for the arrival of guests, their placing of the food with three Geisha
who play musical instruments and hold fans. Page 2 shows a
young Samurai on neglecting his fire watch while making
love along the river with his lover, on a double pages. Page
3 shows another couple with the woman on top, grasping the
young man's highly enlarged erected penis, while she looks
at an opened erotic book, mimicking the exact position and
action in that book ! Next two plates show couples engaged
in love making, the last illustration is of the vulva and
exposed genitals. Vol. 2 is illustrated with 4 double-pages
of couples making love. One shows the woman looking at a 3
volume erotic book, another shows a man licking his fingers
in preparation to lubricate the vulva, the last plate shows
a large close-up of the penis & vulva. Vol. 3 shows two men
coming upon a couple making love in the night, they begin to
assault the man with an erect penis, and rape the woman,
another of a couple making love. The last illustration in
each volume, shows close-ups penis and vulva, and deep penetration of the vulva. An exceptionally fascinating erotic
set, complete. Cited and illustrated in K. Shibui: UKIYO-E
NAISHI, page 68 with 2 illustrations, item #106. L. Roberts
DICTIONARY OF JAPANESE ARTISTS cites Shuntei [1770-1820] on
p.158. QUITE RARE. Color scans can be sent by email.
A 19TH CENTURY COPY OF THE CELEBRATED BUDDHIST PRIESTS ART
392 SHUUBUN.
EHON JINBUTSU ZUE, KACHO ZUE, SAN SUI ZU: ILLUSTRATED BOOK:
PEOPLE, BIRDS & FLOWERS, LANDSCAPES [MOUNTAINS & WATER]
[Japan, n.c. ca 19th century]. A manuscript book, 17 x 23.5
cm., very good, tied with twisted paper in 2 places, 14
double folded leaves = [28]p., some old worming on last 8p.,
else clean bright paper, done after the original.
OBSCURE
Shuubun was a celebrated Zem Buddhist monk and painter of
the 15th century or Muromachi period. Born in Omi province,
he went to Kyoto and was the chief of Sokoku-ji temple. From
$6120
an early time, he was a painting student of the Chinese
scholar-painter Josetsu, who was a resident at Shokoku-ji
temple. Shuubun was often called Ekki Shuubun, his studio
name.
*
The current work is likely a 19th century copy of one of his
book, done after the orignial work. Students commonly used
famous works to copy from and practice their art. This work
reflects the charm and sensitivity that Shuubun expressed in
his Zen art form. There is no attemp to forge or otherwise
assume this work was that of Shuubun.
*
BIBLIOGRAPHY:
*
E.Papinot: HISTORICAL AND GEOGRAPHICAL DICTIONARY OF JAPAN:
p.593.
*
F. Brinkley: A HISTORY OF THE JAPANESE PEOPLE: pp.365, 450
*
$354
A TRANSLATION & COMMENTARY OF FUGAKU HYAKKEI
393 SMITH, Henry D.
HOKUSAI: One Hundred Views of Mt. Fuji.
New York [1988], Braziller. Blue cloth, very good, 224p.,
83 b.w. plates, notes, bibliography, dj.
Through the inexhaustible originality in presentation, Hokusai's glimpses of Mt. Fuji transmute the ordinary into the
memorable. Relying on traditional themes and pictorial elements, he handles motifs freely without destroying the naturalness of the scene. In his introduction, the author
explores the importance of the Fuji cult in Japan, as well
as the importance of Hokusai's 100 Views of Mt. Fuji. Useful
for any student of Japanese art, woodblock books & of Fuji !
Freitag 5421
A USEFUL DICTIONARY REFERENCE FOR PAINTERS & UKIYO-E PRINTS
394 SOCIETY OF FRIENDS.
INDEX OF JAPANESE PAINTERS: COMPILED BY THE SOCIETY OF
FRIENDS OF EASTERN ART.
$65
Rutland [1973], Tuttle. Blue cloth, very clean, paper pasteon covers, solid, 160p., folding chart, bright, sharp copy.
An excellent reference for any collector of Japanese
painters and Ukiyo-e prints, as well as Japanese woodblock
printed books. Organized in alphabetical order, Romaji,
Japanest character name, English descriptions, dates, studio
name given, references where examples are found, background
info on each. Valuable for reference and research.
*
The author is possibly Marquis Moritatsu.
$19
A USEFUL DICTIONARY REFERENCE FOR PAINTERS & UKIYO-E PRINTS
395 SOCIETY OF FRIENDS.
INDEX OF JAPANESE PAINTERS: COMPILED BY THE SOCIETY OF
FRIENDS OF EASTERN ART.
Rutland [1976], Tuttle. Green cloth,very clean, paper pasteon covers, very good, 160p., folding chart, 13 x 19 cm., a
solid copy.
An excellent reference for any collector of Japanese
painters and Ukiyo-e prints, as well as Japanese woodblock
printed books. Organized in alphabetical order, Romaji,
Japanest character name, English descriptions, dates, studio
name given, references where examples are found, background
info on each. Valuable for reference and research.
*
The author is possibly Marquis Moritatsu.
396 SOGA MONOGATARI.
SOGA MONOGATARI. THE STORY OF THE SOGA BROTHERS VENDETTA.
[Osaka 1700, Osaka Shorin]. Blue stitched thick wrappers, 12
volume set, complete, 18.5 x 25 cm., total of [400]p., woodblock printed, [400]p., 122 b.w. illustrations, very good, a
bit of old worming in vol. 12, last few pages, no loss.
Printed on double folded leaves. This is the famous & classic 12th century story of revenge. The Soga brother's father
Soga Sukeyasu was murdered in 1177 by his relative Kudo
Suketsune. The two orphaned young brothers Sukenari [117293] & Tokimune [1174-93] were adopted later and their mother
remarried. They were spared death by their father's enemies.
The boys bided their time and then avenged their father by
killing Suketsune in 1193. They were captured and put to
$19
death. This is their story. Nicely illustrated by early wood
cuts. A good account is found in E. Papinot: HISTORICAL &
GEOGRAPHICAL DICTIONARY OF JAPAN, p.599. This story is also
covered in more detail in the usual Japanese histories, including Brinkley, Murdoch, Sansom et al. A very copious description of the illustrations and bibliographical details are
found in K. Toda: THE RYERSON COLLECTION, p.66-70 for many
entries. J.S. Edgren: CATALOGUE OF THE NORDENSKIOLD COLLECTION, p.57. #164. S. Iwao: BIOGRAPHICAL DICTIONARY OF JAPANESE HISTORY. Rosny 172:/146. J. Goedertier: A DICTIONARY OF
JAPANESE HISTORY, p.69, 274 for a brief but good description
of the story. KS 5-298 for more entries. This story has been
the inspiration of many Kabuki & Noh dramas. The complete
set in 12 vols. is difficult to find, as many of these have
been separated and sold for their fine illustrations. This
work is bound in the original covers, with Sumi calligraphed
title slips. Nice early work. Scans of illustrations can be
sent by e-mail.
R A R E !
STUNNING, COMPREHENSIVE 1703 JAPANESE BOTANICAL ENCYCLOPEDIA
397 SOH, Han. et al.
SEIKEI ZUSETSU: ILLUSTRATED BOOK OF AGRICULTURE.
[Woodblock-Printed & Illustrated & 30 Volume Set]
Osaka 1793, Hanfu Shorin. Stitched yellow stiff wrs.,30 vol.
set, 19.7 x 26.5 cm.,title slips,2 indigo-blue folding cloth
Chitsu folding cases, bone clasps, clean covers a few dusty,
contents very clean & bright, complete set.
FIRST EDITION
This superb and copious work was initiated in Kansei 5
[1793] by order of Shimazu Shigehide [1745-1833], the Daimyo
of Satsuma, i.e. the Feudal Lord [Tycoon]. This area is now
called Kagoshima Prefecture, Kyushu. The work was edited by
Soh, Han, [aka: by his "studio" or "go" name: Soh Senshun
1758-1834].
.
Lord of Shimazu ordered a comprehensive illustrated
encyclopedic treatise on agriculture and agricultural
botany. The work had an ambitious task, to list every known
plant in Japan, with drawings of a large number of examples.
Though the original plan was to make this work in 100
volumes, due to fire and other catastrophes, it only went
to 30 volumes in all.
*
EDITORS:
The work was edited by Soh Senshun [So Han] & Shirao
Kokuchu.
***
$5168
DISASTER DURING THE COMPLIATION OF THIS WORK:
This work was to be the greatest work of botany every
published, but was interrupted twice by fire. never
progressed beyond the 30 volumes. The work suffered two
fires in 1806, and again in 1829. These fires destroyed a
great number of the book's woodcut blocks, along with a
large number of printed pages stored in a warehouse which
burned to the ground. It dealt with agricultural botany, and
a few wild food plants.
***
THE INCLUSION OF SOME FOREIGN GRAINS & CORN:
The work is nicely described & illustrated in Bartlett [see
below] as exhibit 33. Figure 29 shows four pages from this
work. It also included a bizarre and unusual form of
American Indian Maize [i.e. corn] from the new world, known
in Japan as Mamekibi. It also shows two other foreign
grains: Tobiki or T'ang millet, and Namban millet from the
land of the Portuguese or "Southern Barbarians." Also
Koma-kibi a Korean millet from the old name Koma for Korea.
.
The corn was fried in a pan to make "pop-corn" an early
record of this kind of usage and food. It may even predate
the American usage of corn.
***
The contents also deals with the agricultural ceremonies and
festivals, planting and tending crops, surveying,
irrigation, flood control, farm implements, verities of rice
ad various agricultural products.
.
This famous, stunning and copious work remains one of the
most important botanicals ever done in Japan, and is
considered one of the most comprehensive and reliable works
ever done on the subject in Japan.
***
EDITION:
This is the FIRST & ONLY EDITION OF THE BOOK. This work was
not reprinted nor issued serially, but issued as a set of 30
volumes complete in its one and only edition.
***
CONDITION:
The set is uniformly bound in stiff yellow stitched
wrappers. The first volume covers are dusty front & back;
vol.2 & 11 have some stains on the front covers, back covers
clean. Vol.8 a bit of stain & spots to lower front cover,
back cover clean. Else all other volumes are exceptionally
clean both front and back converse as well as bright and
clean contents, no worming or other issues.
By and large a very nice set !
***
ALTERNATE PUBLISHERS:
These are the alternate publishers: So-ya Kyubei and Iyo-ya
Zenbei in Osaka.
***
REFERENCE:
PUBLIC COLLECTIONS IN THE NETHERLANDS, p.588-589, #1426
*
BARTLETT, Harley H. JAPANESE BOTANY DURING THE PERIOD OF
WOOD-BLOCK PRINTING, p.149, exhibit no.33, illustrated on a
full page as figure 29.
*
This work cited:
BIBLIOGRAPHY AND NATURAL HISTORY: Essays presented at a
conference convened in June 1964, Lawrence, Kansas
A speech delivered by U.C.L.A. Prof. Richard C. Rudolph:
ILLUSTRATED BOTANICAL WORKS IN CHINA & JAPAN, Feb.1, 1967
used this among several others to illustrated his speech,
two photos [illus08.jpg] are scanned and posted to our
website, along with many others from this book. Both of
these photos were taken from Bartlett p.150, figure 29.
*
KSM (Nogyo) hakubutsu 5-78-3
***
$17546
FASCINATING EARLY JAPANESE PERSPECTIVE ON EVALUATING SWORDS
398 SOKEN HITSUO KI.
SOKEN HITSUO KI. HOW TO EVALUATE JAPANESE SWORDS.
[Edo 1824, Suwahara]. Blue stitched wrs., oblong format,worn
covers, contents solid, some old worming, 21.7 x 15.5 cm.,29
double-folded leaves 27 double pages showing one long sword,
8 tangs, 8p. designs & others. FIRST & ONLY OBSCURE EDITION
Useful to all Japanese sword and Tanto collectors. Shows
some Menuki designs, the Midare or "cloud pattern" found in
Japanese blades. Loaded with useful sword examples.
*
Nicely done, useful reference for students, collectors and
dealers !
*
399 SOTHEBY'S.
CODE CHOKI. JAPANESE PRINTS AND ILLUSTRATED BOOKS.
London 1991, Sotheby's. Black pictorial wrappers, very good,
93p., 33 color, 126 b.w. photos, plan, glossary, with price
estimates, covers 303 well described items.
$269
An excellent display of works by Kuniyoshi, Hokusai, Eizan,
Hiroshige, Munakata, Utamaro, Toyokuni &c., depicting men,
women, landscapes, &c. A useful reference resource.
$39
400 SOTHEBY'S.
CODE SAKURA. JAPANESE PRINTS, ILLUSTRATED BOOKS AND
PAINTINGS.
London 1987, Sotheby's. Yellow pictorial wrs., very good,
[88]p., 12 color photos, b.w. photos, price estimates. Sale
of April 15, 1987. A useful reference resource.
439 well-described lots, including prints, screens, paintings &c., Hiroshige, Hokusai, Kuniyoshi &c.
$39
401 SOTHEBY'S.
CODE SATSUKI. JAPANESE PRINTS, ILLUSTRATED BOOKS & PAINTINGS
London 1988, Sotheby's. Stiff pictorial wrs., 70p., 58 b.w.
photos, 10 color photos, price estimates, price list. Sale
of May 16th, 1988, 379 well described lots.
AN EXCELLENT EXHIBITION OF OVER 200 EXAMPLES
402 SPRINGFIELD LIBRARY & MUSEUM ASSN.
UTAGAWA KUNIYOSHI: An Exhibition of the Work of Utagawa
Kuniyoshi [1797-1861] Based on the Raymond A. Bidwell
[Springfield 1980, Springfield Museum]. Stiff pictorial wrs.
unpaginated, 201 color & b. w. plates, chronology, bibliography, 18.5 x 26.5 cm., 1/2 inch thick, very clean, unused,
unread bright copy, as new.
FIRST EDITION
An excellent catalog based on the celebrated Raymond A.
Bidwell Collection of Japanese Prints.
*
Includes a list of publishers, various signatures & dates of
use, artist's seals [Hanko], biographical essay, & other
useful references.
*
Illustrating over 200 examples of this great artist's works,
showing a bold flair & capture of fluid motion.
*
$34
An important reference source for a any museum, student or
collector.
***
A FIRST MONOGRAPH ON SADAHIDE AND HIS COLOR WOODBLOCK PRINTS
403 STANOFF, Jerrold G.
SADAHIDE. [Utagawa Gountei Sadahide]
[A Lecture Delivered to the Ukiyo-E Society of America, New
[New York 1984, Ukiyo-e Society America. Buff wrappers, A-4
size, 9p., stapled, as new.
