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Japanese Art

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Japanese Art Books & Ephemera


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    $850.00

    Philipp Franz Von Sebold's Ukiyo-e Collection (3 Volume set in Original Clamshell cases) in Original Shipping Cartons by Siebold, Philipp Franz Von; Willem r Van Gulik

    Tokyo; (1978): Kodansha. Folio. In three volumes. The Ukiyo-e or Pictures of the Floating World is a uniquely Japanese art form. This set is a marvelous representation of Sebold's outstanding collection of Japanese woodblock art. Captions in Japanese & English to over 500 full page color plates, some folding . Each volume bound in white cloth, blocked in brown, lettering gilt and blind, housed within publisher's orange clamshell cases. Clamshell to volume one rubbed just a bit to front panel. A nearly pristine set in original shipping cartons. An essential reference for the collector of woodblock prints from this period.


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    $195.00

    Masterpieces of Japanese Puppetry. Sculptured Heads of the Bunraku Theater by Seijiro, Saito

    Rutland, Vermont/Tokyo: Charles E. Tuttle, 1958. This is a very good hardcover copy in a very good dust jacket with only light traces of wear. The jacket is virtually complete, a small chip out of the top of the spine. Otherwise very good. Completely clean inside and out. This is a limited edition of 375 numbered copies. This collection of 32 sculptured heads from Bunraku theater represents the best work of its kind. All 32 puppet heads reproduced in full-page color plates and full catalog entries. Additionally there are twelve black & white photographs of more heads. And 26 figures in the text. Foreword by Roy Andrew Miller who also translated this edition. 14.5" high X 10" wide, 91 pages. A beautiful production. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.. Limited/Numbered Edition of 375 Copies. Hard Cover. Very Good/Very Good.


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    $350.00

    胎藏界念誦次第 / Taizōkai nenju shidai by Jōgon and Kūkai

    Offering : Volume 1 from the exceedingly rare ca. 1687 first edition of the two volume set. The suite of 287 hand gestures in two parts is complete on 43 numbered sheets with the sketch of the basic representation of the Matrix Realm as a five tiered court and eight petal lotus, commentary at the rear on four numbered sheets with separately numbered columns. It was only in the last quarter of the seventeenth century, likely to further promote transmission of correct practices that Shingon ritual manuscripts began to be printed in any number. Formerly they were hand copied for transmission. The sequential, captioned illustrations demonstrate how to form the ritual devotional mudras associated with the Womb Mandala or Matrix Realm described in the teachings of the Mahāvairocana sutra, one of Shingon Buddhism's two principal tantric texts. Mudras are essential to the practice of Esoteric Buddhism with "any individual ritual at its core comprising an incantation, mantra, accompanied by a hand gesture, mudra, and a guided contemplation, kanso" . [Sharf, Thinking Through Shingon Ritual] Shingon (True Word) Buddhist practice was initiated by the Japanese monk, Kūkai [774–835] who brought the Mantranaya Zhenyan school from China to Japan in 809. He is universally viewed by practitioners of Esoteric Buddhism as the eighth and last patriarch in its oral transmission from the Buddha. The Shingon Buddhist monk, Jōgon [1639–1702] was a principal advocate of a return to original practice and aided in ushering in a Shingon renaissance under the patronage of the fifth Tokugawa Shogun, Tokugawa Tsunayoshi. The well-preserved volume lacks only the original mounted title slip and paper wrappers. The woodblock printing and illustrations are well-inked with sharp detail. Title is noted on page one of sheet one: text and descriptive captions are printed in Kanbun with some text in Sanskrit. Rarity : Virtually unobtainable. A worldwide search, including Japan, finds manuscript copies and later editions but just one example of the first edition, in the holdings of the National Library of Australia Rare Books Collection. Date : ca. 1687 (no earlier than Jōyō 4 / 1687, likely no later than Genroku 2 / 1689) Condition : Nearly Good , woodblock printing well-inked with sharp detail, sheets with no tears or owner seals, 7 sheets with minute worm hole in top margin, later wrappers lack original title slip, replacement slip never titled. / Condition Detail: Sheets: text and illustrations generally clean and bright, except extremities have some spotting, most sheets with top margin tea stain, afterword with toning and fingering wear-adjacent text sheet with creases at bottom corner-Page 2 / Sheet 40 with supplemental caption neatly done in pencil, Sheet 41 and 42 with supplemental captions finely done in sumi in top margin / Covers: general wear including some sunfade and soiling / Binding: excellent, later sewn. Pagination : Volume I is complete with 95 pages, 43 numbered sheets with 83 pages of captioned woodblock print illustrations in two parts and three blank division pages, Part I with 273 hand gestures and a sketch of the Matrix Realm, followed by a blank division page and the captioned suite of 14 base mudras of Acala Vidyārāja (who transmits the teachings of the Mahāvairocana to all living beings) + 4 sheets of text, each with numerous column numberings + 1 page, colophon (on rear pastedown). Forma t: Patrinia flower yellow wrappers in a 4 stab-holes fukuro toji binding. Size : 224 x 154 mm (8.82 x 6.06 inches) with full margins. Reference : 佛書解說大辭典 / Bussho kaisetsu daijiten, v. 7, p. 184 / Bunce, Mudrās in Buddhist and Hindu practices: an iconographic consideration / Chandra, Mudras in Japan / Devi, Esoteric Mudras of Japan / Grotenhuis, Japanese Mandalas, Chapter 3 / Harvey, An Introduction to Buddhism, pp. 226-230 / Sharf, Thinking Through Shingon Ritual, Journal of the International Association of Buddhist Studies, vol. 26, no. 1 / Wynne, The Oral Transmission of the Early Buddhist Literature, Journal of the International Association of Buddhist Studies, vol. 27, no. 1. Additional Images : by request.


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    $100.00

    Masaharu Shimada by Matsumoto, Margarita M. Hiyama (ed.)

    Mexico City: Inventa Communicacion S.A. de C.V., 2003. First edition. Hardcover. Fine/very good. Mexico City: Inventa Communicacion S.A. de C.V., 2003. First edition. Hardcover. Fine/very good. THERE WILL BE A SHIPPING INCREASE ON THIS HEAVY BOOK - INQUIRE FOR DETAILS. Extremely rare art book, first edition, of which only 500 copies were printed and this is the only one available online at the time of listing. Profusely ilustrated with Shimada's artwork. Text is in Spanish and Japanese. Moderate edgewear to dustjacket including noticeable corner bumping; book itself is in excellent unread condition. [B14]


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    $499.00

    Antique Japanese Fairy Tale Series #8, Urashima the Fisher Boy by CHAMBERLAIN, Basil H

    1886 1ed Japanese Fairy Tales Urashima the Fisher Boy Color Illustrated Tokyo A rare, hand-made book on silk-stitched, creped wraps of famous Japanese fairy tales! This traditional tale, 'Urashima the Fisher Boy, is an illustrated woodblock book telling the tale a young Japanese fisherman who catches a tortoise. After deciding he did not want to deprive the tortoise of life, he let it go. Moments later, a beautiful woman, daughter of the Sea-God, appears to him claiming she was the tortoise! This volume is numbered no. 8 in a series of 'Antique Japanese Fairy Tales'. Item number: #6979 Price: $499 CHAMBERLAIN, Basil H. Antique Japanese Fairy Tale Series #8, Urashima the Fisher Boy Tokyo : T. Hasegawa, 1886. First edition. [Meiji 19] Details : · Collation: Complete with all pages · Language: English · Binding: Softcover; tight and secure · Size: ~6in X 4in (15cm x 10cm) Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 6979 Photos available upon request.


