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Japanese Art Books & Ephemera



    [Extra Suite of Plates to accompany the deluxe issue of] JAPANESE COLOUR PRINTS by Binyon, Laurence, and J.J. O'Brien Sexton

    [ London: Ernest Benn, 1923. Small folio. Cloth and boards, paper label, ribbon ties. A bit of shelfwear at corners, a bit of tanning to a couple of mats, else very good or better. Copy #60 of 100 numbered separate portfolios, originally issued to accompany the deluxe issue of Binyon and Sexton's book. The suite consists of sixteen high quality reproductions of Japanese prints, separately matted.




    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.


    CAD $146.00

    Collection J. Garié. Objets d'Art et Peintures du Japon et de la Chine dont la vente aura lieu du Lundi 5 Mars au Samedi 10 mars 1906 inclus à l'Hotel Drouot, Salle No 7.

    1906 Commissaire-Priseur: Me Lair-Dubreuil; Expert: M. M. Bing. Couverture récente en parfait état, couverture d'origine conservé. Les pages intérieures et les planches sont en très bonne condition, sans inscription, propres et solides. 294 pages, de nombreuses planches et illustration in-texte. 1753 lots (Laques; Sculptures; Netzuké, coulants et okimono; Étuis à pipes et à pinceaux; Boites à tabac et garnitures de fumeur; Bronzes, objets en fer et métaux divers; Armes et armure; Gardes et Ornements de sabre; Appliques de pochette; céramique; Flacons à tabac et objets divers; Étoffes; Peinture japonaise; Vitrines). MAGNIFIQUE EXEMPLAIRE. Livre lourd. Photos disponibles sur demande.



    Chikuden Gafu by Tanomura Chikuden and Izawa Yasuji

    OFFERING: With his mastery of Bunjinga landscape composition and treatment of literati themes, Chikuden developed an original painting style of great interest. During his lifetime, he sold no paintings and contributed few woodblock designs. The set was prepared decades after his death, with the finely executed transfer designs by Izawa Yasuji. Offered are two of the four volumes from the first issue, the thirty two woodblock prints in sharp fresh impressions, each print on two facing pages, thirty one in gray, black, and white, and one also, with pink. Produced in a small size, suitable for travel and prolonged study, the prints have that ineffable Chikuden quality that offers new insights with repeated viewing: many are superb representations of the wabi-sabi aesthetic. Most of the prints are stamped with multiple production seals. RARITY: Rare. A worldwide catalog search finds 5 institutional holdings including the National Diet Library of Japan and the Ryerson Library, Art Institute of Chicago. CONDITION DETAIL: Owner Markings: owner's seal, foot of lower wrapper in both volumes. Worming: Trace worming to foot of upper wrapper in Part I / Volume I. Narrow track at foot of inner wrapper of Part II / Volume I ends with Print 1. Four other prints have a minute pin track at a tip edge. / Pages: some with bottom edge soiling, some with tiny ink dot at bottom edge. Part II / Volume I: pages with light tip bends, Prints viii and x with some loss within a repeating pattern. / Wrappers: slight wear and soiling. Part I / Volume I: Top edge of upper side with slight chip, slight ink mark adjacent to spine. Part II / Volume I: Upper side with a few pale spots and light corner wear. / Title Slips: light soiling, a few tiny edge chips. / Bindings: Fine. PAGINATION: Complete for the two offered volumes. Volume I, Part I: 47 pages with 23 numbered leaves, preface with separate pagination; 10 double-page landscape prints in black, white, and gray, each print leaf followed by a leaf of text. Volume II, Part II: 51 pages with 25 numbered leaves, introduction on one page, publisher's note, afterword on 2 leaves with separate pagination, blank page; 22 double-page landscape prints in black, white, and gray with wash, print no. 15 also with dark pink, prints accompanied by text in the print frame. FORMAT: Publisher's auburn brown paper covers with noble style sewn bindings (koki toji), upper sides with title slips with different titles for each volume, the mikaeshi in vol. I on white peach paper dusted with green and flecks of gold, protected by an interleaf. SIZE: 160 x 95 mm. Woodblock prints measure 119 x 181 mm in their facing pages format. REFERENCE: Brown, p. 119. Ryerson, p. 423. Waseda University catalog. CHIKUDEN [1777-1835]: Esteemed painter, calligrapher, scholar and poet. Born at Oka Castle, Kyushu Island, son of Hisada Nakagawa, physician to the Lord of Oka, he trained as a doctor, but gave up medicine and became an instructor in history and Confucian ethics at the clan's school. Also, he was appointed official historian in Bungo Province. At the same time, he studied Chinese painting, particularly the works of Dong Qichang [1555-1636] and the Chinese classics. He later studied painting with Watanabe Hoto and poetry with Karahashi Kunzan. In 1801, he visited Tani Buncho and would continue to study with him via correspondence. After retiring from the Lord of Oka's service (1813), he devoted himself to art and scholarship, becoming one of the great 19th century Japanese Nanga (Bunjinga) school painters, renowned for his Kyushu Island landscapes, many executed on the spot with a light line and spare use of color during his travels. Known for his friendships, he was intimate with many leading literati including, Uragami Gyokudo, Uragami Shunkin, Rai San'yo, Kido Takayoshi, Okada Beisanjin, and Shochiku Shinozaki. Chikuden wrote the influential, "Sanchujin jozetsu" (Chatter of a Mountain Dweller) in 1813. The two volumes treatise that included the "Chikuden-so-shiyu garoku" (Chikuden's Hundred Rules of Painting) was published in 1835. ADDITIONAL IMAGES: by request.