OBSCURE, FIRST & ONLY EDITION
This is perhaps the first real monograph covering the works
of Hashimoto Sadahide, his bird's eye view maps, processions
and other prints related to Yokohama and foreigners in the
Yokohama are.
*
The essay uses several examples from the author's and a
library collection to illustrated the skill and technique of
Sadahide.
*
***
WHO WAS UTAGAWA SADAHIDE [GOUNTEI] 1807-73]:
Was to become one of the most famous Yokohama print artists
of his time. He used several "Go" or "studio names:"
Kenjiro, Gountei, Gyokuoh, Gyokuran, Gyokuransai,
Gyokurantei, Sadahide [a "Go" which stuck]. He is perhaps
one of the first after Hokusai, to use what is now commonly
called a "bird's eye" view or perspective from a cloud-level
advantage point. He as tremendous great skill to imagine
himself in the clouds, looking down upon the landscape as if
he were a 'bird.' His ability to correctly put into
perspective a long and wide view of the Tokaido, Yokohama,
Yoshiwara and other geographic areas of Japan in a charming
and wonderfully realistic map-like projection. Few artists
could capture with such detail and artistic, pictorial
representation these beautiful and artful images.
.
Sadahide earned his position in the period Genre art of the
times, creating memorable and delightful walking maps of the
Tokaido, the gay quarters of the Yokohama Yoshiwara
prostitution area and adjacent place.
.
Sadahide's "bird's eye" views are "SINE PARI" i.e. "Without
Equal" in the period genre of Japanese color woodblock
printing. He stood out with type of 'pictorial map' and
continued to make standard Oban-size prints of foreigners
and their life style in Yokohama.
$36
.
It is of great interest, to observe Robert's comments
written in 1976, where he missed the "wave" of interest
mounting about Sadahide. This cataloger wrote an article
about Sadahide in 1984 which was presented to the Ukiyo-e
Society of America, few of any members even knew of Sadahide
nor had they noticed his stunning and exceptional artistic
works.
.
Currently [2016], some thirty-two years later, a generation
later, Sadahide has finally 'arrived' and gone
'main-stream,' dealers, collectors and museums throughout
the world know his name [finally !!].
.
Per Roberts: "He was a pupil of Kunisada. A prolific but
'minor' printmaker [per Roberts published book date of 1976,
since that time this artist's works have become important,
famous and highly collectable] and illustrator, producing
some theatrical prints I the Osaka manner as well as prints
of traditional Japanese subjects and, after Yokohama was
opened to the West, of contemporary industrial scenes and
foreigners. Also made political cartoons and copied many
makers who presented their works at the Paris Exposition of
1866, receiving the Legion d'Honneur for his part I the
exhibition. Sometimes called a member of the Yokohama
school. One of the last to depict Ukyo-e subjects. his
effective and decorative prints show the influence of
Western perspective and Chiaroscuro.:" Roberts below, p.135.
He is now well-collected by world-wide museums. His name is
now the source of a a WikiPedia article !
.
*
In 1868, the first year of Meiji, it was reported Sadhide
ranked the best-selling Ukiyo-e artist. He died in 1878 or
1879,shortly after producing a print of Yokohama the size of
a tatami mat [ca 1 x 2 meters.
.
The first exhibition dedicated to Sadahide's work was held
in 1997, subtitled: "SORA TOBE UKIYO-E SHI: THE UKIYO-E
ARTIST WHO FLIES IN THE SKY. See below for this reference.
.
***
REFERENCES:
KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN.: YOKOHAMA UKIYOE TO
YOKOHAMA UKIYO-E: LIFE & WOODCUT WORKS OF GOUNTEI SADAHIDE.
[A Woodblock Print Artist of the Mid-19th Century]
*
KANAGAWA KENRITSU HAKUBUTSUKAN: YOKOHAMA UKIYO- TO SORATOBU
ESHI GOUNTE SADAHIDE. THE UKIYO-E ARTIST WHO FLIES IN THE
SKY.
*
STANOFF, Jerrold G.: SADAHIDE. [Utagawa Gountei Sadahide],
A Lecture Delivered to the Ukiyo-E Society of America, New
York, April, 1984.
*
PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, p.135.
*
SADHIDE:
Per Wikipedia article below:
.
"Utagawa Sadahide [1807-c.1878-79], also known as Gountei
Sadahide, was a Japanese artist best known for his prints in
the ukiyo-e style as a member of the Utagawa school. His
prints covered a wide variety of genres; amongst his best
known are his Yokohama-e pictures of foreigners in Yokohama
in the 1860s, a period when he was a best-selling artist. He
was a member of the Tokugawa shogunate's delegation to the
International Exposition of 1867 in Paris." Quoted from
below entry:
.
https://en.wikipedia.org/wiki/Sadahide
***
NOT IN:
KANAGAWA KENRITSU HAKUBUTSU KAN. comp. SHUTAISEI YOKOHAMA
UKIYO-E.YOKOHAMA UKIYO-E PRINTS. [Covers 95% of All
Yokohama-e Published]
*
***
Color scans of this and most others are posted to our
website.
$36
404 STRANGE, Edward F.
JAPANESE ILLUSTRATION: A History of the Arts of Wood-Cutting
and Colour Printing in Japan.
London 1897, Bell. Yellow cloth, very good, 155p., index of
artist signatures, 6 color, 87 b.w. illustrations, teg, book
plate, wanting 2 color plates, as is, top of spine bit worn.
FIRST EDITION
An excellent reference source for printing in colour, major
artists, Harunobu, Shunsho, their pupils, Utamaro, Toyokuni,
Yeishi, Hokusai & his pupils. Also Yeisen, Shunsen and their
contemporaries. The Osaka School, later artists. Landscape
works, techniques and subject ililustrations. Useful source,
well organized reference documentation for collector & student.Written by the curator of the Victoria & Albert Museum.
$34
London 1904, Bell. Red cloth, very good, 155p., index, list
of artist's signatures in characters, 8color, 87 b.w. illustrations, 2nd. edition, 14 x 22.5 cm., clean, solid copy,top
edge gilt.
$31
London 1904, Bell. Red decorated cloth, very good, 155p.,
index,list of artist's signatures in characters, 8 color, 87
illus., clean x-lib. copy, lacks frontis & 1 b.w.illus.as is
2nd. edition.
AN EARLY ENGLISH GUIDE ON THE TECHNIQUES AND METHODS
$17
407 [STRANGE, Edward F.]
TOOLS AND MATERIALS ILLUSTRATING THE JAPANESE METHOD
OF COLOUR-PRINTING. [For Woodblock Prints]
London 1924, HMSO. Stiff wrs., 24p. b.w. illustrations and
line drawings, bibliography. A descriptive catalog of a
collection exhibited in the Victoria & Albert Museum, XEROX
copy, stapled A-4 size.
This is an important work which describes in great detail
the methods of woodblock printing, the technique of slabbing
the wood, carving the relief, paper, brushes and printing
techniques for superbly registered work & multiple printings
in polychrome. Written by an early British authority on
Japanese prints and staff member of the Victoria & Albert
Museum. With historical note, catalogue of blocks in the museum, and reference on the subject. How-to lessons, cutting
the blocks, printing, colors, tools, blocks & prooof, wood
paltes & blocks, paper & wrappers. Excellent how-to and details on techniques. Useful to understand how Japanese woodblock prints & printed books are made.
CA.1750 MANUSCRIPT ON ACUPUNCTURE & 'DO JIN' OR COPPER DOLL
408 SU, Rankan.
DO JIN YOGISHO: ESSENTIALS OF HOW TO DO ACUPUNCTURE & USE A
"DO JIN" OR A COPPER DOLL AS A MODEL.
Japan, n.d. ca 1750. Stitched yellow stiff wrs., very good,
18.5 x 26.5 cm., a manuscript,[72] double folded fine tissue
leaves, 39 illustrations, many full-page, with red character
corrections & notations for important text, Japanese text.
A very early manuscript, carefully written with clear, well
organized text. This work covers the theory, relationship to
the pulse, stomach, and other internal organs, treatment,
philosophy of acupuncture, cautions in the use of needles,
how to remove, twist, insert. The names of the "points" or
"channels" points to be avoided or those of extreme caution.
"Secret" spots, not to be used by beginners, how to measure
for location of sites to apply treatment, on names & lengths
of bones, interrelations among nerves. How to diagnose sickness, such as apoplexy, typhoid fever, pain in the pelvic
region, asthma, coughing, laryngitis, lumbago, gonorrhea,
epilepsy, hemorrhoids, prolapsus ani, insanity, headache,
ear pain,toothache, dog bites, furuncle, carbuncle, gangrene
and tuberculosis, paronychia, leukorrhea &c. Moxibustion or
caurtery using artemisia vulgaris latifolia was also a treatment that followed the same "points or channels" as acupuncture. The use of either copper or wooden models to locate
the proper points on the human body was a common method used
by students of acupuncture. The model was hollow & then filled with hot wax, and then emptied, thus leaving a thin film
of wax attached to the inside of the model. Then the model
was filled with water. On the outside were as many as 354
"right" spots drilled into the model. The student was blindfolded, he or she then attempted to insert a needle in the
the proper "spot," if any water leaked out, this was considered an error. Thus this treatise includes methods of using
$22
the "Do Jin" [or copper human model], for use with needles
or moxa. See Mestler plate 1,d, opposite p.474 for examples.
Many of these monographs refer back to the first and most
important Chinese work, unnamed, but probably meaning the
REI-SU [Ling-shu], traditionally ascribed to the famous Chinese physician-Emperor Ko-tei [Hwang Ti] 2698-2598 B.C.Again
Mestler also cites this. See G. Mestler: A GALAXY OF OLD
JAPANESE MEDICAL BOOKS...p.468-480 et al, for good background on acupuncture, moxibustion & copper acupuncture models..
S. Kure: REPORT OF THE MEDICAL EXHIBITION...1925 also cites
several items on Do Jin and acupuncture, p.32-33, with illustrations on plates 159, 160 & 165. Books on the subject of
using the Do Jin are quite scarce, the techniques were quite
guarded and strictly handed down from teacher to disciple by
practical learning.
A MOST IMPORTANT RESOURCE ON EARLY DUTCH MEDICINE IN JAPAN
409 SUGITA, Genpaku.
DAWN OF WESTERN SCIENCE IN JAPAN: Rangaku Kotohajime.
[Tokyo] 1969, Hokuseido. Red cloth, dj., 74p., 12 b.w.photos
very good, clean copy, 13 x 18.5 cm. FIRST AND ONLY EDITION
Sugita was an early advocate of Dutch & Western scientific
learning [Rangaku Sha] and was the most important physician
in Japan. He urged the importation and adoption of Western
knowledge in 18th century Japan. Much on him is to be found
in Mestler, see below.
*
He was the one of authors and translators of Japan's first
anatomy, the KAITAI SHINSHO 1774 and was the first
translation of a foreign anatomically correct medical work
in Japan with copper etched plates. He translated this with
assistance from other Rangaku Sha from the Dutch work:
Kulmus' ONTLEEDKKUNDIGE TAFELEN Amsterdam 1734. This work is
illustrated in Mestler as plate III A-D, and mentioned in
several other places.
*
The dust jacket of this book illustrates the title page of
the original Japanese translated edition, and other plates
show examples of the original copper etched illustrations.
*
An excellent and important English language biography of
Sugita, as well as being perhaps the first full English
translation of his most valuable and influential work:
RANGAKU KOTOHAJIME 1869.
*
Sugita's Japanese translation of the KAITAI SHINSHO caused
$2720
the start of a renaissance in Japan, bringing about the end
of Japan's reliance on Chinese medical works based on
mythology rather than hard science. From this juncture
onwards, Japan followed the West books as a primary resource
for medical and other sciences.
***
BIBLIOGRAPHY:
G. Mestler A GALAXY OF OLD JAPANESE MEDICAL BOOKS
*
*
$116
WITH STUNNING COLOR AND MICA FINISH TO THE WOODCUTS
410 SUGITA, Susumu.
KANNOH SHOSHO SAICHA SETSU ZUKAI: EXPLANATIONS, AGRICULTURAL
RECOMMENDATIONS & ILLUSTRATIONS ON HOW TO GROW THE TEA BUSH.
[Japan n.d. Meiji era c. 1870's]. Green stiff wrs., stitched
very good, 13 double leaves, 12 color woodcut illustrations
nicely done, quite clean in blue cloth Chitsu, pegs, 14.5 x
22 cm. FIRST AND ONLY EDITION
QUITE SCARCE
A very unusual work, outlining the methods of growing and
cultivating the important tea camellia. Giving insight to
the cultural methods of tea plant and its flowers and
leaves. Text in Japanese, with very beautiful color
woodblock illustrations showing the flower buds, flowers,
leaves, stems, flowers in full bloom.
*
Each illustration is finished with a clear wash of mica dust
overlay, giving each a semi-glossy appearance with flecks of
mica adding a unique life-like sheen. This technique was
perfected in the Meiji era and is so difficult to apply with
good results, it was seldom used. This is one of the rare
examples where it was used with the most stunning effect.
*
The tea camellia was imported from China, this treasured
and honored plant has a most valued place in Japan. It was
also the source of green tea for the Tea ceremony as well as
most all varieties of Japanese tea. The plant has been
cultivated in Japan for over a thousand years, and is
considered among the most important cash crop of all plants.
*
$884
EXCELLENT CHRONOLOGY & GUIDE TO THE ZODIAC & YEAR CYCLES
411 SUSKI, P.M.
THE YEAR NAMES OF CHINA AND JAPAN.
London 1931, Kegan Paul. Stiff wrs., 40p., very good. Easily
used reference tool, giving the reigning dynasties, to all
reigning dynasties, years, length of dynasty, Emperor name,
14 x 20 cm.
Highly useful for any art collector, historian, or student
of China & Japan, finds characters on ceramics, Netsuke,
Japanese swords, ivories, and other items. This work cites
all Emperors, reign names, dates &c.
*
This valuable reference source shows the reigns, with
Chinese & Japanese characters, rendering it useful to those
who need to read Nien Hao or year names.
A SUPERBLY CHARMING CHINESE-STYLE JAPANESE ILLUSTRATED BOOK
412 SUZUKI, Fuyoh.
GAZU SUI FUYO: DRAWINGS IN INTOXICATION BY FUYO.
[Edo 1809, Seirei Kaku.]White stitched stiff wrs., 3 vol.set
complete, woodblock printed & illustrated on hand-made Washi
paper, 17.5 x 26 cm., covers dusty, title slips rubbed, else
contents clean, 76 double-folded leaves,136p. illustrations.