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    $125.00

    CONTEMPORARY NETSUKE by Kinsey, Miriam

    Rutland, Vermont; Tokyo, Japan: Charles E Tuttle Company, 1977. Cream boards, quarterbound in brown cloth, decorative brown design on front corner. Illustrated dust jacket, clipped. Illustrated slipcase. 200 illustrations, many in full colour. A beautifully presented book, Foreword by Hans Conried; contents include: (Part One) Background; Contemporary Netsuke; Subject Matter; Collecting Contemporary Netsuke; (Part Two) Techniques; A Netsuke in the Making (Photographic Series); (Part Three) Contemporary Carvers; Appendices, Bibliography, Glossary-Index. "In this unusual and engagingly written book [the author] traces the historical background of the art and goes on to examine its current state, at the same time providing that basic knowledge that every collector needs concerning authenticity, workmanship, and materials along with a wealth of information on subject matter, techniques, scholarly interest and investment." (Dust jacket). First Printing (stated) 1977. Hard Cover. Near Fine/Near Fine. Illus. by Tomo-o Ogita, Tsune Sugimura (photographs), Adelheid Roth Roscher (sketches). 8vo - over 7¾" - 9¾" tall. Slipcase.


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    $1,250.00

    SHÔGAKU TOKUHON Maki no Ichi by [BASEBALL - JAPAN] Shihon Gakkou-hen

    1870. [BASEBALL - JAPAN] Shihon Gakkou-hen. SHÔGAKU TOKUHON Maki no Ichi. Aichi-ken [Nagoya] Shihongakkô [Teacher's College] n.d. [1870's] An interesting little elementary school reader from the first series of textbooks designed and created by the Teachers College Normal School system in Japan after the Meiji restoration to introduce "Western Learning" to the country. What follows is a series of excerpts from an informative article found online at http://wwwwp.mext.go.jp/hakusyo/book/hpbz198103/hpbz198103_2 _035.html "The Normal School, which was under the direct jurisdiction of the Department of Education, was also requested to compile elementary school textbooks on the basis of its practical experience. Also an office for editing elementary school textbooks was set up in the Normal School in December, 1872. The Department of Education encouraged independent prefectures to reprint the textbooks and other educational material which it and the Normal School had compiled, and it was not long before most of the prefectures adopted this practice and the reprinted textbooks were in nationwide use. Especially following the establishment of regulations for the course of study for elementary schools by the Normal School the textbooks prepared by this institute gained wide acceptance. These textbooks included elementary school readers, introductory geography, outlines of Japanese topography, outlines of world topography, outlines of Japanese history, outlines of world history, elementary school arithmetic, etc. ..................The elementary school textbooks proved to be an interesting introduction of the new knowledge based on the Civilization and Enlightenment (Bunmeikaika) thought, and they were accepted not only as textbooks but also as popular reading material for the public at large. Thus their influence was of considerable importance in the dissemination of the new culture." It is pretty clear that the introduction of Western culture also entailed the introduction of a least a variety of baseball in the 1870's, as well (a fact confirmed by other sources on the origins of baseball in Japan). The American educational consultants and their Japanese colleagues in Aichi saw fit to include a cut and a story with a group of boys playing with bats and balls, pitching and hitting - interesting proof that baseball is nearly as old in Japan as it is in the States. The text of the story, crude.


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    AUD $330.00

    Records of Pictures : The Taiheiki Emaki - The Pictorial Scrolls of Taiheiki

    Japan: The Saitama Shimbun , 1997. 221 pages with colour and b/w illustrations. Introduction in English with remaining text in Japanese ."Taiheiki" is a chronicle of a horrific battle in the 14th Century, between the North Imperial Court and the South Imperial Court in Japan. During those years of terrible war the people of Japan longed for peace. The phrase "Taihei" means "Peaceful World" and "Taiheiki Emaki" is a collection of 12 scrolls which depict the battle together with the terrific struggle for peace. The artist of Taiheiki Emaki is believed to be Kaiho Yusetsu who was prominent in the Edo era (which lasted from the 17th century until the mid 19th century). Picture shows part of slipcase. . Hard Cover in Slipcase . Near Fine/No Jacket. 4to - over 9¾" - 12" tall.