    JAPAN, a history in books by Executive Committee of the Frankfurt Book Fair "Japan Year

    Tokyo: Executive Committee of the Frankfurt Book Fair , 1990. printed paper wraps, paperbound with dust jacket, gilt wraps, 159 pages, illustrated, (numerous full color illustrations, Includes index. Japanese books from the earliest to the present. Illustrations include, scrolls, Buddist texts, illuatrated books, scientific works, novels. a bright copy. a very large folio measuring 14 1/2 x 10 1/4 inches, ( 36.5 x 26 cm) will require extra post. . Paperbound. Fine. Foilio, (37 cm.).



    Japanese Art After 1945: Scream Against the Sky by Alexandra Munroe, Reiko Tomii

    NY: Harry N. Abrams / Yokohama Museum of Art, 1996. First edition. Trade softcover. Published NY: Harry N. Abrams / Yokohama Museum of Art, 1994. Folio wrappers, 9" x 12", 416pp., illustrated with over 200 plates, critical anthology, artist biographies, bibliographies. Fine. . 1st. Soft Cover. Fine/No Jacket, As Issued. Folio.



    Tradition, Phase and Style of Shang and Chou Bronze Vessels (Outstanding Dissertations in the Fine Arts) by Linduff

    NEW hardbound isbn 0824032373 first edition and presumed first printing. IMPECCABLE PERFECT UNTOUCHED Suspect this was issued without a dust jacket. Doctprate study by Katheryn Linduff with 39 plates of charts, maps, and illustration My scanner produces shadows that chould not be there



    Kenchiku o kataru (Talking Architecture, conversations with students) by Ando Tadao

    OFFERING: An important Tadao Ando text with an original, signed architectural sketch, done without inscription for an unnamed recipient. Ando's signature is a beautiful example of shodo (calligraphy), the capital A like a roof structure-incorporated into the open base of the drawing-the n and d like a wave pattern, the o akin to an enso. EDITION NOTE: selected from his 1997-99 lectures on 20th century architecture given at the University of Tokyo, in Japanese, some illustration captions in English, the independently published volume i of two volumes, the second volume published as "Rensen renpai" in 2001. PRESENTATION DRAWING: 152 x 227 mm, done in pastel with two shades of green and two shades of blue on the thistle endpaper. The drawing shows an open space with perimeter walls and arch with equal balance given to light and air, as architectural elements. CONDITION DETAIL: Architectural Sketch: Fine. / Pages: Fine / Publisher's Slip: Fine / Cover: bottom edges with minuscule dings, bottom corner of upper side with trace bump, spine with light push-in to foot and slight wear to crown. / Binding: excellent. / Book Jacket: Upper side with top edge wear (no tears), a light ding at gutter, a few small indentations; Lower side with light edge wear; spine with light crown and foot wear. PAGINATION: Complete; publisher's slip laid-in, 259 pages with 154 b/w illustrations including 92 photos in text and 42 drawings, 2 full-page + the suite of 20 numbered photographs of Ando buildings, ten double-page, ten full-page. Chapters are: (I) Regionalism, (2) Toward a Living Architecture, (3) Architecture and Urbanism, (4) Individuality, (5) Process, and (6) A Love for Architecture. FORMAT: Publisher's sewn white cloth and silver gray jacket with black and blue letters, upper side illustrated with a scaled Ando drawing, "Ceiling Wall: Exposed Concrete". SIZE: 233 x 159 mm. REFERENCE: Onishi Wakato, Asahi Shimbun, Tadao Ando: Architect. Jodidio, Tadao Ando. Complete Works. ADDITIONAL IMAGES: by request.