Suzuki Fuyo [1749-1816] was a Nanga painter, skilled in
writing prose and poetry, as well as an being an elegant
painter. He studied under the great Tani Bunsho and also
studied Chinese painting style. He had served Lord of Awa,
and specialized in landscapes and figures. He is well
collected by the world's museums. He painted this lovely
work in the Sumizuri style of brush work, and consists of
miscellaneous sketches. A superb work after the Chinese
example, utilizing Zen techniques of landscape painting
while exhibiting great control and skill in drawing humans
$39
and animals. The work is lively, light-hearted and softly
flowing.
*
The book is profusely illustrated with about 68 double-page
illustrations. The covers are dusty, a bit scuffed, as are
the title slips, with the most minimal and faint bit of
thumbing to the lower margins; the book's contents are in
excellent, clean condition, without a trace of worming or
any other defects.
*
A famous book the FIRST AND ONLY EDITION.
*
BIBLIOGRAPHY:
pp. 264-265.
*
PUBLIC COLLECTIONS IN THE NETHERLANDS: p.183, no.440.
*
R. Douglas: CATALOGUE OF JAPANESE PRINTED BOOKS AND
MANUSCRIPTS IN THE LIBRARY OF THE B.M. 1898, 1904.
*
KSM [kaiga] 2-141-2.
*
JAPANESE BOOKS IN THE ROYAL LIBRARY, no. 859
*
Rosny: 519/229.
*
H. Chibbett: A DESCRIPTIVE CATALOGUE OF THE PRE-1868 BOOKS,
MANUSCRIPTS, AND PRINTS IN THE LIBRARY OF THE SCHOOL OF
ORIENTAL AND AFRICAN STUDIES: p.25, no.63.
*
*
Not in:
ILLUSTRATED BOOKS.
*
L. Brown: BLOCK PRNTING AND BOOK ILLUSTRATION IN JAPAN.
*
THE MAJOR SINGLE RESOURCE ON JAPANESE CRAFTSMEN
413 [TACHIBANA, Minko.]
SAIGA SHOKUNIN BU RUI: VARIOUS ARTISANS AT WORK, WITH BRIEF
DESCRIPTIONS.
[Tokyo 1916, Zuga Kanko]. Blue stiff stitched wrs.,very good
large size 21.5 x 30 cm., [37] double folded leaves, [56]p.
woodblock color illustrations of craftsmen at their work, a
reprint of 1770 edition, covers scuffed, 2 vol. set. R A R E
A famous illustrated book. This excellent work covers the
activities of artisans & craftsmen who are hat matkers, miror polisher, carpenter, blacksmith, armorer, spinner, hair
dressing cord maker, paper maker, sword-guard & quiver maker
$1328
basket, ball, fan, harp, mask, brush, potter makers, mat
sewer, turner, paper hanger, card, umbrella, mortar, needle,
ink-slab makers. Each is finely illustrated at their task. A
fine example of this classic genre. See K. Toda: RYERSON
COLLECTION, p.178 for full bibliographic details, as well as
biographical notes. Also in L.G. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, p.103. Reprint compiled by Y. Kubota.
$816
THE MAJOR SINGLE RESOURCE ON JAPANESE CRAFTSMEN
414 [TACHIBANA, Minko.]
SAIGA SHOKUNIN BU RUI: VARIOUS ARTISANS AT WORK, WITH BRIEF
DESCRIPTIONS.
[Tokyo 1916, Zuga Kanko]. Blue stiff stitched wrs.,very good
large size 21.5 x 30 cm., [37] double folded leaves, [56]p.
woodblock color illustrations of craftsmen at their work, a
reprint of the 1770 edition,covers scuffed,vol. 2 of 2 only.
A famous illustrated book. This excellent work covers the
activities of artisans & craftsmen who are hat matkers, miror polisher, carpenter, blacksmith, armorer, spinner, hair
dressing cord maker, paper maker, sword-guard & quiver maker
basket, ball, fan, harp, mask, brush, potter makers, mat
sewer, turner, paper hanger, card, umbrella, mortar, needle,
ink-slab makers. Each is finely illustrated at their task. A
fine example of this classic genre. See K. Toda: RYERSON
COLLECTION, p.178 for full bibliographic details, as well as
biographical notes. Also in L.G. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS, p.103. Reprint compiled by Y. Kubota.
AN EARLY CATALOGUE OF JAPAN'S WILD MOUNTAIN PLANTS & FLOWERS
415 TACHIBANA, Morikuni.
EHON NOYAMA GUSA: PICTURE BOOK OF MOUNTAIN & FIELD PLANTS.
Alternate Japanese Title: EHON YAZAN SOH.
Osaka 1806/Meiji period, Yanagiwara. Stitched wrs., orange
& buff, 5 vol set, very good, profuse color illustrated wood
block printed, vol. 1,2 1806; vols. 3, 4, 5, Meiji reprints,
1881-82, 26+19+23+17+20 double folded leaves. Nice Mixed Set
*
This is a famous work, by the celebrated botanical artist
Tachibana Morikuni [ca. 1670?-1748]. This superb work has
$272
often been confused with the author's son, Tachibana
Yasukuni and his book due to its similar format and content,
with the same title. The fact that Morikuni's book was
also republished posthumously as late as 1760 adds to the
bibliographic confusion.
***
This work is one of Japanese botany's most interesting and
charming works of old times. Each of the multitude of very
good illustrations show 190 different varieties of wild
flowers & native plants, each named and labeled in shown in
natural "Insitu."
*
A virtual dictionary of Japanese mountain plants. One of the
more valuable reference points of this book is that it also
is a major pharmacopoeia and cross reference for other
Japanese medical books. These refer to many of these plants,
for the making of prescriptions, this being an illustrated
dictionary of those [& all other plants] that graphically
illustrate them as found in natural settings.
*
Books of this subject nature, which show and name
exceptionally large amounts of plants must be considered as
historic botanical treasure. They record faithfully what the
plant looked like from hundreds of years ago in their
various seasons.
*
SIZE:
The book is 15.2 x 22 cm. Original covers, being a "mixed"
set. Volume one is the original 1806 edition, bound in
orange; vols. 3, 4, 5 are buff covers the Meiji edition. All
have title slips, all clean, solid, color illustrated. See
bibliography below for more details. None of the
bibliographies lists the Meiji edition, but what we can
gather from the colophon in the back of volume 5, the
reprint edition appears to be Meiji 15, 16 [1881-1882],
carved by Hasegawa, published in Osaka.
*
The work was hand-printed, on hand-made Washi Masa paper.
*****
REFERENCES:
Kenji Toda in his DESCRIPTIVE CATALOGUE OF THE JAPANESE
& CHINESE ILLUSTRATED BOOKS IN THE RYERSON LIBRARY OF THE
A.I.C. cites this book on p.319 but gives the more common
reading of the title as: EHON NOYAMA GUSA, with a secondary
attribution to the artist [author] as Hokkyoo Yasukuni [same
author but using his "studio" name. But mistakenly cites
the author/artist as Tachibana Yasukuni, the son. His
collation matches exactly with our copy, which was first
published in 1755, thus, this is the 1806 reprint of that
edition and is so noted in the colophon at the back of
volume 5.
*
BIBLIOGRAPHY:
*
E. Merrill & E. Walker: A BIBLIOGRAPHY OF EASTERN ASIATIC
BOTANY, p.561 for their entry which attributes this work to
Yasukuni.
*
Kenji Toda: DESCRIPTIVE CATALOGUE OF THE JAPANESE & CHINESE
INSTITUTE CHICAGO, p.319, with a secondary attribution to
the artist [author] as Hokkyoo Yasukuni [same author but
using his "studio" name.
*
Yu-ying Brown: JAPANESE BOOK ILLUSTRATION, p.48, color plate
#44, copy found in the British Museum
*
OF WOOD BLOCK PRINTING pp.126-7, and a full page
illustration, fig. 14 for an example.
*
Dawes. V & A catalogue, p.122
**
AN EARLY CATALOGUE OF JAPAN'S WILD MOUNTAIN PLANTS & FLOWERS
416 TACHIBANA, Morikuni.
EHON NOYAMA GUSA: PICTURE BOOK OF MOUNTAIN & FIELD PLANTS.
Alternate Japanese Title: EHON YAZAN SOH.
Osaka 1806, Yanagiwara. Stitched color stiff wrs., vols. 3 &
5 of 5 vol.set,profuselly color woodblock illustrated,covers
rubbed, title labels chipped, 15.2 x 22 cm.,29+23+17 double
folded leaves,lacks vols. 3 & 5 only
FIRST EDITION
*
This is a famous work, by the celebrated botanical artist
Tachibana Morikuni [ca. 1670?-1748]. This superb work has
often been confused with the author's son, Tachibana
Yasukuni and his book due to its similar format and content,
with the same title. The fact that Morikuni's book was
also republished posthumously as late as 1760 adds to the
bibliographic confusion.
***
This work is one of Japanese botany's most interesting and
charming works of old times. Each of the multitude of very
good illustrations show 190 different varieties of wild
flowers & native plants, each named and labeled in shown in
natural "Insitu."
*
A virtual dictionary of Japanese mountain plants. One of the
more valuable reference points of this book is that it also
is a major pharmacopoeia and cross reference for other
Japanese medical books. These refer to many of these plants,
for the making of prescriptions, this being an illustrated
dictionary of those [& all other plants] that graphically
illustrate them as found in natural settings.
*
Books of this subject nature, which show and name
exceptionally large amounts of plants must be considered as
historic botanical treasure. They record faithfully what the
$716
plant looked like from hundreds of years ago in their
various seasons.
*
SIZE:
The book is 15.2 x 22 cm. Original covers, being a "mixed"
set. Volume one is the original 1806 edition, bound in
orange; vols. 3, 4, 5 are buff covers the Meiji edition. All
have title slips, all clean, solid, color illustrated. See
bibliography below for more details. None of the
bibliographies lists the Meiji edition, but what we can
gather from the colophon in the back of volume 5, the
reprint edition appears to be Meiji 15, 16 [1881-1882],
carved by Hasegawa, published in Osaka.
*
The work was hand-printed, on hand-made Washi Masa paper.
*****
REFERENCES:
Kenji Toda in his DESCRIPTIVE CATALOGUE OF THE JAPANESE
& CHINESE ILLUSTRATED BOOKS IN THE RYERSON LIBRARY OF THE
A.I.C. cites this book on p.319 but gives the more common
reading of the title as: EHON NOYAMA GUSA, with a secondary
attribution to the artist [author] as Hokkyoo Yasukuni [same
author but using his "studio" name. But mistakenly cites
the author/artist as Tachibana Yasukuni, the son. His
collation matches exactly with our copy, which was first
published in 1755, thus, this is the 1806 reprint of that
edition and is so noted in the colophon at the back of
volume 5.
*
BIBLIOGRAPHY:
*
E. Merrill & E. Walker: A BIBLIOGRAPHY OF EASTERN ASIATIC
BOTANY, p.561 for their entry which attributes this work to
Yasukuni.
*
Kenji Toda: DESCRIPTIVE CATALOGUE OF THE JAPANESE & CHINESE
INSTITUTE CHICAGO, p.319, with a secondary attribution to
the artist [author] as Hokkyoo Yasukuni [same author but
using his "studio" name.
*
Yu-ying Brown: JAPANESE BOOK ILLUSTRATION, p.48, color plate
#44, copy found in the British Museum
*
OF WOOD BLOCK PRINTING pp.126-7, and a full page
illustration, fig. 14 for an example.
*
Dawes. V & A catalogue, p.122
**
A NEW MEIJI PERIOD DICTIONARY OF JAPANESE LANGUAGE
$367
417 TACHIBANA, Oukyou. comp.
GOUTOU SHINKAI GYOKU HEN TAI ZEN: NEW ANNOTATED COMPLIATION
OF KANJI CHARACTERS & DICTIONARY OF WORDS AND COMPOUND WORDS
[Tokyo 1877, Mizuno]. Yellow stiff wrs., very good, covers
a bit dusty, contents clean, solid, no worming, 10 vol. set,
bound in 12 parts, introductory volume + 11 volumes of dictionary of Japanese Kanji characters stroke order arranged.
Printed by hand on hand-made mulberry paper, with pagination
33+65+48+46+56+86+76+65+67+70+38+27+61 respectively. A traditional Japanese character dictionary, likely issued under
the auspices of the Ministry of Education during the early
Meiji period of educational reforms. The work is arranged
with each volume covering a different stroke order for Kanji
[Japanese version of Chinese characters]. Volumes 1-10 cover
strokes 1-17, the covers of each volume give a list & associated page number for the various "radicals" & stroke count
for easy location. Each character is then listed with its
sounds, meaning, how its used in a sentence & compounds used
with that Kanji. It also has black "tabs" in the margin for
easy finds. This annotated dictionary is comprehensive and
was also published under the scrutiny of the author. An entirely readable [even now] by modern Japanese. This is a fine
example of how the Meiji Ministry of Education made great
efforts to to improve on Japan's literacy. This kind of dictionary was skillfully arranged and designed for ease of
use.
A GENEALOGY OF THE THREE TOKUGAWA FAMILIES
418 TAIHEI BANDAI GO SAN KE KATA ON TSUKE.
TAIHEI BANDAI GO SAN KE KATA ON TSUKE: MEMORANDOM OF THE GOSAN-KE OR THE THREE RELATED FAMILIES OF THE TOKUGAWA CLAN.
[Tokyo ? 1861, Tokugawa Family]. Stitched blue wrs., very
good, 11.5 x 16 cm., [15] double folded leaves, entirely
woodblock printed on hand-made paper,nicely illustrated with
$204
various Mon or family crests, seals, insignias, lanterns,
Haori coats, procession flags & standards and anything that
is clan-oriented, to show relationship and family name. This
work was a good example of an early reference book, likely
handed out the all three clan members so that each could get
a good idea as to what the others wore for identification. A
good work to identify art works, lacquer, and other items in
metal, swords, armour &c., from these clans. Scan by e-mail
can be sent.
$571
A IMPORTANT EARLY RESOURCE ON THE SUBJECT
419 TAIKA HON RON: THEORIES ON REMEDIAL TREATMENT FOR DYSENTERY.
TAIKA HON RON: THEORIES ON REMEDIAL TREATMENT FOR DYSENTERY.