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    $1,000.00

    畊香館畫賸 / Kōkōkan gasho by 瀧和亭 / Taki Katei

    Rarity : Issue of the first edition was announced by Hōbunkan in December 1883. It was published in April 1884. A worldwide institution search finds the British Museum and the National Library of Australia with the only complete first edition sets, outside of China. [An incomplete set is held at the University of Washington, Special Collections.] The first edition is very rarely offered for sale. In 1886 the Tokyo publisher, Ōkura Magobē [1843-1921] purchased the original woodblocks and announced to prospective subscribers he would reissue the work. A worldwide institution search finds six holdings of the second edition in Japan including the Tokyo National Museum and Tohoku University Library. Otherwise, outside of China, the only holding of a complete set of the second edition is at the Smithsonian Institution, Washington, D.C. The second edition is rarely offered for sale. Offering : The second edition of "Models of Painting from the Kōkōkan" with very good woodblock impressions and the added ephemera printing of the subscriber prospectus. [Kōkōkan was the name of Taki Katei's home with painting studio.] Perhaps the most significant manual of instruction in literati painting styles printed in Japan in the last quarter of the 19th century, the painting manual with 92 pages of texts and 266 prints was woodblock printed in 1886 from the well-preserved original woodblocks purchased from Taki Seiichi. Taki Katei was one of the last of the Japanese Nanga painting masters, acclaimed in Japan and revered among Chinese visitors to Nagasaki, as a master of Chinese styles of painting. Although a frequent contributor to literati publications including books, this is the first woodblock book devoted to his compositions. [Taki Katei was one of fifteen 'renowned masters' in the 1877 "Compendium of Calligraphy and Painting across the Nation".] The set is complete and untouched with the original publisher's wrappers and noble sewn bindings, set in the folding chitsu with title slip, the publishers illustrated broadsheet for prospective subscribers added, laid-in at the rear of volume one. The Painting Manual : While the Edo period is synonymous with sakoku, the national seclusion policy of the Tokugawa shogunate, trade with China at the port city of Nagasaki continued and the shoguns encouraged and patronized Neo-Confucianist and Chinese studies. Many thousands of paintings and books were imported to Nagasaki from Shanghai. Even with the adoption of Western practices and the rapid rise of industrialization that characterized the Meiji period, "Literati culture remained strong until the late 1880s". [Buckland, p. 43]. The painting manual features extensive coverage of Chinese Nanga painting styles, including composition types, drapery styles, and brush strokes. The manual has 265 composition model prints made from designs by Taki Katei after paintings by Chinese masters in Japanese collections. Beginning in 1850 and extending until at least 1866, as a peripatetic artist seeking commissions but devoted to the practice and study of literati painting, Katei made shukusha, accurate reduced-scale copies, of several thousand paintings by Chinese masters, sequestered and largely forgotten in Japanese collections. [Buckland, p. 35] In an advertisement for the instructional manual published in the "Tōyō kaiga sōshi", it is said that Katei revealed, "traces of men from the past hidden away in Japanese collections". In 1879, with earnings from a stream of commissions, Katei purchased a felicitous property in the Ochanomizu neighborhood of Tokyo, on an elevation above the Kanda River, at the secluded northern edge of Tea Valley with fine views of the Sumida River and Mt. Fuji. He had plans drawn up for a house with painting studio and after it was built, he requested a Chinese visitor choose a house name. Perhaps because he was renowned for bird and flower paintings, the visitor chose a fragrance name, Kōkōkan (Hall of Hoeing Fragrance). At Kōkōkan, Katei gave lessons using his celebrated funpon (copybooks) and in his afterword relates that persuaded by students to publish reproductions of his works, he decided to make a literati painting manual as a legacy to teach and advance literati painting styles, focusing primarily on the seminal Chinese masters of the Northern Song dynasty and the Ming dynasty Wu school in Southern China. He devoted a full year to complete selected paintings and their woodblock transfers, preparing and editing texts and documentation with the assistance of his son, Taki Seiichi, as well as, personally supervising in his studio the woodcarving done by an elite crew, headed by the leading wood engravers, Kimura Tokutarō [1842-1906], Mitsui Chōju (Katei's son-in-law) and Kanada Matsukichi. Coverage of the notable Chinese literati masters is extensive. Volume one, Vermilion, demonstrates brush techniques and compositional approaches for twenty landscape types and eighteen drapery styles for figures, (using the 18 arhats as subjects). Volume two, Snow and Volume three, Fragrance demonstrate styles of bird, flower, and animal compositions. Volume four, Place, shows models for landscapes for large, small, and wood panel (ranma) works. Book production was in the Chinese style, woodblock prints and texts impressed on a thinner, longer Chinese style paper,( not the thicker, shorter Washi then in vogue) and bound in plain golden brown wrappers in noble bindings. The Yomiuri shinbon newspaper, in its review, described the manual as, "a beautiful book in the Chinese style". Condition : About Good, very good impressions, no tears, chips, or worming, bindings fine. Sheets: many with light tip bends and fox spots, mostly pale and scattered in margins, some sheets with scattered spots in prints, four prints with considerable foxing, some sheets with slight fingering, a few with slight soiling near a bottom corner, or light woodblock offset, two prints with small stain spots at a margin edge. / Wrappers: Very Good, individual titles neatly added to upper wrapper sides in sumi, two vols. with slight sun fade: upper sides, vol. four with fore-edge bend and a few scattered ink spots: lower sides, slight bottom corner wear, vol. 4 with corner crease. / Folding case: solid and reliable but heavily worn, lacking original bone clasps, title slip soiled. / Broadsheet Ephemera: clean, bright, no tears or chips, top edge wear including corners, some fingering, slight wear to bottom corners, laid-in folded at rear of vol. one with slight crease at foot of one fold. Pagination : Complete; 206 unnumbered sheets (412 pages), the 266 prints and some of the 92 text pages with engraved cinnabar seals, one text page illustrated with a woodblock print portrait of Taki Katei by his son, the 265 prints of composition models in four formats, full-sheet, full-page-vertical format, full-page-horizontal format, and half-page, prints impressed on folded sheets, versos blank, 264 printed in black and white, one printed in gray, black, white + [1] rear blank page, added for the sewn binding + [1], broadsheet, publisher's advertisement for subscribers about the manual, laid-in at the rear of volume one, 14.7 x 9.6 inches, verso blank, printed in b/w, text from type in 18 columns in three parts, illustrated with 4 reproductions, two photo portraits and two paintings. Format : Publisher's untouched kincha (golden brown) wrappers in their kōki toji (noble) bindings, all corners with their kadogire (protective corner backings), set in the publisher's chitsu case (lacking its original two cinches with bone clasps) with the original daisen (printed title slip). Size : Case: 290 x 171 mm (11.42 x 6.73inches) / Covers: 287 x 164 mm (11.3 x 6.5 inches) / Broadsheet: 373 x 243 mm (14.69 x 9.57 inches). Taki Katei [1830-1901]: Born in Sendagaya, outside Tokyo, given name Takimiya ken, his paternal grandfather, Takimiya Heikichi, a rōnin from Hiroshima prefecture. From a young age, he demonstrated a great talent for visual expression. About age eight, he began studies with Satō Suigai, a well-respected local artist, formerly samurai. From 1845, he apprenticed with Suigai's teacher, Ōoka Unpō [1765-1848] who had studied with Suzuki Fuyō, a follower of the Nanpin school. After Unpō's death, Katei was able to study sketching from Nature with the physician-artist, Sakamoto Konen. [The Nanpin school of (kachoga) bird and flower painting, highly influential in Japan, stems from the teaching and works of Shen Quan, the Chinese painter who resided in Nagasaki 1731-33.] In 1850, Katei took to the road as an itinerant artist to study and seek commissions. It is known that first he traveled to Nagasaki where he was accepted as a pupil of the Obaku Zen monk and painter, Hidaka Tetsuo [1791-1871], "one of the three great Nanga masters then living in Nagasaki". [Roberts, p. 171] Katei devoted himself to becoming a master painter, as advocated by the Japanese literati masters, Tani Bunchō and Tsubaki Chinzan, practicing sketching from Nature (shasei) to reveal the resonating spirit of living forms (kiin) that an artist can experience by deep awareness of being and mastery of brush and ink. At age 36, Katei ended his peripatetic lifestyle and returned to Tokyo. [Katei translates as Harmony Pavilion.] He made an excellent marriage, marrying the daughter of a celebrated calligrapher, Takahashi Sekisai [d. 1872] but during the turbulent transition from the Tokugawa shogunate to the imperial Meiji government, he left Tokyo and traveled north to Noda in Chiba prefecture, home of his mother, Kinoko. In Noda, Taki Katei established many enduring connections, resulting in a series of remunerative commissions from the wealthy elite of the city and long term patronage. After returning to Tokyo ca. 1869, he became recognized as a leading literati artist and from the early 1870s, he frequently received commissions from members of the Imperial household. Taki Katei was chosen to represent Japan in the Vienna International Exposition of 1873 (the first international exposition officially participated in by Japan) and subsequent international expositions during his lifetime. In 1879 he was among the first artists appointed by Imperial decree as a member of the Japan Art Association, to promote and protect the arts of Japan. When sections of the Imperial Palace were rebuilt in 1886, he was listed first among twenty two recommended painters working in Chinese painting styles and his beautiful, decorative flower-and-bird paintings, executed on the cedar doors and ceiling of the Residential Hall in the Imperial Palace, demonstrate his mastery of the style associated with the Chinese painting master, Yun Shouping [1633-1690], revered for his ink wash technique with 'boneless' brush that leaves no evident brush strokes. [Roberts, p. 171] In 1893 he was honored with appointment to the Imperial Household Art Committee with the responsibility of overseeing competitions to promote Japanese painting. With recent scholarship on nationalism in Meiji period Japan and reciprocal cultural exchanges with China, there is an upsurge of interest in Taki Katei and his work. An artist known for quietude and finesse with the brush, his legacy and works were all but forgotten for decades, except by a few connoisseurs, for he was a painter associated with the great waning of Chinese cultural influence in Japan and Japan's marked inferiority to the West. Marking the revival of interest in his works, in October 2019, the World Museum in Liverpool will be hosting the first exhibition of Taki Katei's work outside of Japan, as part of the Japan 2020 Cultural Olympiad. Reference : Addiss et al., "The Japanese quest for a new vision: the impact of visiting Chinese painters 1600 to 1900". Buckland, "Painting Nature for the Nation: Taki Katei and the Challenges to Sinophile Culture in Meiji Japan." [Rosina Buckland is the leading contemporary authority on Taki Katei and the painting manual is extensively described, especially in chapter two, pp. 76-81 and in Appendix two.] Campbell, "Tenpō-kizengo no shogakai". Fogel, Joshua, "The Literature of Travel in the Japanese Rediscovery of China". Fogel, editor, "The Role of Japan in Modern Chinese Art". Jungo Murayama , "Taki katei shōden", 編輯兼發行者村山旬吾, 瀧和亭小伝. Mitchell, "The illustrated books of the Nanga, Maruyama, Shijo and other related schools of Japan : a biobibliography.", pp. 87-88, p. 372. [Not noted in Brown or Toda / Ryerson, Mitchell discusses this work at length, although he did not have a copy in his collection.] Roberts, "A Dictionary of Japanese Artists : painting, sculpture, ceramics, prints, lacquer.", p. 171. [The biographical sketch is an essential source on Taki Katei.] Pagination Detail : Volume One : 53 sheets with 34 prints, one b/w portrait print in text, a half-page portrait of Taki Katei by his son, Taki Seiichi [1873-1945],13 full-page portrait prints showing drapery types, using the 18 arhats as models, most with multiple figures, the portrait print on sheet 39, no. 2 in the portraits suite impressed in black, white and gray (the only print not in b/w) and 20 full-page, b/w landscape prints + 31 text pages, 11 with an engraved seal (or seals), (two are title division sheets with collaborator inscriptions) + 42 blank pages + [1], blank page for binding at rear + laid in publisher's broadsheet advertisement for subscribers, text in three parts, illustrated with four captioned b/w reproductions with two portrait bust photos and two paintings, rear side blank. Volume Two : 49 sheets with 73 full-page b/w prints with an engraved seal (or seals) and 18 pages of text, 6 with an engraved seal (or seals) + 7 blank pages. Volume Three : 48 sheets with 74 full-page b/w prints with an engraved seal (or seals) and 16 pages of texts, 9 with an engraved seal (or seals), one page with decorated border + 6 blank pages. Volume Four : 56 sheets with 85 b/w woodblock prints with an engraved seal (or seals) on 34 sheets, illustrations beginning with 2 full sheet prints and also including 45 full page prints, 39 in a horizontal format, and 38 half page prints on 19 sheets + 27 pages of text, 12 with an engraved seal (or seals) including Katei's colophon about the painting manual, and 15 pages of text without seals including 3 pages in a condensed column format + 19 blank pages, extremity blank pages on tissue paper. Contributors to the Painting Manual : There were 38 contributors, one print work (portrait of Katei) and 37 text and calligraphy contributions, (some in bolder stele styles), 15 reprinted from a Katei handscroll made in 1851 that served as an introduction to the artist. All texts by Japanese authors are in kanbun. Volume One : Yu Yue (Quyuan) [1821-1907] scholar-poet living in Suzhou, title page inscription, characters brushed in the Northern Wei stele style with "strokes that emulate the roughened surface of stone" [Buckland, p. 180], Sanjō Sanetomi (Ridō), politician, an accomplished calligrapher, Qian Shaohu, Hua Lanzhi, Yi Li, Lin Menglong, Xi Mei, Yang Youqiao, Ju Youlian, Chen Yizhou, Fu Han [these from 1851], Taki Seiichi (portrait), Shizan dōjin Sekiei (Ishikawa Kōsai) [1884], Takahashi Sekisai, calligrapher and Katei's father-in-law [1871], Kochikuen (Hirano Gogaku) [1879]. Volume Two : He Ruzhang (First Chinese minister to Japan) title page inscription, Wu Gan, Huang Xiquan [1880], Yao Wendong, Iwaya Ichiroku, renowned calligrapher [1884], Jiang Xinyu, Wang Lanting and Dai Chunyuan [these from 1851. Volume Three : Sugi Chōu [1835-1920], calligrapher, title page inscription, Zhang Xiong [1803-1886], painter, Chō Sanshū, renowned calligrapher, Ono Kozan, renowned calligrapher, Kusakabe Meikaku, [these from 1884], Zhou Shaoting, [1851]. Volume Four : Qian Shaohu, title page inscription [1851], Nanma Tsunanori, educator, Konagai Shōshū (Gaku), poet, [these from 1884], Ōnuma Chinzan, poet, important background preface done February 25, 1884, Gu Ziying, Chen Jiren, Dai Laishan, [these from 1851], Ishikawa Kōsai, kanbun author [1879], Takahashi Sekisai, calligrapher, Katei's father-in-law. Additional Images : by request.