[Osaka 1808, Osaka Shurin]. Brown stitched wrs., covers well
rubbed, new title slip, back missing small portion, contents
clean, solid, 18 x 25.5 cm., 2 volumes bound in one, [23+13
+2] double folded leaves, entirely woodblock printed.R A R E
A small but minor dark stain to upper margin corner of first
few pages, text unaffected. Written in Chinese and Japanese
Kambun, with the Furigana for Japanese to read, this work is
written in a large characters, and quite clean. Covering the
diagnosis and treatment of the disease known in Japan as
Sekiri-byo. Again drawing on a long Chinese tradition as a
resource, this work had its origins in China with pharmacopea and medicine formula. See G. E. Mestler: A GALAXY OF OLD
JAPANESE MEDICAL BOOK for a solid background and historical
details as well as bibliography on this subject.
AN EROTIC STORY WITH DOUBLE FOLDING COLOR PLATES
$2380
420 TAITO II.
ENN SHOKU KURUMA HANA SEKI: THE FLORAL TALE OF EROTIC DEEDS.
[Japan n.d. ca 1830's]. Stitched wrs.,pictorial covers, wood
block printed book, small size 12 x 18 cm., very good, lower
bottom corner worn, else solid, 17 color, 24 b. w erotic
illustrations, 4 color printed text pages, with an unusual
double folded color illustrated page, which first shows a
pair of illustrations making one complete image, this then
opens up to show four pages again, making one large image.
This erotic book like most of the period does not show the
artist's name, although some showed a "pen name" to disguise
their true name, as these "Shun Pon" or erotic books were
officially banned by the Shogunate government during this
period. It is also possible to identify the artist by stylistic analysis. The current work was done by Taito II, who
also worked under the studio name Shozan [this is so signed
in the first pages]. He flourished [1810-53], but was more
commonly known as Katsushika, pupil of the most famous and
celebrated Katsushika Hokusai. He was also a collaborator
with Hokusai in his famous series THE [HOKUSAI] MANGA. Because he was also know to forge Hokusai's signature on his own
works once he left Hokusai's studio, he was know as Inu
Hokusai ["Dog Hokusai"]. For good biographical details on
him, see L. Roberts: A DICTIONARY OF JAPANESE ARTISTS, page
168. This is the story of a young Samurai, a blade who has
been attracted by the prostitute Ume. The story
tells and
more over illustrates his erotic and sexual adventures in a
late Edo period [1830's] whore-house. The color illustrations begins with a handsome blade enticing the innocent new
girl, namely Miss Ume to look at a set of erotic books. She
feins uninterest, but in fact, her face shows a pinkish-red
blush already. The next four page fantastic grand-size illustration shows the results of the couples interest in Shun
Pon. The blade now parts Ume's Kimono and inserts his tool
in to her eager vulva. Another two views show the couple
making wild love, while their lovely meal goes ignored ! The
next shows Ume biting her left hand in ecstasy as the blade
searches deep into her Kimono for more pleasures. Another
couple is shown kissing in the next room. The story progresses with another harlot voyeuring on the couple who make
love on the verandah. The next shows a young girl looking at
a Haru Bon while she parts her legs, while another couple
engages in love-making in the iris garden. The next shows
the blade & Miss Ume again making wild love while a young
girl watches them & masturbates then wipes her slippery wet
vagina with a paper. The story continues in this vein with
much voyeurism. The black and white section continues from
this point, with other illustrations of the story including
erotic views. The lower & leading edges of this book shows
evidence of a small portion being chewed or worn away, but
only to the margin, NO damage to the text or its lovely illustrations. For the most part this work was printed on double-folded leaves, although one color page is printed on a
single sheet.
A BOOK INSPIRED BY THE OLD CLASSICS
$1360
421 TAKAGI, Sadatake.
HONCHO GARIN: COPIES OF OLD PAINTINGS.
[Osaka 1752, n.p.]. Original blue stitched wrS., 3 vol set,
covers, edges scuffed, worn, contents very good, minor tumbing to pages, fair impression, many b.w. woodcut plates,hand
printed on hand-made Washi paper, 18 x 26 cm. FIRST EDITION
Takagi was a star pupil of Sukenobu, and was a famous Kimono
dyer and Kimono pattern book artist. His design books are
rare and quite uncommon. This text shows the wide variety of
his genius and design skills.
*
REFERENCES:
Dawes, p.123
*
L. Brown p.51
*
L. Roberts: DICTIONARY OF JAPANESE ARTISTS
*
A VERY CHARMING DESIGN BOOK BY JAPAN'S GREATEST ARTISTS
422 TAKAHASHI, Eiji. comp.
KODAI MOYOH SHIKI ZU KO: ILLUSTRATIONS OF ANCIENT PATTERNS &
DESIGNS FOR CRAFTSMEN AND TEXTILES.
[Japan n.d. c. 1875-80]. Black stitched embossed wrs., cover
$369
corners bit rubbed, contents clean, vols. 1 & 2 of 3 vol.set
25 double leaves per volume, ie 50 pages b.w. illustrations,
average of 6 designs per page, nicely done.
S C A R C E
***
***
***
.
.
.
SUPERB JAPANESE DESIGNS USED FOR ARTISTIC APPLICATION
.
.
These designs were the inspiration for the craftsmen who
worked on Tsuba, Menuki, sword furniture, lacquer ware,
textiles, ceramics, Netsuke, Inro, Kimono & Obi.
.
Some of these designs are clearly extracted from the Midare
or "cloud patterns" found on Japanese sword blades, some are
based on sea & foam, waves, water related, the Buddhist
swastika & Mandala, Buddhist wheel of life, other Buddhist
symbols.
.
Others were mythological dragons, stylized birds and other
animals, most of these are the basis for Tsuba. Stylized
flower patterns and a host of others were made into textile
patterns, embroidery work and again applied to ceramics
and lacquer ware.
.
A superb resource and inspiration for any designer or
student of art. What makes this design book exceptional, is
the fact that the compiler has given tribute to the most
famous artists of Japan's past by listing their names on
the front cover who all contributed to the overall genre of
Japanese graphic and practical arts. Including Tani Bunsho,
Kikuike and a host of others who have made Japan's designs
famous throughout the world.
.
Brilliantly executed.
***
A VERY CHARMING DESIGN BOOK BY JAPAN'S GREATEST ARTISTS
$748
423 TAKAHASHI, Eiji. comp.
KODAI MOYOH SHIKI ZU KO: ILLUSTRATIONS OF ANCIENT PATTERNS &
DESIGNS FOR CRAFTSMEN AND TEXTILES.
[Japan n.d. c. 1880]. Black stitched embossed wraps., very
good, contents clean, vol. 1 of 3 vol. set, 25 double leaves
ie 50 pages b. w. illustrations, average of 6 designs per
page, some pages one design per page.
S C A R C E
***
***
***
.
.
.
SUPERB JAPANESE DESIGNS USED FOR ARTISTIC APPLICATION
.
.
These designs were the inspiration for the craftsmen who
worked on Tsuba, Menuki, sword furniture, lacquer ware,
textiles, ceramics, Netsuke, Inro, Kimono & Obi.
.
Some of these designs are clearly extracted from the Midare
or "cloud patterns" found on Japanese sword blades, some are
based on sea & foam, waves, water related, the Buddhist
swastika & Mandala, Buddhist wheel of life, other Buddhist
symbols.
.
Others were mythological dragons, stylized birds and other
animals, most of these are the basis for Tsuba. Stylized
flower patterns and a host of others were made into textile
patterns, embroidery work and again applied to ceramics
and lacquer ware.
.
A superb resource and inspiration for any designer or
student of art. What makes this design book exceptional, is
the fact that the compiler has given tribute to the most
famous artists of Japan's past by listing their names on
the front cover who all contributed to the overall genre of
Japanese graphic and practical arts. Including Tani Bunsho,
Kikuike and a host of others who have made Japan's designs
famous throughout the world.
.
Brilliantly executed.
***
424 TAKAKU, Aigai.
TAKAKU AIGAI SHI KUN GA SAKU: ALBUM OF COLOR PAINTINGS BY
TAKAKU AIGAI.
[Japan 1947]. Accordion folded small album, stiff paper-covered boards, 12.5 x 19 cm., very good, minor corner wear,
contents clean, solid, 13 double leaves, 7 color, 5 b.w.
illustrations, each sealed with a red cinnabar chop.
A charming color album. This delicate work shows the artistic work of Aigai [1796-1843]. Illustrations are of graceful
grasses, bamboo, plum tree, dasies, 2 each birds and flowers
[Kacho ga], lanscapes of rural mountain villages, mountain &
river with small boat, snowy mountain, landscapes. See L.
Roberts:DICTIONARY OF JAPANESE ARTISTS, p.3 for more biographical details. Per Roberts, "he was a Nanga painter, and
$340
pupil of Tani Bunsho, famous painter of bamboo, one
most polished Buinjinga painters."
*
of the
$117
A GRAND COLOR WALL MAP SHOWING OF ALL JAPAN
425 TAKASHIBA, Hideozoh.
DAI NIHON KOKUGUN YOCHI ZENZU: GENERAL MAP OF JAPAN.
AHEAD OF TITLE: KAEI SHINZOH.
Edo 1849, Tsutaya. Blue stiff covers, very good, woodblock
printed in color by hand, no worming, a few fold mends, four
directional compasses, 143.5 x 72.5 cm.
R A R E
This work is nicely done, with heavy black outline for each
province, which is colored in a different tone, longitude &
latitude given, shipping lanes & distances noted. Color key
to rivers, mountains, castles, provinces, capitals, lakes,
ocean, with large inset distance chart, &c.
*
This work a is fairly accurate topography and is
representative of the Edo period. A highly decorative map,
suitable for framing and display.
****
BIBLIOGRAPHY:
BEANS, George H.
A LIST OF JAPANESE MAPS OF THE TOKUGAWA
ERA: "List" p.39, 1849.1.
****
A GRAND WOODBLOCK-COLOR PRINTED WALL MAP OF EDO
426 TAKASHIBA, Mitsuo.
ANSEI KAISEI FUKYO OEDO EZU: LARGE ANSEI-KAISEI PERIOD MAP
$1253
OF THE OLD EDO [TOKYO] AREA.
[Edo ca.1851], Suwahara.Blue covers, color woodblock printed
folding map, very solid, old worming and some folds restored
on verso, 105 x 98.5 cm., usual wear/scuffing to both covers
nice impression, very good large example.
R A R E !
.
A GRAND "BIRD'S EYE PERSPECTIVE" OF OLD EDO
.
.
This is a very nice grand size map, showing the Emperor's
Palace in the center, surrounded by a moat. The Hatamoto Mon
[crests] are located in the inner moat, showing who the most
loyal Imperial retainers and their family Yashiki [mansions]
throughout the area.
.
The map shows the complete view of Edo and its suburbs,
rivers, streets, roads, famous places, shrines and temples
clearly named. The bay shows two sailing "junks" or
"Sampans" plying their way. With directional characters,
distance chart from Nihon Bashi to various distant
destinations.
*
An excellent example of what Edo looked like prior to Japan
being opened by Commodore Perry in 1852~1854.
.
An important and historical map, suitable for wall display
and framing.
***
The woodblock printing is excellent, with solid color and
sharp registry. A very nice impression.
***
A GRAND WOODBLOCK-COLOR PRINTED WALL MAP OF EDO
427 TAKASHIBA, Mitsuo.
ANSEI KAISEI FUKYO OEDO EZU: LARGE ANSEI-KAISEI PERIOD MAP
OF THE OLD EDO [TOKYO] AREA.
[Edo ca.1852], Suwahara. Gold brocade silk cloth over boards
color woodblock printed, very clean, neatly rebacked, minor
loss to old folds, rubbing to covers, facsimile title slip,
105 x 98.5 cm., very solid, bright copy, folding map. RARE!
.
A GRAND "BIRD'S EYE PERSPECTIVE" OF OLD EDO
.
.
This is a very nice grand size map, showing the Emperor's
Palace in the center, surrounded by a moat. The Hatamoto Mon
[crests] are located in the inner moat, showing who the most
loyal Imperial retainers and their family Yashiki [mansions]
$1175
throughout the area.
.
The map shows the complete view of Edo and its suburbs,
rivers, streets, roads, famous places, shrines and temples
clearly named. The bay shows two sailing "junks" or
"Sampans" plying their way. With directional characters,
distance chart from Nihon Bashi to various distant
destinations.
*
An excellent example of what Edo looked like prior to Japan
being opened by Commodore Perry in 1852~1854.
.
An important and historical map, suitable for wall display
and framing.
***
The woodblock printing is excellent, with solid color and
sharp registry. A very nice impression.
***
SUPERB TREATISE ON FLOOD CONTROL, SOIL EROSION & ENVIRONMENT
428 TAKATSU, Giichi.
DOBOKU KOYO ROKU, FUROKU: LAND PRESERVATION, FLOOD CONTROL,
SOIL EROSION AND ENVIRONMENT PROTECTION AL LA
[N.p. 1881, Naimusho Doboku Kyoku]. Stiff buff covers, very
good, covers bit soiled, contents clean, 2 illustrated vols.
of 5, 18 cx 26 cm., 55 double-page woodcut illustrations,
Japanese captions, accordion folded.
OBSCURE RESOURCE
The Japanese to 19th century environmental protection and
ecological methods of river bank protection. While these
words are from a different period of time the fact remains
that Japanese were exceptionally aware of the value of land
protection and reclamation. The work is truly amazing for it
precedes what we now consider as "ecological" methods, were
practiced for some 300 or more years ago in Japan.
*
Marvelous treatise on Japanese engineering and ingenuity,
dam building and other huge land-works projects
*
This traditional Japanese work and subject covers the
methods of erosion, river bank and water run-off control.
Japan is a county of many tall mountains, therefore their
rivers run fast during the rain or monsoon season. For that
reason, villages along the banks of these great rivers and
their tributaries where obliged to protect their farm lands
and homes by pro-active erosion control. Working in
community based teams the people gathered to work for the
$1161
good of all. Prior to the rainy season, questionable areas
were selected for upgrade to the erosion program.
*
THE SET:
The complete set consists of 5 volumes: 3 volumes text and 2
volumes of illustrations, we only have the illustrated
volumes, no text, as is. One can assume this set came from
some villager who actually used them for construction
projects, and not being able to read simply discarded the
valueless text parts !
*
First Volume:
This work is devoted to the techniques employed and the
natural materials used, namely granite stones and bamboo as
a barrier. Bridge construction using stone was also employed
to make safe river crossings. Quays and extended banks for
slowing water flow are shown. How to weave living reeds as a
footing illustrated, upon which rocks were placed in the
reed "basket" style format. Direction of water flow is
indicated by arrows. Details of progressive contraction
steps also noted.
*
Mountain orchards are shown with woven bamboo fences and
rolled barriers crisscross the land in an effort to slow
rain water.
*
Dam construction is also shown with proper control of spill
waters and the creation of water storage. Several
variations are illustrated, using a variety of native
materials.