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    $3,250.00

    SAIGOKU SAN-JÛ-SAN-SHO JUNREI EMAKI by [SKETCHTOUR GENRE] NAKAZAWA Hiromitsu, artist

    1946. [SKETCH TOUR GENRE] NAKAZAWA Hiromitsu, artist. SAIGOKU SAN-JÛ-SAN-SHO JUNREI EMAKI. Kyoto, Kanao Bun'endô, publisher. Shôwa 21 [1946]. Oblong folio of ôban size woodblock prints after designs by Hiromitsu, detailing the famous pilgrimage sites (and sights) in western Japan. The blocks were cut by Okada Seijirô and the printers were Nishimura Kumakichi and Takagi Kiyomitsu. This portfolio project was initially completed and printed in 1925. This edition, printed from the same blocks at the very end of Kanao's life, was obviously issued as a companion piece to the THIRTY-SIX VIEWS OF OSAKA, which Kanao also published in 1946. The colors of the original 1925 edition were quite a bit more light and "crumbly" than the bolder colors used in this printing, which accord with that used in the Osaka series. (I personally like this bolder approach to Hiromitsu's work.) There are eleven color woodblock printed preliminary pages, a table of contents page, 37 pilgrimage views, a final portrait of Hiromitsu by an artist friend, and eleven typeset caption pages, explaining the pilgrimage sites, (in Japanese). A lovely and very important series of images, produced by the most important publisher of the "sketchtour" genre. A set in very nice condition, bound into the original printed covers (approx. 25 x 36.7 cm). Complete, in a tied chemise case.


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    $499.00

    Antique Japanese Fairy Tale Series #16, The Wonderful Tea Kettle by JAMES, T.H

    1896 1st ed Japanese Fairy Tales Wonderful Tea Kettle Badger Illustrated Tokyo A rare, hand-made book on silk-stitched, creped wraps of famous Japanese fairy tales! This traditional tale, 'The Wonderful Tea Kettle', is an illustrated woodblock book telling the tale of an old priest and his desire to lead the Chanoyu ceremony. While in meditation, his tea kettle began to shake and out of it came a badger! This volume is numbered no. 16 in a series of 'Antique Japanese Fairy Tales'. Item number: #6980 Price: $499 JAMES, T.H. Antique Japanese Fairy Tale Series #16, The Wonderful Tea Kettle Tokyo : T. Hasegawa, 1896. First edition. [Meiji 29] Details : · Collation: Complete with all pages · Language: English · Binding: Softcover; tight and secure · Size: ~6in X 4in (15cm x 10cm) Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 6980 Photos available upon request.


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    $350.00

    Metropolitan Seminars In Art (Twelve Volume Set & Three Volume Set) by John Canaday

    This set of twelve volume books and three volume books is in fair condition. The covers, corners, edges and spines are worn. The spines on Portfolio 1-4, 6, 7, 10-12, A, B, and C are cracked and loose. However, the inside pages are crisp and clean. Most importantly, The color prints in each Portfolio are in perfect condition. The individual books in these volume set are: Portfolio 1 - What Is A Painting? : Contains 11 Full Color Plates (Prints) Portfolio 2 - Realism : Contains 12 Full Color Plates Portfolio 3 - Expressionism : Contains 11 Full Color Plates Portfolio 4 - Abstraction : Contains 11 Full Color Photos Portfolio 5 - Composition As Pattern : Contains 11 Full Color Plates Portfolio 6 - Composition As Structure : Contains 12 Full Color Plates Portfolio 7 - Composition As Expression : Contains 12 Full Color Plates Portfolio 8 - Fresco : Contains 12 Full Color Plates Portfolio 9 - Tempera And Oil : Contains 12 Full Color Plates Portfolio 10 - Water Color, Pastel, And Prints : 11 Full Color Prints; Plate 17 is missing. Portfolio 11 - The Artist As A Social Critic : 11 Full Color Plates; Plate 131 is missing Portfolio 12 - The Artist As A Visionary : 12 Full Color Plates Portfolio A - Glory And Grandeur : Contains 12 Full Color Plates Portfolio B - Earth, Heaven, And Hell : Contains 12 Full Color Plates Portfolio C - The World Rediscovered : Contains 12 Full Color Plates This multi-volume set will require additional postage.


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    $2,850.00

    NOH-KA GABI by [COSTUME DESIGNS - NOH THEATER]

    19. [COSTUME DESIGNS - NOH THEATER] NOH-KA GABI. Tokyo & Kyoto: Unsodo, n.d. [Showa 9, 1934]. Large brocade covered wooden box of 102 (of 100 - there are 2 extra plates not called for in the contents pages) plates of Noh costumes, patterns, masks, etc. An impressive mixture of printing techniques - color woodcut, offset, color collotype and various hybrids thereof. Sheet size: 29 x 37 cm. One of the wonderful folios for which Unsodo was famous between the wars. Very good, complete, very unusual, text in Japanese.


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    £499.00

    Japanese Wood-Block Printing by Yoshida, Hiroshi

    Hardback. Very Good/Fair. Sanseido Company Ltd., Tokyo and Osaka, 1939, only edition; 4o, pp xi, [ii], 136; light brown raw silk covers decorated and titled in red; dust wrapper, which carries a design of a Japanese print key block, somewhat frayed or torn but the book itself in very good condition; frontispiece, 12 plates and 26 other illustrations some as full page plates and others in the text. Yoshida, 1876-1950, is considered one of the greatest of modern Japanese print artists and a leading exponent of work done in the shin-hanga style, "new woodblock prints", the early 20th century movement that was so powerful in revitalising the Japanese print tradition, working with the collaborative approach of the earlier print makers (where the artist, carver, printer and publisher worked together rather than where the artist was the sole functionary and creator of the print). The book, rare in good and complete condition, is essentially a practical manual for producing traditional Japanese prints and dealing with matters such as preliminary drawings, sketches and outlines, suitable wood for blocks, preparation and use of the baren, brushes, paper, pigments and more. Some prints are analysed and a print of a junk is shown in progressive development to both the final version and a special version. These two prints mentioned, as well as the frontispiece of cherry blossoms in front of a Japanese castle are titled and signed in pencil by Yoshida. There is also a list of Yoshida's prints, 220 in total.


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    £75.00

    Satsuma: Masterpieces from the world's important collections (limited edition with carton box) by Lawrence, Louis

    Dauphin Publishing Limited, London in co-operation with Spink & Son Ltd., 1991 Book. New. Hardcover. 1st Edition. English and Japanese text; Hardcover (cloth with dust jacket) with card box; 23.5 x 30 cm; 1.750 Kg; 220 pages with colour illustrations. Includes fold outs of some of the pieces.; May show signs of long time storage and handling, namely the card box.; Satsuma is probably one of the best know names in the complex field of Japanese ceramics: yet surprisingly little has been published on this subject either in Japan or the West. This innovative book traces the origins of Satsuma pottery from its simple beginnings in the 17th century to the exotically wares of the 19th and 20th century. There are over 200 colour photographs of examples drawn from important private and public collections around the world. This unique combination of descriptive text and superb illustrations guides the Satsuma collector or enthusiast through the maze of pottery shapes, decoration and usage. Included in the book is detailed information on the lives and work of the Satsuma craftsmen, with photographs of their marks to aid the student and connoisseur with identification. SATSUMA is a necessary addiction to the libraries of all those who love and admire Japanese art and culture. The author: Louis Lawrence, born in London in 1949, has been involved with Japanese works of art for more than twenty years. After leaving the university he developed a keen interest in the Orient. This has resulted in a fascination with Japanese art, particularly Meiji art, a period in which the Japanese achieved an artistic pinnacle, and his development as a major dealer, becoming founder director of Tempus Antiques Ltd. The author has traveled extensively both in Japan and the USA for research purposes and has written numerous articles and catalogues, including the catalogue for the Hirado Porcelain Exhibition (London) 1981. Although he has written many articles and papers, this book on Satsuma pottery represents his first major work..


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    $800.00

    Unai no tomo (A Child's Friends, Japanese folk toys) by Seifu Shimizu. Edited by Yamada Naozaburo