*
Second Volume:
Begins with an elaborate wood framework that contains oblong
bamboo baskets filled with stones to keep the framework
stabilized in the river as a water flow diverter. This
ingenious structure was placed along fast-flowing river
banks to keep the water flow broken up and resisted the
concentration of fast flowing water. There are some 13 plus
examples of these with variations. The last example has two
additional woodblock printed overlays, that show the
progression of construction methods, which will instruct
builders.
*
Riverbank protection is then addressed, with an elaborate
two-page picture of how to make effective protection. Using
pounded wooden stakes and woven reeds.
*
A water-chute type bridge is addressed next. This shows how
water is diverted by a gated chute probably into flooded
rice fields or to fill other reservoirs. Again overlay
detailed drawings are provided, with variants, including a
very large multi-gated chute system to divert water into
several different areas. This great structure has several
overlays with construction details, quite an elaborate and
complicated piece of architecture and period technology !
*
This is followed by an open top type water-chute system,
wherein the water flows over a wooden floor system with
ramps and gated chutes. This also has overlays, with 3-4
variants illustrated.
*
An overhead water chute system is the next innovation,
showing how to make water move over a running stream.
Various other elaborate water chute systems follow.
*
The traditional Japanese arched bridge is next. Detailed
drawings show how this is built, the approach, footings,
legs and how legs are reinforced with horizontal members to
keep all in place, with an overlay to show how to complete
the top plank system. Using leverage, the whole mass holds
together.
*
This is followed by a cantilevered type bridge over a gorge.
This shows how a bridge can be built where the bridge needs
additional supports from each side when it is not possible
to use legs. A marvelous and ingenious bit of design
engineering and use of technology, leveraged to succeed in
supporting this arched bridge.
*
Simple bridges are also shown, using legs, logs, log planks
and then covered with soil to make a smooth road over the
water, nicely executed.
*
Elaborate water control techniques are also shown using
bamboo and rice straw with pounded wooden stakes. Piers are
made by using living trees dug up and replanted in the
waterway, with large bamboo baskets filled with stones
as weights to keep roots below the riverbed. Pier
construction details are shown and overlays assist in the
progression of construction. Living bamboo is also planted
to grow into a kind of "living" retaining wall.
*
The work utilized a large number of excellent and valuable
overlays show progression of steps in the building process
and shows a variety of useful techniques. Because these
projects were commonly executed by liberate villagers, the
pictures had to be done with much skill to convey the clear
building instructions. Although there are some Kanji
characters to name important parts, these were very easy and
common characters, that some peasants could read. The work
has no text at all, indicating that its value was in the
progressive pictures that any farmer could look at and
understand and then execute.
*
The techniques cited in this text are hundreds of years
old and were ecologically sound. They achieved water control
along rivers without damaging the environment, and looked
natural and blended in with nature. These techniques have
been used in Japan for centuries with great success. Many of
the stone structures in river banks still stand today as a
living testament to the strength and value of such materials
and methods. Surely Western culture can learn something from
these ancient ecological techniques for modern application.
*
CONDITION:
The books are accordion folded, and profusely illustrated,
no text. The covers are a bit scuffed, and soiled with a
stain on the front of one volume, title slips intact. There
is a minor amount of worming to the last couple of pages in
one volume, and a bit in the first few and last few pages of
the other. It is otherwise solid, and on clean paper.
*
All in all, a fascinating work designed for peasants to
execute in communal efforts to save their precious farm
lands. An obscure item !
*
$309
AN ILLUSTRATED DICTIONARY OF JAPANESE BOTANY
429 TAKAYUKI, Tsuji.
TSU JOH SHOKUBUTSU: DICTIONARY OF COMMON JAPANESE PLANTS.
A Dictionary of Useful Fruiting, Edible & Pharmalogical
[Tokyo 1855 Fukyu Sha]. Blue stitched wrs., covers soiled,
contents very clean, title slip half gone, 58 double folded
leaves, 105 b.w. woodcut illustrations, hand printed on hand
made Washi paper, 15 x 22 cm., Japanese text. FIRST EDITION
This botanical treatise was sanctioned by the Japanese
Ministry of Education for disemination of knowledge to the
public. It contains illustrations of grains, legumes,
leafy, onion types, rooted plants, tubers, melons, edible
bulbs, cucumbers, eggplants, various kinds of mushrooms, pit
fruits, citrus, berries and nuts, hemp [cannibus satavia],
connifers, bamboo, subtropicals, and other trees and plants
which have edible parts.
*
The work was nicely drawn, each plant is named and text
about its attributes, uses, and cultivation methods. About
one-third of each page is illustrated, the balance below
is the text.
*
CONDITION:
The work has the former owner's name on the cover, with mild
rubbing to the edges. There is the usual minor thumbing and
dusty. Else a nice example.
*
A GRAND ALBUM OF BAMBOO ILLUSTRATIONS
430 [TAKEDA, Rachiku.]
TAKEDA RANCHIKU GAFU: ALBUM OF BAMBOO PAINTINGS BY TAKEDA
RANCHIKU. [Also Flowers & Grasses]
[Tokyo 1917, Kaneko]. Blue stiff paper covers, 2 vol. set,
accordion folded albums, compiled by Tankoh Kaneko, 17.5 x
27.5 cm., illustrated in Sumi [black], green & red ink, 26+
26 double folded leaves ie 104p., illustrated on 104 pages.
$826
This traditional work, shows how grasses and bamboo should
be drawn. Shows a wide varity of bamboo, leaves, stems,
branches, large clums and in various kinds of weather. Grasses and flowers are also addressed, showing them in a wide
variety of views. Finely executed, a joy to behold. With
some painting examples for students.
$884
A CHARMING COLOR WOODBLOCK PRINTED SET OF BOOKS
431 TAKEDA, Shinichi.
NIPPON GANGU SHUU: COLLECTION OF JAPANESE FOLK TOYS
AND PLAY THINGS.
[Kyoto 1917, Unsodo]. Accordion folded, 2 vols., woodblock
printed covers, 78 pages of color woodblock printed plates,
no text, illustrating a profusion of toys, games & dolls.
A charming work, illustrating a wide variety of highly creative children's toys, games, dolls and doll clothing, paper
dolls & their cut-out clothing, games, Karuta cards, balls,
bamboo toys, masks, New Year's games, story books, stilts,
picture blocks, fans, boats, parachutes,drums,spinning tops,
animals, wheeled toys, birds, fish, boxed games, toy cooking
utensils, flutes, whistles, articulating toys and so many
other items & other beautiful works of art created from the
most humble of materials. Dolls riding horses and those that
ride on a small ship. All skillfully and uniquely made from
very simple & humble materials into superb works of art as
only the Japanese can do. An excellent example of art works,
form, style, color & sensitive taste. Will make children of
all ages smile.
EXCELLENT COLOR CATALOGUE OF YUMEJI PAINTINGS
$3536
432 [TAKEHISA, Yumeji.]
TAKEHISA YUMEJI SEITAN 90 NEN KINEN, YUMEJI KYODO BIJUTSUKAN
COLLECTION MEMOIR FOR 90TH BIRTHDAY OF YUMEJI TAKEHISA FROM
[Okayama 1974, Yumeji Kyodo Bijutukan]. Yellow stiff wrs.,
Japanese language, 75 color & b.w. photos, chronology, clean
sharp copy, 18 x 25.5 cm.
A useful exhibition catalogue, showing a large number of
color and b.w. examples of his quaint and charming 1920-30's
style art deco works.
*
$51
433 TAKEHISA, Yumeji.
YUMEJI'S PICTURES FOR SONGS OF THE WORLD [UTA NO EZOSHI].
[Tokyo 1966, Ryuseikaku]. Black cloth with color print cover
on front, very good, clam shell board box, 374p., Japanese
text, index of the 271 color & b.w. photos of Yumeji prints
& grahics, dates, each with English and Japanese captions.
English introduction page. A most stunning work, contains
a profusion of Yumeji woodblock prints and other graphics
from books he illustrated. Each has a small poem in Japanese
adjacent to the print, the English, French, or other European language caption makes this work a bit more useful &
appealing to the Western collector.
QUITE SCARCE !
STUNNING COLLECTION OF 26 COLOR WOODBLOCK PRINTED PLATES
$272
434 [TAKEUCHI, Seiho.] et al.
MIYAKO NO NISHIKI: BEAUTY OF THE CAPITOL [Kyoto] CITY.
[Kyoto 1891, Tanaka]. Orange brocade cloth, large oblong
format, accordion folded, 26 fine color woodcut prints,
Japanese index, very good, clean
copy, 33.5 x 24 cm.
EXCEPTIONALLY RARE
A most superb book. An anthology of 26 fine color woodblock
prints. Each reflects subjects as found in the ancient
capitol of Kyoto. These are drawn by some of Japan's most
famous artists, i.e.: Takeuchi Seiho, Tomioka Tessai,
Kubota Beisen and a host of other important examples. Please
see our scan illus07.jpg for the complete list of the titles
and artist's names in Japanese, posted to our web site.
****
LIST OF THE SUBJECTS:
1. Cat with loquats.
2. Boy riding a buffalo playing the flute.
3. Coastal view from the old home.
4. Two birds with red flowers, bamboo.
5. Noh drama actor.
6. Landscape. [Chinese style]
7. Japanese court officials.
8. Pheasant and falconers.
9. Five baby chicks.
10. Landscape with three figures, two playing chess.
.
[Chinese style]
11. Wild berries with ants.
12. Black bird among the flowers.
13. Hornet in the pine tree.
14. Shinto shrine scenery.
15. Three old sages.
16. Deer in the forest.
17. Baby with lantern.
18. Landscape with two farmers carrying firewood.
19. Small bird with bitter melon vine.
20. Kingfisher bird and ancient tree.
21. Tiger carrying its young cub in the river.
22. Procession of four people, one rides a horse.
23. Two ducks sleeping.
24. Landscape along the river with bamboo raft.
25. Bird in the cherry tree ready to pounce on a moth.
26. An old farmer makes Zoori sandals, while his son reads.
****
CONDITION:
The work is in excellent condition, with original brocade
cloth covers, a bit of minor wear at the corners & edges,
with title slip and cinnabar seal/chop.
*
Each print is without flaw, printed with delicate pastels,
vegetal colors, with excellent composition, registry, each
is signed in the block with cinnabar chop/seal.
*
There are some reinforcements to the hinge side of some
pages, this does not affect the overall condition of the
book.
****
SIZE:
The album is 33 x 23.6 cm.; each print excluding the margins
are 29 x 20.5 cm., or about Oban size.
***
BIBLIOGRAPHY:
p.465.
*
L. Brown: BLOCK PRNTING AND BOOK ILLUSTRATION IN JAPAN: p.
202. Brown considered Seiho one of the great artists of the
world !
*
*
NAKAMURA, Tanio.: CONTEMPORARY JAPANESE-STYLE PAINTING.
*
DELICATE, POIGNANT WOODCUT ILLUSTRATED SET OF BOOKS
435 TAKEUCHI, Seiho.
SEIHO SHU GAFU: AN ALBUM OF PAINTINGS BY SEIHO.
[Woodblock Printed Set]
Kyoto [1901], Tomura. Five odd color prints from the set,all
board mounted, 4 color, 1 b.w. woodblock printed, each print
a bit dusty, a few small spots on 1, most of the others are
clean, 24.7 x 17.5 cm.
THIS IS A LOT OF 5 ODD PRINTS FROM THE 4 VOLUME SET ONLY.
The prints are:
1. Clump of grapes in color
2. Three insects grasshopper, Kabuto Mushi & one more, color
$1362
3. Tombo [firefly] in the iris leaves, in color
4. Small bird on a branch, in black & white.
5. A Whale in the waves, in color
*
Also included is the original printed title cover for the
whole set.
.
Each of the woodblock prints from above are board mounted,
with 4 small holes at one end where they were book bound,
each is sealed in red cinnabar Hanko [chop/seal] of the
artist. The grapes print has some surface dust & a few old
ink spots, else clean, balance also clean, ready for framing
and display.
.
The below is a description of the whole book.
***
This is an exceptionally beautiful Shijo work. Soft, flowing
lines describe his fluid style. Sensibly colored in Sumi and
pastel colors renders this an outstanding and ephemeral work
Seiho was a leading Shijo School painter, and quite adept at
expressing simple things from nature in a charming manner.
He submits for examples birds, flowers, mountains, animals
and a host of traditional Japanese objects. Some include
lobster, Samurai in armor, flowers, animals tea cup for
Japanese tea ceremony, a whale, and a large amount of
superb Zen-drawings. Great fun!
***
THE ARTIST:
Per Roberts: liberally summarized and quoted: "Seiho was the
originator of the Seiho School of painting. He was the
pupil of Kono Bairei, a celebrated natural history painter
and woodblock book illustrator of the Meiji era [1868+], in
the Shijo and Maruyama style schools. Born in December
1861, when he was a boy of 14 years old, his father sent
him to learn the Shijo School style of painting, and worked
under the studio name of Tsuchida Yeirin. By about 19 years
old, he became Bairei's pupil. He also studied the great
master's styles: Nanso, Hokuso, Kano, Sesshu, Naomi & Tosa
schools. In 1896, Seiho became senior professor in the Kyoto
Fine Art School.
*
Each illustration bears the artist's seal [Hanko or chop],
most in cinnabar, nicely done.
***
CONDITION:
The work is bound in the original covers, which show some
minor dustiness, and a bit of corner wear. There is some
small 'nibbling' to the back cover of volume 2, 3; and a
tiny bit to the front cover of volume 4, this is NOT major
and scans can be sent if necessary. The contents remain
clean, solid and without flaw. There is a partial chemise or
original paper cover which contained the group of four with
some mended tears, small parts wanting, taped inside, as
is.
***
THE EDITION:
The edition was [Limited to 200 Copies] only, which was
about all the publisher could print from the woodblocks.
This is a typical number of printings from woodcuts of the
day.
***
BIBLIOGRAPHY:
p.465.
*
L. Brown: BLOCK PRNTING AND BOOK ILLUSTRATION IN JAPAN: p.
202. Brown considered Seiho one of the great artists of the
world !
*
*
NAKAMURA, Tanio.: CONTEMPORARY JAPANESE-STYLE PAINTING.
*
$197
A BEAUTIFUL & MOST DELICATE COLOR ALBUM SET OF 5 VOLUMES
436 TAKI, Katei.
TANJO IPPAN: MODELS FOR PAINTING.
[Tokyo 1952, Unsodo]. Reprint of 1894 edition, true to the
original, complete in 5 accordion folding volumes, very good
yellow boards, 41 pastel color & 19 Sumi illustrations, very
delicately executed, beautifully illustrated.