    Offering : Volumes II-IV from the ten volumes set, the production of high quality. The 133 color woodblock prints in the three volumes are made from designs by Shimizu, after works in his collection. Some prints have additional hand applied color, or silver or gold leaf. Volumes II and IV with numbered sheets and four and five stamped seals respectively are from the rare first printing. Volume III is an early printing. Many of the volumes in the set were issued independently, at intervals over 32 years between 1891 and 1923: the last four volumes were issued posthumously. Importance : Widely considered the most important, early illustrated Japanese book on omocha (toys), the work is also of ethnographic and cultural significance. Omocha were traditionally handmade from common materials and usually sold at festivals on ennichi (link-days). Many were derived from amulets and talismans rooted in religious and magical beliefs associated with Shinto and traditional Japanese folklore. Shimizu was a student of Hiroshige III and had long contemplated preparation of the work. A connoisseur, his intimacy with his collection resulted in a series of exquisite designs, in which color, form and function all become one. There aren't just a few highlights, there are many, and their ability to create references to Japanese history, culture, religion and family life is endlessly surprising. A source of inspiration for the Mingei movement, the work inspired artists such as Munakata Shiko and is a reference for historians, anthropologists, ethnographers and collectors. Pate calls it, "the classic work" and Kyburz, "the bible for all serious toy amateurs" . Rarity : A worldwide institution search finds complete first printing sets only in Japan, at the National Diet Library and the Kyoto Public Library. The second edition was published by Geisodo in 1924 and a third edition with English notes (1965). Pagination : Complete for the 3 volumes, numbered leaves in Vols. II and IV; 170 pages + 23 interleaf guards with 133 woodblock prints with captions showing at least 243 toys or sets. Twelve prints are double-page with format of two facing pages. These prints are usually protected by a tissue interleaf. (Volume II is perhaps the most interesting volume in the collection: I have chosen images of five woodblock prints from the volume and could have readily chosen five more.) Vol. II: 59 pages with 26 numbered leaves, stamped with 4 seals. Vol. III: 56 pages, stamped with 1 seal. Vol. IV: 55 pages with 25 numbered leaves, stamped with 5 seals. Format : Publisher's camel wrappers with powdered mica, decorated with eighteen blind printed toy designs, nine to a side, sewn with 4-stab holes in the fukuro-toji style, publisher's beige title slips mounted on the upper side, the mikaeshi (inside of each wrapper) with one of two variants of an original Shimizu print design in pale turquoise and white, showing in stylized fashion a flying crane (air), stand of trees (earth), and sea turtle (ocean). Size : 173 x 250 mm. Condition : Good. Woodblock prints fresh and sharp, some with customary toning-spotting, some with light tip bends, two prints in Volume III with a gentle corner crease. Blocked in blind cover designs are sharp and have the original powdered mica. Mikaeshi: excellent, except one with fore-edge chip. / Interleaf Guards: light wear, one with bottom edge wear. / Owner Markings: upper wrapper side in each volume with Japanese ex-libris stamp. / Covers: Toy designs sharp with some rubs and soiling, lower sides with bottom corner wear and spine edge wear, upper wrapper side of Vol. II with a 7 x 15 mm section neatly sliced from foot of the spine (no designs missing). / Title Slips: soiled-rubbed for Vol. II. / Bindings: Excellent, corner caps with minor wear. Shimizu Seifu [1851-1913]: The leading Meiji period collector of omocha including ningyo (dolls). Artist, calligrapher and head of a wealthy Tokyo trading company, Shimizu studied poetry with Kozando Sangetsu, and painting with Hiroshige III, holding in trust important Ando Hiroshige artifacts including his seals. In 1880 he founded the Takeuma-kai (Hobbyhorse Club) for advancing the enjoyment and study of the many forms of traditional Japanese folk toys and in 1906 he curated the first known exhibition of Japanese folk toys in Japan, the Kodomo Hakurankai (Children's Exhibition). In 1909, he founded the influential Odomokai (Connoisseur's Club) that greatly advanced their appreciation. Publishing Dates : Vol. I (1891). Vols. II-V (1911). Vol. VI (1913) is the last volume supervised by Shimizu, for he died in 1913. Volumes VII-X were published posthumously with transfer designs by the artist, Nishizawa Tekiho, Vol. VII (1917), Vol. VIII (1921), Vols. IX and X (1923). Reference : Culin, Japanese Toys and their lore. Kyburz, Omocha. Additional Images : by request.


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    $1,000.00

    The Floral Art Of Japan: Being A Second And Revised Edition Of The Flowers Of Japan And The Art Of Floral Arrangement by CONDER, Josiah [1852-1920]

    Tokyo: Printed By The Shiuyei Sha; Published By Kelly And Walsh Limited, Yokohama, Shangai, Hongkong, And Singapore, 1899. Second Edition of the first book in English on ikebana, the Japanese art of floral arrangement. British architect Josiah Conder came to Japan as a foreign advisor to the Japanese government and taught at the Imperial College of Engineering in Tokyo. He designed numerous public buildings in Tokyo, including the Rokumeikan, and taught five famous architects who were the first Japanese to build western-style buildings in the country (Tatsuno Kingo, Katayama Tıkuma, Sone TatsuzÚ, Satachi Shichijirı and Shimoda Kikuystı). folio. pp. xi, 142, viii, [1]. with half-title. 72 plates (14 in colour) & 39 text illus. original gilt-stamped cloth


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    $900.00

    A hand painted Japanese album with 63 exquisite yuzen dye patterns by Anonymous

    Offering : A hand painted, bound Japanese album with 63 exquisite yuzen dye designs, done with understated restraint in the iki chic style, likely by an uncredited woman artist to assist sophisticated patrons at a gofukuya with their autumn kimono purchase . The album isn't dated but some of the designs can be dated by content and style to the late Meiji period, post-1905. Sixty designs were done with light colors and ink, the artist employing a variety of blues, browns, and greens : three pages are done in sumi. Twelve pages show design variations for the patron to choose from and are of considerable interest. Designs are generally from Nature and evoke small things and quiet places. Motifs (with acorn, feather, leaf, Chinese cabbage and succulents, dragonflies and butterflies) are elegantly handled to show shared and recurring forms. Some decorative landscapes are shown on objects, including fans and books. Although album sheets show some wear and soiling, colors are fresh and retain their glow and sheen, for the pigments have been prepared in the painstaking, traditional way described in the Mustard Seed Garden. The iwa-enogu mineral pigments used for the top layers of paint hold the light and give the designs a luminous quality. Pagination : 41 pages with 39 pages of designs + 2 pages with one column of text, (introduction, p. 1 and ending page, p. 41). Format : Blind printed, royal yellow wrappers sewn with four-stab holes in the Fukuro-toji style. The album is bound with twenty one sheets of Seichosen kozo suitable for presentation, a superior grade mulberry bush paper with a warm, natural light yellow color. Size : 254 x 174 mm (10 x 6.85 inches). Condition : Near Good. Pages: some with edgewear and cockling from humidity, some with soiling, chiefly on the bottom edge; some pages with minor color bleed, two pages with color rubs, a few rear sheets with ink blots from later owner with damage to design on p. 37. Insect Damage: Slight-to-light worming to twenty four pages (pp. 1-6 and pp. 20-28 have small light worm track at bottom edge / a worm track near center of gutter begins as two pinholes on p. 30, ending as slight-light track on p. 20). / Wrappers: All-around wear including abrasions, the blind printed pattern still visible, upper side soiled, two characters faded in handwritten title. / Binding: Good, later repair to a stab-hole. Y ū zen : The rice paste resist dyeing technique, applied to free hand, decorative designs in multiple colors, is credited to fan painter, Miyazaki Yūzen who worked in Kyoto during the Genroku era of the Edo Period. Additional Images : by request.


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    $950.00

    Ninso Kokagami Taizen 人相小鑑大全. にんそこかがみたいぜん。 by 喜多村江南軒Kitamura Kounanken

    1684 1ed Japanese Woodblock Handwritten OCCULT Physiognomy Fortune Telling Palm A rare, 17th-century handwritten Japanese woodblock book of physiognomy and occult studies. This book, illustrated with hand-drawn sketches, covers fortune telling, and Chinese face-reading, and palmistry. This work of physiognomy was later used as a reference for Yakusha sanjuni so's work on the different faces of kabuki and NOH Actors. (Cross). This 1684 first edition includes illustrations of faces, eyebrows, noses, mouths, ears, and palms with notations on the meanings behind differences in their appearance! Item number: #7513 Price: $950 喜多村江南軒Kitamura Kounanken Ninso Kokagami Taizen 人相小鑑大全 . にんそこかがみたいぜん。 青木恒三郎Ōsaka: Aoki Kōzaburō,Jyokyo 1 (1684). First Edition. Details : · Collation: Complete with all pages; o 136pp o Over 60 woodblock illustrations throughout · References: Barbara Jane Cross 'Reading fiction as performance: Shikitei Sanba (1776-1822) and woodblock print' · Language: Japanese · Binding: Softcover; tight & secure · Size: ~9in X 6in (23cm x 15cm) · Very rare with no other example for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 7513 Photos available upon request.


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    $2,200.00

    Sharaku, A Complete Collection. Reproduction by the Adachi Institute of Woodcut Prints by Teruji Yoshida and Toshusai Sharaku. Essay by Ichitaro Kondo. Edited by Toyohisa Adachi who supervised the making of the woodblock printed facsimile reproductions

    Offering : An extraordinary publishing endeavor, more than ten years in the making, the only two issued volumes, with texts in English and 72 actual size, replica reproductions ,tipped in, and individually sleeved in 460 x 360 mm mats with mounted English and Japanese labels. No further volumes were published because of higher than expected production costs. Fifty five of the replicas are color woodblock prints, made from new woodblocks with traditional nishiki-e methods, using examples of authentic Sharaku prints. Of these, thirty six are finished with applied powdered mica, using kira-zuri technique. Seventeen replicas are collotypes of b/w drawings of print designs, attributed by Yoshida to Sharaku and published for the first time. Yoshida's texts, (his 1943 monograph on Sharaku was the first by a Japanese scholar), draw on years of original research. Rarity : The Adachi Institute was established in 1928 to replicate rare ukiyo-e prints in the original woodblock print format. Because of Adachi's working methods, the edition would have been limited to no more than 200 unnumbered sets. I know of no other complete specimen offered for sale in the last 15 years. A worldwide search finds 19 sets in institutions including the National Diet Library of Japan, the Metropolitan Museum of Art, New York Public Library, and University of Hawaii. Condition : Woodblock Print Replicas: Fine / Collotype Facsimiles: Fine / Labels: Fine / Volume I Mats: Good, top corner bumped. Volume II Mats: Fine / Text Booklets: Very Good. Pages: Fine / Wrappers: Near Fine, upper side of Booklet I with a small spot. / Glassine Dust Wrappers: About Fine / Bindings: Good: solid and reliable but somewhat weakened, booklets need to be handled with care. / Leaves with List of Illustrations: Good, margins with slight thumbing / Leaf I: offset margin toning from the portfolio / Leaf II: blank rear with soiling. / Portfolios: Good, scuffs and rubs, some bottom corner wear, interior of Portfolio I with edge toning. / Labels: Good, some soiling and rubs. Volume I Replicas : Folded Leaf I with list of woodblock replicas and publishing information for Volume I. 40 color woodblock prints, produced like the original prints commissioned by Tsutaya Juzaburo: A) The complete Period I Set of 28 half-length, Kabuki actor figure prints (okubi-e) with applied dark ground mica. (Mica with a black sheen was used for Sharaku prints until a sumptuary edict by the Tokugawa Shogunate outlawed its use. Sharaku subsequently designed prints that called for red ground mica.) B) The complete set of 8 full-length Kabuki actor figure prints (hosoban) with applied red mica, including the 7 known prints with 2 full-length figures from the equally esteemed Period II. C) 4 prints of the young Sumo wrestler, Daidozan, three from Period III and the sole oban print from Period IV. Volume II Replicas : Folded Leaf II with list of woodblock and collotype replicas and publishing information for Volume II. Woodblock: 15 color woodblock prints produced like the original prints commissioned by Tsutaya Juzaburo. A) 12 actor prints with yellow ground from Period III. B) The only two prints of historical subjects from Period III. C) Earliest sumo wrestler print of Daidozan-at age 7, discovered in 1955 and identified by the author, dated from Period II. Collotype: 17 print designs attributed by Yoshida to Sharaku, (attribution is controversial), 8 of actors, dated to Period II and 9 of Sumo wrestlers, dated to Period IV. Format : Sleeved print and drawing replicas are laid with folded illustration table leaves and text booklets in the publisher's dark blue cloth portfolios attached with natural bone clasps (maru chitsu style), upper sides decorated with mounted, pictorial orange paper labels after designs attributed to Sharaku. Size : 480 mm. Pagination : Booklet I: viii, 77 pages, with extensive notes on the prints, chapters on history of Kabuki, a history of pictures of Kabuki actors, and pp 71-77, a contributory essay by Ichitaro Kondo, "The Art of Toshusai Sharaku". / Booklet II: (4 pp.), 52 pages, with extensive notes on the prints, history of Sumo wrestling, history of pictures of Sumo wrestlers, history of references to Sharaku and a study of attributions for the drawings. Reference : OCLC 29085415 and OCLC 40767538. Additional Images : by request.


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    $499.00

    Antique Japanese Fairy Tale Series #13, The Silly Jelly-Fish by CHAMBERLAIN, B.H

    1887 1ed Japanese Fairy Tales Silly Jelly Fish Monkeys Color Illustrated Tokyo A rare, hand-made book on silk-stitched, creped wraps of famous Japanese fairy tales! This traditional tale, 'The Silly Jelly-Fish', is an illustrated woodblock book telling the tale a great Dragon Queen, her fateful illness, and her cure by eating a monkey liver – a task that only the King's Jelly-Fish could handle! This volume is numbered no. 13 in a series of 'Antique Japanese Fairy Tales'. Item number: #6978 Price: $499 CHAMBERLAIN, B.H. Antique Japanese Fairy Tale Series #13, The Silly Jelly-Fish Tokyo : T. Hasegawa, 1887. First edition. [Meiji 20] Details : · Collation: Complete with all pages · Language: English · Binding: Softcover; tight and secure · Size: ~6in X 4in (15cm x 10cm) Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 6978 Photos available upon request.