R A R E
"Models For Painting" was celebrated as a classic and Taki
enjoyed a position of influence as an outstanding Bunjin-ga
artist of the Meiji era. The work was obviously influenced
by Taki's observation of the two most famous classics on
Chinese painting, the manuals: MUSTARD SEED GARDEN and the
TEN BAMBOO STUDIO.
*
His brilliant impressions of birds, bugs, fish, flowers,
fruits, bamboo, rocks [as in scholar's rocks] and landscapes
are done with a skilled hand in pastel colors and shades of
Sumi ink. A lovely, tender work, exhibiting all of the best
composition of the classics.
*
The work is 16 x 25.5 cm., nicely executed.
*
A BEAUTIFUL & MOST DELICATE COLOR ALBUM SET OF 5 VOLUMES
$1569
437 TAKI, Katei.
TANJO IPPAN: MODELS FOR PAINTING.
[Tokyo 1952, Unsodo]. Reprint of 1894 edition, grey accordion folding boards, vols 2,3,4 of 5 vol set, very good, with
pastel and Sumi color illustrations, partial set, as is,
beautifully illustrated,delicately executed, 36 color pages.
"Models For Painting" was celebrated as a classic and Taki
enjoyed a position of influence as an outstanding Bunjin-ga
artist of the Meiji era. The work was obviously influenced
by Taki's observation of the two most famous classics on
Chinese painting, the manuals: MUSTARD SEED GARDEN and the
TEN BAMBOO STUDIO.
*
His brilliant impressions of birds, bugs, fish, flowers,
fruits, bamboo, rocks [as in scholar's rocks] and landscapes
are done with a skilled hand in pastel colors and shades of
Sumi ink. A lovely, tender work, exhibiting all of the best
composition of the classics.
*
The work is 16 x 25.5 cm., nicely executed.
*
A SUPERB CLASSIC OF JAPANESE LITERATURE AND FOLK-TALES
438 TAKIZAWA, Bakin.
MUKASHI GATARI SHICHIYA NO KURA: ANCIENT TALES OF THE
PAWNBROKER'S STOREHOUSE.
[Edo 1810, Nishimura]. Original grey stitched wrappers, 4 of
5 vols., lacks vol. 1, very thumbed, 24 woodcut illustations
some quite dramatic, several lower right corners torn/gone,
as is, only. FIRST AND ONLY EDITION
RARE & IMPORTANT TITLE
Text by Takizawa Bakin [1767-1848] was one of the most
famous novelists during the Tokugawa period. The illustrations by Katsukawa Shuntei [1770-1820]
*
$680
THE FANTASTIC ILLUSTRATIONS:
As Takizawa wrote this story, he also made some simple
sketches of what sort of illustrations he wanted to show
with the text. He relied on several different artists of the
day, including Hokusai, but had a falling out with him as he
took too many "liberties" with his drawings. So Takizawa got
Shuntei to work on this story's illustrations. As per a note
he wrote to Shuntei [see Keyes, p.178, bottom plate 41,1]
where in these instructions for the drawings were noted.
Takizawa also stated that the title would be in 5 volumes,
its title and other details. Keyes has also outlined a good
part of the story and cited some of the more fantastic
illustrations. "Jian Wu shoots the python" is superb [see
our images on our web site, and figure 41.3 & 41.4 in Keyes,
p.180-181]. Here we see the gigantic python as it swallows
an elephant, both in Takizawa's imagined image and rough
sketch, vs. how Bakin actually drew the final illustration.
Figure 4.12 shows the monumental millipede with title:
"Tawara Toda at the palace of the Dragon King shoots the
millipede." [See Keyes citation below].
*
THIS COPY:
This copy lacks volume 1 otherwise is complete. The value of
this work and copy mainly lies in the superb and quite
fantastic illustrations. There are a good number of
illustrations, per above fantastic examples of a giant
centipede, and huge python, an elephant. Each of these are
double-page illustrations, and even continue beyond the top
margin exceeding the usual limits of woodblocks in the area
above the top margin giving the appearance of "large scale"
and a dramatic effect. An unusual technique but impressive !
*
Another double-page illustration shows a very tall mountain
on the left side of the page where it also exceeds the top
margin to show it's extreme height and grandeur. Perhaps its
Mt. Fuji. Other illustrations are impressive. There is one
that uses "reverse" printing technique, with a black background.
*
This is an important illustrated book and written text. That
Keyes elected to illustrate 4 examples and devote two full
pages of text attests to this fact. Keyes also cites the
names of the calligraphers who did the text.
*
CONDITION:
The covers are worn, scuffed and have some paste-on's, and
the title slips are missing on vol.2, the balance are
chipped and quite worn. The contents are printed on very
thin Washi hand-made paper, and were easily thumbed and are
now missing some parts of the lower right corner. Luckily,
only some parts of text were lost or damaged. Due to the
state of this book, there are no returns, adjustments, or
refunds. By ordering you agree to these terms. Please
inquire for additional scans and more description about
condition if necessary.
*
FAMOUS BOOK:
The work is famous and was acquired by the NYPL for the
Spencer collection. The Keyes monograph was published in
association with the NYPL as a supplement to the exhibition
held at the NYPL October 20, 2006-February 4, 2007. The
exhibition was a sensation. [NYPL= New York Public Library]
*
BIBLIOGRAPHY:
MANUSCRIPTS IN THE SPENCER COLLECTION OF THE NYPL: #186,
illustrated on p.53.
*
R. Keyes: EHON: The Artist And the Book in Japan: cites and
illustrates the giant centipede and the huge python, see on
pp. 178-182, figures [color photo] 41.1, 41.2, 41.3, 41.4,
and page 281 item 41 for bibliographic citations.
*
D.G. Chibbett et al.: A DESCRIPTIVE CATALOGUE OF THE PREMEIJI JAPANESE BOOKS, MANUSCRIPTS & PRINTS IN THE LIBRARY OF
THE SCHOOL OF ORIENTAL AND AFRICAN STUDIES: p.54.
*
Robert K. Douglas; CATALOGUE OF JAPANESE PRINTED BOOKS &
MSS. IN THE LIBRARY OF THE BRITISH MUSEUM: 1898, p.213.
*
$680
A BEAUTIFUL BOOK OF JAPANESE DRAWINGS & DESIGNS FOR ARTISANS
439 TAKIZAWA, Kiyoshi.
KA CHO SAN SUI BIJUTSU GA FU: ALBUM OF FLOWER, BIRD &
LANDSCAPE DRAWINGS.
[Tokyo 1890, Kunshido]. Stitched stiff embossed wrs., very
good, 12 x 18 cm., entirely copper etched printed & illustrated, 40p., [20 double folded leaves], all pages fully illustrations average 2-4 per page.
A very beautifully illustrated and executed work. Depicts a
host of Japanese traditional and native designs: shows the
pantheon of Japanese and Chinese deities, women, Kwan-yin,
Buddhist monks & priests, Chinese style landscapes, dragon,
birds, beasts, monkeys, poets, scholars, good luck symbols,
falcons, hawks, birds of prey, fish, children at play, Samurai, villages, tigers, phoenix &c. These finely drawn examples were often the source for craftsmen who then modified &
applied these traditional pictures to swords & sword furniture, armor, lacquer, ceramics, textiles, paper, wood, furniture, sculpture, Buddhist art, paintings, woodblock prints
& printed books & a host of other items. Scans can be sent
by email upon request.
A FASCINATING SET OF NATIVE JAPANESE DESIGN BOOKS
$612
KODAI MOYO SHU: COLLECTION OF ANCIENT PATTERNS.
Tokyo 1881-2, Matsuzaki. Stitched blue wrs., 2 vol. set, 28+
+28 double folded leaves, each page is fully illustrated, no
text except Japanese introduction page , entirely woodblock
printed by hand on hand-made paper, complete, 18.5 x 23 cm.
A fascinating and unique set of purely Japanese design motif
books. Loaded with intricate and complicated, some geometric
designs, others are floral based, phoenix, dragon, celestial
animals, Buddhist symbols, and ancient patterns.
*
These have been the traditional reference resource and
inspiration for hundreds of years for Japanese craftsmen who
made and designed lacquer, enamels, textiles, ceramics,
textiles & Kimono [Mon], book covers, Netsuke, Inro,
Japanese swords and sword furniture, wood furniture and
virtually anywhere a design can be put.
*
These traditional and symbolistic patterns adorned objects
of art & daily use. Book size: vol. I: 18 x 12 cm., vol.
II: 18 x 13 cm., oblong format, title pages printed in
red, balance in black and white key-block outline.
*
WONDERFUL COLOR DRAWINGS OF MUSHROOMS, FLOWERS, BIRDS & BUGS
$1086
MAN ZO SHASEI HINAGATA: SKETCHES & PAINTINGS OF A MYRIAD OF
10,000 THINGS FOUND IN NATURE.
Edo 1881, Matsuzaki. Blue stitched wrs., very good, ca. 12 x
18.5 cm., 20 double folded leaves, woodblock printed in color by hand on hand-made paper, vol. 2 only, complete in its
self, cover ex-library plate, all pages embossed stamped.
A most excellent natural history book. Color illustrations
of birds & wild field plants. Shows wild mushrooms, flowering plants, plums & cherries. Cranes & storks, various small
birds & ducks. Butterflies, moths, ants & some worms. Nicely
drawn, with vegetal & naturalistic colors. Each is named in
Katakana, Kanji & Furigana, with a brief description, size,
and were it was found. Many flowers are drawn with full root
and bulbs exposed. Stangely enough, this work has eluded the
eyes of H. Barteltt & H. Shohara in their important & historic botany on the subject: JAPANESE BOTANY DURING THE PERIOD OF WOOD-BLOCK PRINTING.
A STUNNINGLY BEAUTIFUL JAPANESE FLOWERS, GRASS & INSECTS
SEN RYU DO GAFU SO KA CHU: SENRYU THE HIDDEN DRAGON.
[Kyoto 1903, Unsodo]. Green stitched wrs., red title slip, a
very clean, bright copy, [24] double leaves = 48 full color
pages of woodcuts, 16.5 x 23.4 cm.,a trifle bit of wear to
extremities, else quite nice.
A most stunning color woodcut book, hand printed on handmade Washi paper. The work shows a wide variety of color
flowers, grasses, insects and the last part shows several
kinds of reptiles: frog, snake, lizard, and salamander.
There is a substantial variety of various insects throughout
the work as found in nature.
*
The work emphasizes the beauty of nature and all its
splendid
colors and variety. It also reflects the sensitivity of the
artist to draw and depict nature in natural colors with the
utmost drawing skill.
*
Takizawa was know for his nature drawings and illustrated
books.
*
THE ARTIST:
$374
Takizawa Kiyoshi also used "SENRYU DO" as one of his "GO" or
studio names, and it also means "A Dragon Was Hiding."
*
THE SET:
The set was issued in several variant titles, such as
Fish [uo no bu], Bird, Flower [ka-cho no bu] and others.
Each is nicely illustrated. See Dawes for a complete list of
each of the six volumes published. Each volume was published
separately, and is therefore a monograph unto itself, and
complete in itself as a single volume. Dawes cites a Meiji
14th year [1881] 2nd edition ? set, in our experience, we
have only seen and had various different volumes with
different covers and published dates.
*
Senryu-doh Gafu:
THE COMPLETE SET:
Vol.2. FISH
Vol.5. PEOPLE
****
PUBLISHER:
*
ILLUSTRATOR:
***
BIBLIOGRAPHY:
*
KSM [Kaiga]
*
***
NOT LISTED IN:
*
*
A TRADITIONAL 'KACHO' SHOWING JAPANESE NATURE THEMES
$884
SEN RYU DOH GAFU: KACHO NO BU. TAKIZAWA'S ALBUM OF FLOWERS &
BIRDS.
[Tokyo 1877, Matsuzaki]. Stiff blue stitched wrs., 15 x 23
cm., very good, 46 woodcut plates, complete in one volume,
a few small stains, else clean, 23 double folded leaves,
nicely executed.
Line drawn, showing in great detail, both the flowers and
avifauna. Nicely drawn, showing the traditional Japanese
designs, landscapes, KACHO [bird & flower] views, with the
names of each fower and bird noted. Includes a dramatic view
of a falcon who has a monkey in its claws, peacock, and a
host of other birds & ducks drawn with great skill. Printed
by woodblocks by hand on handmade Masa paper.
*
Senryu-doh Gafu:
THE COMPLETE SET:
Vol.2. FISH
Vol.5. PEOPLE
****
PUBLISHER:
*
ILLUSTRATOR:
***
BIBLIOGRAPHY:
*
KSM [Kaiga]
*
***
NOT LISTED IN:
*
*
$459
AN EARLY JAPANESE ILLUSTRATED SEAL BOOK
444 TAMAI Zanseki.
WAKAN IN Zukushi: ILLUSTRATED OF JAPANESE SEALS.
[N.p. 1740, Ishikawa]. Blue stitched wrs., small format,13.5
x 18.5 cm.,covers worn, title slip intact, 26 double leaves=
52 + 4 other pages = 56 pages in all, woodblock printed on
hand-made Washi paper, vol. 2 of 2 only. AN EARLY SEAL BOOK
An fascinating work. With a profusion of Japanese seals,
many are identified, with title and Fuigana for easy
reading.
*
Contains a very large number of seals, some pictorial, an
unusual and obscure reference.
*
Seals were selected by TAMAI Zanseki
*
TRADITIONAL & CLASSIC JAPANESE ARTS & CULTURE ILLUSTRATED
445 TAMATA, Toshu.
SESOH HYAKU SUGATA: ONE HUNDRED ASPECTS OF EVERYDAY LIFE.
[Osaka 1918, Darumaya. Accordion folded stiff wrs.,with [34]
double-folded leaves, 32 double-page color woodblock prints,
$138
2 vols. Great example of Taisho life & printing at its best.
A wonderful work with 16 double page color woodblock plates.
a total of 32 in all. Each illustrates some aspect of daily
life, culture, music, games, family life, Kendo, Judo,horsemanship, archery, Sumo, Noh dance, theatre &c. A wonderfully
charming work, drawn with a sense of humor and a style reminiscent of Hokusai. Nicely drawn and executred. See Roberts
p.184 for biographical data. A nice Shijo treasure.
COMPILED UNDER IMPERIAL AUSPICES BY A COURT PHYSICIAN 1790
446 TAMBA, Gentoku. comp.
KOHKEI SAI KYUUHOO: EMERGENCY REMEDIES FOR THE BENEFIT OF
THE PEOPLE OR FIRST AID IN SUDDEN ILLNESS.