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    $180.00

    Shigeo Fukuda: Great Works. IDEA Special Issue November 1991. by Fukuda Shigeo

    Offering : The first Shigeo Fukuda retrospective publication, produced with his supervision and beautifully laid out with separate sections for each genre and media form with many color reproductions. Offered is the exceptional negative space presentation for Paul Rand with extra, full size color plates. Paul Rand and Shigeo Fukuda had a longstanding friendship. Paul Rand organized "Toys and Things Japanese", Shigeo Fukuda's first independent exhibition in the United States. On the first page is a reproduction of Paul Rand's poster for that exhibition. The signed-dated inscription is done in English in a cool comics style-inside two hand drawn, cloud-shape windows with captions-at the ears of the two adjoining figures. (Fukuda originally wanted to be a cartoonist.) The first figure, representing Fukuda, appears partially hidden from the viewer in a fold in space. Extra Color Reproductions : Four altered portraits, including after Botticelli and da Vinci, each reproduced on one side of a leaf with taped title label, the leaves stapled and originally laid-in. The works are dated from 1992 and couldn't be included with the selection of 34 altered portraits in the IDEA issue. Sticker Stamps : one sheet of mounted color sticker stamps, reproducing 132 selected Fukuda works from the IDEA special issue. Pagination : Complete, 120 pages, divided into two-dimensional and three-dimensional designs and artworks with reproductions of 517 Fukuda works, many organized in double-page spreads, most in color, and with 17 b/w Fukuda drawings, fifteen in a rear comments section about the creation process in his work; (1) page, final page of issue with IBM ad featuring Fukuda's altered Mona Lisa portrait + laid in sheet with mounted sticker stamps. Rear documentation includes a chronology, an excellent selected exhibition history and two portrait photos of the artist, one contemporary, one at age 2. Format : Publisher's deep pink and black pictorial wrappers with black letters in an adhesive perfect binding. Both the upper and the lower wrapper sides were designed by Fukuda, the upper side commissioned for the issue, the lower side reproducing a superb Fukuda design for a Japanese brand of artist paints. Size : 297 x 225 mm (11.69 x 8.86 inches). Condition : Pages clean, some with a light bottom tip bend / Wrappers bright and clean with light rubs and tip wear, upper side with light bottom edge wear, slight crown push-in; presentation with slight ink splatter / Binding: Very Good, hinges visible. / Fukuda Sticker Stamps: 130 stamps pristine, lacking 131 and 132, last two stamps in bottom row. / Extra Stapled Reproductions: laid-in leaves taller than magazine with consequent top margin creasing and crumpling. Edition Note : Edited by Minoru Takita and printed by Nishiki in Japan. Shigeo Fukuda [1932-2009]: Protean and humorous, he executed striking works in many different media. In interviews he emphasized the value of these qualities, associated with childhood and so often overlooked and dismissed, stating, "play is the very essence of my work." Shigeo Fukuda became widely known in the design world and gained international prominence through a series of exceptional showings, first in 1966 at a Czechoslovakian graphic design competition, and then in 1967, when his poster designs were exhibited for Japan at the Montreal Expo and his first solo exhibition in the United States, "Toys and things Japanese" was held at the IBM Gallery, curated by Paul Rand. The 120 handcrafted wooden objects with their abiding ties to Japanese culture could variously be described, as toys, puzzles or sculptures. Many were originally created as playthings for his daughter. Some could be alternatively assembled, such as the beautiful "Birdtree" that could be constructed to become a bird, or a tree. From 1972, he was a frequent gold medalist at international poster exhibitions for illusionist designs advocating peace and protection of the environment. He is often referred to as an illusion artist because his designs, installations and altered art play with perspective and shift to other forms. But his vision has a larger purpose, for by their very nature, such designs foster consideration of alternative perspectives and our movement in being through space and time. His influential text, "Visual Illusion" was published in 1982. In 1987, Shigeo Fukuda was the first designer from Japan to be inducted into the New York Art Directors Club Hall of Fame. Additional Images : by request.


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    $2,500.00

    Shinkyu Bassui Taisei by OKAMOTO. Ippo

    1699 Japanese Acupuncture Illustrated Woodblock Medicine Shinkyu Bassui Taisei A rare, 17th-century Japanese woodblock acupuncture and moxibustion manual. This treatise is presumed to have been originally written by the famous Chinese Physician Emporer, KO-TEI (or HWANG Ti). "The detail available in Shinkyu bassui, especially regarding descriptions and instructions for use, is impressive -no less than 22 sections consider the following aspects of moxa and acupuncture: theory; relationship to the pulse; stomach; other internal organs; treatment (which was differentiated by sex); the "philosophy" of acupuncture; cautions in the use of acupuncture and moxa; the preparation and use of moxa cones;" how to remove needles (including a separate section on needles which are broken off in the skin); how to twist the needle; how to hit the needle (with a mallet); how to use the needle with a tube;'2 the use of needles (with a separate section on their use in the treatment of boils); on the names of spots (not the "right spots") where-with extreme caution-acupuncture and moxa can be used (regarded as "secret" spots, not for the use of beginners in the art); how to measure for location of sites to apply treatment; on needles in general; on names and lengths of bones; and, finally, on interrelations among nerves. It should, therefore, not come as a surprise to the reader to know that Shinkyui bassui was a widely quoted work in subsequent writings on the subject . Some of the illustrations contained in this work are apparently the originals of those reproduced in the section on moxibustion and acupuncture in FUJIKAWA's classic history of medicine in Japan, the Nihon igakushi (1904, et seq.). In 1698 or 1699 Shinkyu bassui was also "explained" by Ippo OKAMOTO and published as Shinkyu bassui taisei, with additional illustrations. (Mestler) This 1699 edition is 'Shinkyu Bassui Taisei' by Ippo Okamoto. Ippo Okamoto was a writer of medical texts, taking Chinese medical texts and 'explaining' them in Japanese for the Japanese people. This can be seen in the heavy use of furigana, Japanese sound characters next to the Kanji (meaning characters) for easier reading. Works similar to this are exceedingly rare. A truly unique piece. Item number: #6884 Price: $2500 OKAMOTO. Ippo Shinkyu Bassui Taisei Genroku 12 (1699) First Edition. Details : · Collation: Complete with all pages. 7 volumes in 2 parts · References: o Mestler, A Galaxy of Old Japanese Medical Books…Part II. Acupuncture and Moxibustion…, p. 476. · Language: Japanese · Binding: Softcover; tight & secure · Size: ~10.25in X 6.75in (26cm x 17cm) Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 6884 Photos available upon request.


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    $865.00

    Japanese Military and Civil Swords and Dirks by Fuller Richard; Gregory Ron

    England: Airlife Publishing Ltd, 1996. First printing. Hardcover. Near Fine/fine. Small amount of foxing on one preliminary page other wise spotless. Dust Jacket in clear mylar cover.


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    $950.00

    Eitai Setsuyo 永代節用 Time Saving Compilation for Countless Generations Encyclopedia by Unknown

    1780 Japanese Illustrated Woodblock Encyclopedia Eitai Setsuyo JAPAN MAPS Atlas A rare, 18th century sino-Japanese woodblock print Encyclopedia. The book has information on a wide array of subjects, including history, etiquette, geography, poetry and much more! "The Eitai Setsuyō is a book in the so called setsuyōshū節用集genre which emerged in the Muromachi period (1336-1573) and gained wide popularity during the early modern period (1600-1868) in Japan. Setsuyōshū were books that first and foremost contained a dictionary part, but from the early modern period and onwards also started to include encyclopedic parts with illustrations. The Eitai Setsuyō is one of these so called encyclopedic setsuyōshū." (Remvik). This rare, 18th century work of woodblock prints includes hundreds of illustrations in text and full pages with maps and atlases as well! Item number: #7197 Price: $950 Unknown Eitai Setsuyo 永代節用 Time Saving Compilation for Countless Generations Encyclopedia Japan: [1780] Details : · Collation: Complete with all pages o 626 o Illustrated throughout · References: o Steffen Remvik, Space and Time in the Eitai Setsuyo Mujinzo: Collective identity and imagined community in early modern Japan · Language: Japanese · Binding: Leather; tight & secure · Size: ~10.25in X 7.5in X 4in (26cm x 18.5cm x 10.5cm) · Extremely rare Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 7197 Photos available upon request.


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