[Kyoto 1790, Suharaya]. Stitched blue wrs., very good 3 vol.
set, some old worming, covers scuffed,138 superior woodblock
illustrations, entirely woodblock printed on hand-made paper
18 x 26.5 cm., 10 manuscript pages in vol 2 replace missing.
GORDON E. MESTLER'S PERSONAL COPY WITH COPIOUS NOTES:
!! Attention:
The below note only applies to the blue stiff wrappers copy.
.
GORDON E. MESTLER'S PERSONAL ANNOTATED COLLECTION COPY
.
MESTLER'S HANDWRITTEN NOTES:
.
This is the exact copy Mestler used to catalog and compile
the entry in his historic GALAXY. It contains a good number
of paper slips, with his hand-written notes, comments,
bibliographical notes and indications of important
illustrations found in this amazing resource. There is also
a small card laid in with the name of this title, used by
Mestler for display and description purpose. He also used
this and other Japanese medical books as examples for
lectures while teaching anatomy at S.U.N.Y. College of
Medicine at New York City, Brooklyn.
***
THE AUTHOR:
Tamba Gentoku [1732-1801] also known as Taki or Rankei] was
a eminent court physician and famous in the annals of
Japanese medicine. He was directed by Imperial auspices to
compile this work by Shogun Iyeharu. The goal was the
promulgation of medical knowledge among the common people,
describing how to remedy various kinds without the help of
a physician.
.
THE AUTHOR'S ALTERNATE OR "STUDIO" NAMES:
$4760
During the time of this book, there were very few educated
professional physicians in Japan. Tamba was known both by
his professional name & by Taki Angen [or Rankei] and his
personal name TAMBA Gentoku and is sometimes referred to as
TAKI Gentoku, or also as Motonori, a combination of
professional & personal names. He is a descendant of the
TAMBA family, members of which had been acknowledged medical
practitioners for many generations. The activities of
Gentoku, his father, and his son are outlined by Whitney
[see below]. See also Mestler's GALAXY p.303,166 [below].
*
ORIGIN OF THE BOOK:
This resource was clearly developed from an earlier
Chinese work, the illustrations are of Chinese in their
traditional period robes, but adapted into easily read
Japanese by Tamba. The work covers how to do simple a
prognosis, treatment and prescribing of medicine. This work
is also an early example of the use of moxa [Mokusa aka:
artemisia vulgaris latifolia] or the tomentum [kind of
pollen like hairs] brushed off the leaves of Yomogi a
cauterizing herb known as Artemisia indica. It also lists
the most famous of all moxa spots the "Sanri" with detailed
directions telling how to "know" the location of the
acupuncture points.
*
FAMOUS ILLUSTRATIONS:
Two of its illustrations are also found in Huard p.83 [see
below] using yet another variant of the author's name of
Rankei Taki, these were illustrations were copied out of
vol.1, pp.4 & 5 showing facial manipulation. Other books
have also freely used the illustrations found in this work.
.
Lavishly illustrated there are illustrations covering most
every phase of emergency treatment. Excellent anatomical
details, acupuncture meridians, 'spots' & channels
illustrated. There are also a substantial group of botanical
illustrations, citing the pharmacological use, parts of the
plant to use and how to administer these to patients.
.
This work also shows a large selection of pharmacopoeia
illustrating which part of the plant & or animals are
to be used in the treatment of various illness and disease.
*
SUBJECT OF THE TEXT:
A good portion of the work is devoted to the details of what
parts of the fruits, grasses, tree and nuts, leaves, bark,
flowers, roots of plants to be used, and the method of
making medicine, dosage is discussed. For example the lotus
pod seed has been used for ages in Asia to assist in sleep.
The use of seaweed to reduce cystic swelling, one good for
erysipelas [Tandoku], and congenital syphilis [Taidoku]
noted. Others uses for medicine made from fish, squid,
shrimp, shell fish, conch, clams, bird parts & organs,
insects, the land snail & many others indicated.
.
Pressure points used for acupressure, were also heated by
the burning of moxa [artemisia vulgaris latifolia] on points
or on the end of acupuncture needles to gain additional
medicinal effect.
*
The method of applying hand or finger pressure to points on
the Fourteen Channels of the body are also noted. Problems
with childbirth and the placenta removal noted, as well as
treatment of young children noted. Among the many remedies
are two unusual methods of attempting to revive a drowning
victim. The first plate shows the victim slung over a water
buffalo in an attempt to expel the water, the second shows
a rescuer pumping his stomach with the palms of his hand,
the last shows the victim being warmed by a fire [see scans
on our web site]. The illustrations were also reproduced in
Castiglioni as figure 40 on p.109, see below for more
details. See also a good color representation of this found
in Grmek: LA MEDECINE JAPONAISE as plate 10 [see below].
*
Problems with pregnancy, childbirth and the placenta removal
noted, treatment of diseases of young children also noted.
*
APPLICATION OF EMERGENCY MEDICAL PRACTICES:
This work rendered a most valuable primary resource to
people of two centuries ago, when doctors were few but
illness and disasters many. It gave lay-people first hand
knowledge of what plants could be use to make medicines and
which techniques could be used in an emergency. Copious in
nature, some 300 double folded leaves in all. It was the
standard reference for the common people, written in easily
understood Japanese, designed for the semi-literate as a
home medical adviser. Remedies were based on adaptive use
of things commonly found around the Japanese home, medicines
compounded from ordinary plants and animals. It is also an
important pharmacopoeia Japonica in terms of a list of what
plants & animals were commonly available around Japan.
With excellent botanical illustrations and explanations on
the selection and use of plants & plant parts for treatment.
*
CURIOUS NOTE:
Per Prof Richard Rudolph [see below], she states on p.145:
"Curiously, one of the manual's illustrations was later used
in Arturo Castiglioni's STORIA DELLA MEDICINA." But she does
not exactly cite just which illustration in Tamba, or which
illustration in Castiglioni." She does illustrate Tamba's
front cover and an illustration from his book.
*
HOME MEDICAL ADVISER:
This work was compiled at the command of the Shogun Iyeharu,
before his death in 1786, for the promulgation of medical
knowledge among the common people. This title can also be
translated to mean "Wide Benevolence and Emergency
Prescriptions." The work contains substantial information on
how to remedy maladies of various kinds and how to meet
emergencies like intoxications, injuries, accidents, without
the help of a physician. The remedies were based on the
adaptive use of things commonly found in the early Japanese
home. Medicines are compounded from ordinary flowers,
plants, trees, animals, including birds, mollusks, and fish.
There is also a large section on moxa and acupuncture, the
'spots' or "channels of energy' and "Sanri."
***
BIBLIOGRAPHY:
*
Gordon E. Mestler: A GALAXY OF OLD JAPANESE MEDICAL BOOKS:
pp.303-304 for a substantial essay on this title.
*
H. Bartlett et al: JAPANESE BOTANY DURING THE PERIOD OF WOOD
BLOCK PRINTING pp.410-411 & the illustration exhibit 10 for
a good bibliographic description.
*
W. Whitney: NOTES ON HISTORY OF MEDICAL PROGRESS IN JAPAN,
#603. TASJ v.12 pp.325-326.
*
R. Rudolph: ILLUSTRATED BOTANICAL WORKS IN CHINA AND JAPAN:
pp.144-145.
*
P. Huard & M. Wong: CHINESE MEDICINE, see p.82 for an
illustration of this work and the note at the top of the
page. Huard lists Rankei Taki as the alternate name of the
author.
*
[GRMEK, M.D. ] et al. LA MEDECINE JAPONAISE.
*
Arturo Castiglioni et al.: HISTORY OF MEDICINE, N.Y. 1947
*
$4080
A LIMITED NUMBERED EDITION OF 180 COPIES
447 [TANAKA, Kisaku.] comp.
SHOKI UKIYO-E SENSHU: COLLECTION OF THE EARLIEST UKIYO-E OR
PAINTINGS OF THE FLOATING WORLD.
[Tokyo 1929, Juraku]. Green cloth Chitsu folding case, very
good, spine mended, contents clean, large elephant folio, 39
x 53 cm., 1 color, 16 b.w. folding plates, 66 full page plates, number & title on verso in Japanese, no text.
RARE
This fabled work, is a LIMITED NUMBERED EDITION OF 180
COPIES printed by the celebrated and superior Otsuka Kogei
Sha. Seldom found complete, it covers the precursor of Ukiyyo-e paintings and woodblock prints or prints of the "Floating World" or Ukiyo-e, as well as a good number of treasures
and other national treasures: such as screens, paintings, &
proto-type paintings of the Ukiyo-e school as well as fine
folk paintings. An excellent resource for the classic or
earliest period. In original joints mended loose portfolio,
with ivory clasps, designed for easy viewing of each work
separately, as issued, complete, with the limitation page
intact. Printed on thick paper, printed using the ultimate
technology for collotype high-quality printing. A grand reference and artictic resource. Scans can be sent by email.
A MOST BEAUTIFUL WOODBLOCK COLORED BOTANICAL DICTIONARY
$372
448 TANAKA, Yoshio. et al.
YUUYOO SHOKU BUTSU ZU SETSU: COLOR ILLUSTRATED CATALOGUE
OF USEFUL [EDIBLE & PRACTICAL JAPANESE] PLANTS.
Tokyo 1891-95, Teikoku Hakubutsu Kan.Stitched blue wrs.,vols
1-3 plates only, 1015 color woodblock printed illustration,
no text vols., 4 color illus per page, plate volumes only
from the 7 vol. set, very clean, bright copy, 3 vol set.RARE
A STUNNING AND IMPORTANT JAPANESE BOTANICAL WOODBLOCK COLOR
.
.
ILLUSTRATED, A SEVEN VOLUME SET, COMPLETE AS ISSUED
.
.
This is a stunning 7 volume set: the text consists of
volumes 1-3, with an additional volume of index, issued
later [* = see notes below]. Then the atlas of color plates
consisting of 3 volumes numbered 1-3, with 4 full color
illustrations per page, for a grand todal of 1015 individual
color illustrations of plants.
.
Each plate has its individual number, the Romanized Japanese
name, followed by Latin names. Highly useful to foreigners
who dont understand nor read Japanese.
*
There are also Japanese text showing each plant's individual
number, the Japanese Kanji character name, common name
written in both Kanji and Katakana for easy reading by semiliterate Japanese farmers.
***
CO-AUTHOR, ARTIST:
Co-author was Shokkai Ono. The color illustrations of
Japanese plants were drawn & executed by Sessai Hattori,
some 260 pages in all, the work is entirely woodblock in
full color by hand on double folded leaves. Japanese text in
3 volumes 75+67+75; followed by the 55p. index.
***
CONTENTS:
Are listed in the book with the below English section
titles.
.
This is a stunningly beautiful and copious work. It
encompasses a most wide variety if not all of the known
named plants in Japan. A dictionary of useful plants,
vegetables, tubers and fruits. All plants are organized by
categories:
I: Cereals & Fabace.
II: Vegetables.
III: Roots. IV:
Plants of which the flowers & leaves are eaten.
V: Cucurbitaceous fruits.
VI: Edible fungi.
VII: Edible algae.
VIII: Condiments & spices.
IX: Fruits.
X: Starch plants.
XI: Forage plants.
XII: Luxury yielding plants.
XIII: Economic plants for different uses.
XIV: Oil & wax plants.
XV: Textile plants.
XVI: Paper manufacturing plants.
XVII: Dye plants.
XVIII: Fragrant plants.
XIX: Medicinal plants. [pharmacopia]
XX: Poisonous plants.
XXI: Timber trees and bamboo.
XXII: Deciduous ornamental trees.
XXIII: Evergreen ornamental plants [including bamboo].
XXIV: Garden plants.
XXV: Covering plants for graund [sic meaning 'ground' cover]
***
***
STUNNING COLOR WOODBLOCK-PRINTED BOOK:
This fabulous color work shows the specimen plants foliage,
flowers, details of the flowers & leaves, with blossoms and
stamens inserted. Each color example is an true to original
exact reproduction of the one from nature, in accurate color
and veins found in the foliage. A botanist's dream book from
an earlier era, when hand carving of woodblocks were the
best method of showing the true nature & color of plants. It
was also printed on hand-made paper.
*
Works of this complex printing technique and magnitude are
scarce in Japan and were costly to produce, using over 500
or more individual carved blocks to print the full page
color illustrations.
*
A major color reference to Japan's plant life, finely
illustrated and executed in stunning "real-life" color with
grading from bright to pale colors as is found in nature. A
very difficult printing technique, superbly executed by the
artisans who hand-printed this work with ultimate skill.
The complete set is always R A R E and seldom found.
***
WHAT IS A COMPLETE SET ?
Per the above, we cite this as complete in 7 volumes, but it
can also be considered complete in 6 volumes [3 each of
text and 3 color-plate volumes]. The index being issued
later [See Merrill below] in 1902. Not all sets contain the
later index.
.
To this, we add just one more level of confusion. Based on
our reference copy of the 7 volumes, the index volume was
first published in 1891, then again in 1897. It has a
preface date of 1893. So there is the distinct possibility
that Merrill is a bit wrong, in that he has not seen the
1891 index...and therefore believed at the time that the
index came out in 1902...sorry to prove him wrong. The other
and more likely possibility is that he did not read Japanese
or relied on a poor resource to read to him the Japanese
date colophon.
.
We post several nice color scans of this item and of the
index on our website. Some sets have the earlier issued
index, others the later issued index, this adds to the
general confusion vis-a-vis this index volume. There are no
issues with the balance of the volumes.
***
IMPORTANT RECENT AUCTION RECORD:
This exact title in 7 volumes was sold in at New York
Christies, Rockefeller Plaza, for $4750, sale 2170,
Important Botanical Books, on June 24, 2009.
***
BIBLIOGRAPHY:
.
E. Merrill: A BIBLIOGRAPHY OF EASTERN ASIATIC BOTANY, p.490.
entry for this author: TANAKA, Yoshio: under dates 1891a,b.
In the first entry he cites this title as a 6 volume set,
i.e.vols 1-3 text; vols 1-3 plates as the complete work as
published in 1891. Then under 1891b, he cites: "YUYO
SHOKUBUTSU ZUSETSU MOKUROKU OYOBI SAKUIN or CONTENTS AND THE
INDICES TO USEFUL PLANTS OF JAPAN DESCRIBED AND
ILLUSTRATED"...1902.
Then, the later index would make this a 7 volume set,
printed 3 years later. Then he cites yet another later
edition 1895 as the "ENGLISH TRANSLATION OF THE TEXT 1895,
bound western style.
*
BARTLETT, Harley H. et al. : JAPANESE BOTANY DURING THE
PERIOD OF WOOD-BLOCK PRINTING, p.437, exhibit 28. This work
is complete in 7 volumes even though Bartlett states 9 vols.
as the complete works. Perhaps it was simply a typographical
error ? In fact, Tanaka states in the preface to volume 1
[index], that the set consists of 4 volumes text + 3 volumes
of plates atlas. Merrill also supports the total volume
count to be 7 in all. Bartlett was a much better
bibliographer, and had his Japanese co-author, Hide Shohara
assistant in all Japanese language translations. The wore is
clearly a 7 volume set when complete, regardless of the
"series" method of publishing some parts at a later date, in
all the set needs the index to be a complete resource.
****
A MOST BEAUTIFUL WOODBLOCK COLORED BOTANICAL DICTIONARY
$3400
449 TANAKA, Yoshio. et al.
YUUYOO SHOKU BUTSU ZU SETSU: COLOR ILLUSTRATED CATALOGUE
OF USEFUL [EDIBLE & PRACTICAL JAPANESE] PLANTS.
Tokyo 1891-95, Teikoku Hakubutsu Kan. Stitched blue wrs., 4
color woodblock printed illustrations per page, 356 illus.in
all, ! vol.3 of 7 vol. set!, no text, captions in Japanese,
complete itself, vol. 3 only.
Request more details.
A STUNNING AND IMPORTANT JAPANESE BOTANICAL WOODBLOCK COLOR
.
.
ILLUSTRATED, A SEVEN VOLUME SET, COMPLETE AS ISSUED
.
.
This is a stunning 7 volume set: the text consists of
volumes 1-3, with an additional volume of index, issued
later [* = see notes below]. Then the atlas of color plates
consisting of 3 volumes numbered 1-3, with 4 full color
illustrations per page, for a grand todal of 1015 individual
color illustrations of plants.
.
Each plate has its individual number, the Romanized Japanese
name, followed by Latin names. Highly useful to foreigners
who dont understand nor read Japanese.
*
There are also Japanese text showing each plant's individual
number, the Japanese Kanji character name, common name
written in both Kanji and Katakana for easy reading by semiliterate Japanese farmers.
***
CO-AUTHOR, ARTIST:
Co-author was Shokkai Ono. The color illustrations of
Japanese plants were drawn & executed by Sessai Hattori,
some 260 pages in all, the work is entirely woodblock in
full color by hand on double folded leaves. Japanese text in
3 volumes 75+67+75; followed by the 55p. index.
***
CONTENTS:
Are listed in the book with the below English section
titles.
.
This is a stunningly beautiful and copious work. It
encompasses a most wide variety if not all of the known
named plants in Japan. A dictionary of useful plants,
vegetables, tubers and fruits. All plants are organized by
categories:
I: Cereals & Fabace.
II: Vegetables.
III: Roots. IV:
Plants of which the flowers & leaves are eaten.
V: Cucurbitaceous fruits.
VI: Edible fungi.
VII: Edible algae.
VIII: Condiments & spices.
IX: Fruits.
X: Starch plants.
XI: Forage plants.
XII: Luxury yielding plants.
XIII: Economic plants for different uses.
XIV: Oil & wax plants.
XV: Textile plants.
XVI: Paper manufacturing plants.
XVII: Dye plants.
XVIII: Fragrant plants.
XIX: Medicinal plants. [pharmacopia]
XX: Poisonous plants.
XXI: Timber trees and bamboo.
XXII: Deciduous ornamental trees.
XXIII: Evergreen ornamental plants [including bamboo].
XXIV: Garden plants.
XXV: Covering plants for graund [sic meaning 'ground' cover]
***
***
STUNNING COLOR WOODBLOCK-PRINTED BOOK:
This fabulous color work shows the specimen plants foliage,
flowers, details of the flowers & leaves, with blossoms and
stamens inserted. Each color example is an true to original
exact reproduction of the one from nature, in accurate color
and veins found in the foliage. A botanist's dream book from
an earlier era, when hand carving of woodblocks were the
best method of showing the true nature & color of plants. It
was also printed on hand-made paper.
*
Works of this complex printing technique and magnitude are
scarce in Japan and were costly to produce, using over 500
or more individual carved blocks to print the full page
color illustrations.
*
A major color reference to Japan's plant life, finely
illustrated and executed in stunning "real-life" color with
grading from bright to pale colors as is found in nature. A
very difficult printing technique, superbly executed by the
artisans who hand-printed this work with ultimate skill.
The complete set is always R A R E and seldom found.
***
WHAT IS A COMPLETE SET ?
Per the above, we cite this as complete in 7 volumes, but it
can also be considered complete in 6 volumes [3 each of
text and 3 color-plate volumes]. The index being issued
later [See Merrill below] in 1902. Not all sets contain the
later index.
.
To this, we add just one more level of confusion. Based on
our reference copy of the 7 volumes, the index volume was
first published in 1891, then again in 1897. It has a
preface date of 1893. So there is the distinct possibility
that Merrill is a bit wrong, in that he has not seen the
1891 index...and therefore believed at the time that the
index came out in 1902...sorry to prove him wrong. The other
and more likely possibility is that he did not read Japanese
or relied on a poor resource to read to him the Japanese
date colophon.
.
We post several nice color scans of this item and of the
index on our website. Some sets have the earlier issued
index, others the later issued index, this adds to the
general confusion vis-a-vis this index volume. There are no
issues with the balance of the volumes.
***
IMPORTANT RECENT AUCTION RECORD:
This exact title in 7 volumes was sold in at New York
Christies, Rockefeller Plaza, for $4750, sale 2170,
Important Botanical Books, on June 24, 2009.
***
BIBLIOGRAPHY:
.
E. Merrill: A BIBLIOGRAPHY OF EASTERN ASIATIC BOTANY, p.490.
entry for this author: TANAKA, Yoshio: under dates 1891a,b.
In the first entry he cites this title as a 6 volume set,
i.e.vols 1-3 text; vols 1-3 plates as the complete work as
published in 1891. Then under 1891b, he cites: "YUYO
SHOKUBUTSU ZUSETSU MOKUROKU OYOBI SAKUIN or CONTENTS AND THE
INDICES TO USEFUL PLANTS OF JAPAN DESCRIBED AND
ILLUSTRATED"...1902.
Then, the later index would make this a 7 volume set,
printed 3 years later. Then he cites yet another later
edition 1895 as the "ENGLISH TRANSLATION OF THE TEXT 1895,
bound western style.
*
BARTLETT, Harley H. et al. : JAPANESE BOTANY DURING THE
PERIOD OF WOOD-BLOCK PRINTING, p.437, exhibit 28. This work
is complete in 7 volumes even though Bartlett states 9 vols.
as the complete works. Perhaps it was simply a typographical
error ? In fact, Tanaka states in the preface to volume 1
[index], that the set consists of 4 volumes text + 3 volumes
of plates atlas. Merrill also supports the total volume
count to be 7 in all. Bartlett was a much better
bibliographer, and had his Japanese co-author, Hide Shohara
assistant in all Japanese language translations. The wore is
clearly a 7 volume set when complete, regardless of the
"series" method of publishing some parts at a later date, in
all the set needs the index to be a complete resource.
****
VERY IMPORTANT & EARLY TREATISE: 14 CHANNELS OF ACUPUNCTURE
$476
450 TANIMURA, Gensen
JUSHI KEI HAKKI SHO: INTRODUCTION FOR THE FOURTEEN CHANNELS
TEACHINGS OF ACCUPUNCTURE.
Kyoto 1659, Yoshinoya. Recent stiff brown stitched covers,10
vols. bound in 5 volumes, 17.7 x 26.5 cm., pagination:volume
1:35; 2:28; 3:41 ;4:38; 5:39; 6:46; 7:46; 8:38; 9:23; 10:35,
a touch of minor old marginal worming, solid, complete. RARE
This is an important and early work, on Chinese acupuncture,
rewritten by a Japanese.
*
This work was originally written in Chinese, now it has that
text, but with the addition of Japanese grammatical marks,
Furigana and written in Kambun [Japanese version of a
Chinese text].
*
The work contains 37 fine full page illustrations showing
period Chinese men, the various points of the "Fourteen
Channels" for acupuncture, also the same points were used
for acupressure and moxibustion.
***
THE AUTHOR/EDITOR/"EXPLAINER"
TANIMURA Gensen was the editor or "explainer" of the work.
The FIRST EDITION was written 1659 by KATSU Ju [Jiu] with
title JIU SHI KIYO HAKKI. TANIMURA slightly changed the
title, but the work remains the same. Beginning on Mestler's
p.473, he states: "KATSU Ju [alias = Hakunin which is a
Japanese reading of a Chinese name and so is KATSU Ju]..."
was a Chinese physician of the Ming period [1368-1644] &
prolific writer on Traditional Chinese medicine such as
acupuncture and the "Fourteen Channels" of acupuncture, and
the use of moxa and one of the early introducers of Chinese
medicine to Japan. "The original [First Japanese Edition]
of the publication was 1684, under title JUSHIKEI [or
JUSHIKO] HAKKI...later also "explained" again by the
celebrated and famous OKAMOTO Ippo under the title JUSHIKEI
RAKI WAGO." Mestler p.474.
***
THE ILLUSTRATIONS:
The majority of the full-page illustrations show various men
front, rear, side views, with a key to the various
acupuncture points, each carefully labeled. There are a few
other illustrations of internal organs, heart, liver,
intestines &c. There about 20 excellent illustrations of
acupuncture needles, lancelets which are the instruments of
acupuncture.
.
vol.1: 2 + shows 18 acupuncture needles and lancelets
vol.2: 0
vol.3: 16 illustrations
vol.4: 4
"
vol.5: 4
"
vol.6: 4
"
vol.7: 3
'
vol.8: 2
"
vol.9: 2
"
vol.10: 0 "
***
CONTAINED IN CLOTH CHITSU OR FOLDING CASE:
The whole complete set is placed inside of an recent [past
50-75 years] indigo-blue cloth Chitsu [folding case] with 2
bone clasps.
***
CONDITION:
The work was rebound in the last 50-75 years with newer
covers. There is a touch of old worming mostly small holes
in the margins, or leading edges, loss of text very minimal.
Otherwise the work is printed on very clean, bright Washi
hand-made Japanese paper. The characters are bold and bright
with good registry. There are a few pages that have some
black Sumi ink stain near the leading edges, text is still
completely legible. The set of 10 volumes are bound in 5
uniform parts, stitched with a brown silk [?] thread. The
set is solidly bound, all pages firm .
***
REFERENCES:
WHITNEY, Willis N.: NOTES ON THE HISTORY OF MEDICAL PROGRESS
IN JAPAN, pp.419, #430, listed as JIU SHI KIYO HAKKI, that ?
author is cited as KATSU JIU [died 1368], published 1659.
*
MESTLER, Gordon E. A GALAXY OF OLD JAPANESE MEDICAL BOOKS
WITH MISCELLANEOUS NOTES ON EARLY MEDICINE IN JAPAN. Mestler
has pointed out on pp.473-474 the original Japanese edition
"...published in 1684 with title Jushikei [or Jushikyo
Hakki]..." was complete in one volume but was in two parts,
authored by KATSU Ju [aka HAKUNIN] who was a Chinese
physician who lived in the Ming dynasty. It clear that
TANIMURA came across this text, and rewrote it from the
original Chinese into Kambun for Japanese physicians.
.
We believe this work to be correctly attributed to KATSU Ju
and later renamed by the Japanese, per the above. Mestler
also illustrates an example on p.475, as plate figure B.
This shows the measurements from "point to point" in the
Fourteen Channels. Other entries for KATSU Ju on pp.303,
189 footnote 21.
.
Therefore, TANIMURA Gensen wrote a summary of the Ju-shi-Kyo
Hakki-Sho, a summary of Ju-shi-Kyo Hakki.
*
Not in:
*
Not in:
[KURE, S.] REPORT OF THE MEDICAL EXHIBITION VI CONGRESS OF
THE EXHIBITION COMMITTEE OF THE CONGRESS, TOKYO.
***
$2474
SPECTACULAR COLOR WOODBLOCK-PRINTED COLOR FLOWERS
451 TANIUE, Kounan.
SEIYO SOHKA ZUFU: Album of Western Flowers and Grasses.
Kyoto 1917, Unsodo. Green boards, accordion folding albums,
front title slips, in worn original brown silk Chitsu case
no clips, books: brillantly clean, bright copies, no defects
5 vol. set, complete, ca. 17.3 x 26 cm. FIRST & ONLY EDITION
This is a spectacular and stunning polychrome woodblock
printed book. It contains a total of 125 superbly beautiful
color woodblock prints, 25 in each volume. These are doublepage prints 37 x 26 cm. a bit larger than the standard Oban
print size. Each illustration has the Japanese name written
in Katakana, printed on heavy stiff Washi paper. The books
are bound in the original green paper-covered boards, each
with a centered title slip. index, and sealed with three
different cinnabar chops/seals on the title page by the
artist.
*
POLYCHROME WOODBLOCK PRINTED FLOWERS:
The work is magnificent, with "true to nature," colors, a
"riot of color." Done in sympathetic and natural tones and
colors which reflect the true color of the stems, leaves,
buds, flowers in very tender compositions.
*
CONTENTS:
Volume 1: Spring, part 1.
Volume 2: Spring, part 2.
Volume 3: Summer, part 1.
Volume 4: Summer, part 2.
Volume 5: Autumn, part 1.
Complete in five volumes.
****
RARITY:
The book is seldom found on the market for sale. The last
recorded copy we have was sold in Japan, 1991. Copies of
this book have been broken up, individual pages sold as
"floral prints" on the world art market. Finding a complete
set in such wonderful condition is indeed R A R E !
.
This book was printed in a small and usual edition of 200
only copies.
.
This obscure and rare item has eluded the scrutiny of all of
the usual bibliographers. See below for a list of reference
books in which this is NOT FOUND.
*****
CONDITION:
THE PRINTS:
The books are exceptionally fresh, bright and clean, no
worming, no stains, no tears, no weak hinges, no damage to
center folds, no damage whatsoever! There are even a few
original tissue sheets remaining in these volumes. There is
some of the usual oxidation found on the covers

japanese illustrated woodblock printed books, of all periods

Transcription

Similar documents

Japanese Family Crests (Mon)

Kamaitachi _ Hosoe Eikoh, Keene Donald, Hijikata Tatsumi

食道楽

Japanese Water Iris

20160121 smile通信vol.06英語版

Asian Puppet Theatre Exchange - Japan Foundation Kuala Lumpur

PDF

Pacific War Quest

Japanese Language Major Guide

CONTEMPORARY JAPANESE DESIGN PROJECT