    [MASTERPIECES Of The Japanese Woodblock Print] [Cover Title in Japanese]

    np: np, [c1900]. folio. 36 tipped-in colour woodblock prints after Isoda Koryusai, Hiroshige Ando, Shotei Watanabe, Tosa Mitsuoki, & others. tissue guards with legends in Japanese & English. original patterned silk, paper title label on cover (corners bit frayed)



    Stories & Sketches by Lafcadio Hearn , Preface, Compiled with Notes by R. Tanabe, Professor in the Peeresses School, Frontispiece with Color with Tissue Guard that has Yellowed,some fox & small Sticker blank endpapers

    Hokuseido, Tokyo Japan, 1925. HBNODJ, 1925, 1st edition, 1st Issue,Olive Green Embossed decorated Cloth with Paper Label Lettered in Black,VG/VG, AS-IS, NODJ, Cover minor Rub, Wear & Small Nick & tiny Corner Chip, Spine only Slightly Sunned, 276 pgs + notes AD, Interior Minor Wear, Slight Fox , Some pgs show slight Yellowing, . First Edition. Hard Cover.



    Canvasism New Works (Signed with drawing) by Ohtake, Shinro

    Tokyo: Seibu Art Forum , 1988. This is a near fine softcover copy with virtually no wear. Signed and with a drawing of a man's head on the front endpaper, with two word inscription. Very clean inside and out. Spine not creased, binding firm. Text in English and Japanese. Essay by Yoshiaki Tono. 55 works in the exhibition, which consisted of paintings, drawings and sculpture. All works illustrated in color. 12" high X 9" wide, about 60 pages. A beautiful copy. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.. Signed by Artist.. Soft Cover. Near Fine.


    AUD $1,850.00

    Japanese Art. a phase in colour-prints by BARNETT, P. Neville

    Sydney: Privately printed by the Beacon Press, 1953. First Edition. Standard de-luxe edition of one hundred and sixty copies (total issue of two hundred copies). Quarto, tipped colour plates throughout; original cream cloth, a near fine copy. As a publisher, Percy Nevillle Barnett insisted upon the finest materials, with elegant type cut in Europe and printed on paper handmade by the highly respected artisan, Harrie Mortlock, owner of the Beacon Press. A remarkable celebration of the Japanese Ukiyo-e woodblock tradition.



    HANSHIN MEISHO-ZUE by [SKETCHTOUR GENRE] Kanao Bun'endô, publisher

    1916. [SKETCHTOUR GENRE] Kanao Bun'endô, publisher. HANSHIN MEISHO-ZUE A folding album of 24 (of 30) prints - oban size color woodcut, printed by Nishimura Kumakichi and published by Kanao Bun'endô in 1916,17. The finest of all of Bun'endô's remarkable porfolio productions, The HANSHIN MEISHO ZUE is a great rarity, even individual prints from the series of 30 are by no means common. We are missing only prints #7, 21-25 (6 in all). There are two prefatory pages, one is a map of the trip around western Japan depicted herein, the other a table of contents. Also, one of the Akamatsu Rinsaku designed portfolio cover prints has been mounted as preface to the whole series, while four others have been trimmed and mounted on two pages at the end. The artists who designed the prints were Akamatsu Rinsaku (1878-1953), Noda Kyuho (1879-1971), Hata Tsuneharu(1883-? ), Mizushima Nihou (or Nihofu) (1884-1958) and Nagai Hyosai (1882-1945). For more on this remarkable work, see Charles Mitchell's article in ESSAYS ON JAPANESE ART PRESENTED TO JACK HILLIER. Our copy is very clean in a new brocade over stiff paper covers with a hand-brushed title label. There is a bit of foxing, but it is confined to the stubs upon which the prints are mounted. The images themselves are lovely and extrememly well-printed.



    NOCTURNE. ORNÉ DE CINQ EUX FORTES ... by Miyashita Tokio [illustrator], and Seisyu Maeda

    [Tokyo]: Presse Bibliomane, 1959. Large octavo. Three-quarter polished tan calf and boards, spine lettered in gilt, t.e.g. A bit of tanning to boards and endsheets along the calf turn-ins and edges, very shallow bleed at top edge in the gutter early and late, otherwise very near fine. The printed board slipcase shows some light staining. First edition in this format. Copy #73 of 75 numbered copies, from a total edition of two hundred numbered copies. Text in Japanese, with alternate title-page in French [as above]. Each of the five original etchings (plate size 9 x 6 cm) is signed in the margin, in pencil, by the artist, and another signature, in ink, appears opposite the limitation statement. An early illustrative work by Miyashita Tokio (1930 - 2011) whose widely known later printmaking is marked by a melding of woodblock and metal plate techniques, and characterized by superb use of color. No locations for this work appear in OCLC/Worldcat.



    Kokugi Kanko (Viewing the Highlights of the National Art) by Honinbo Jowa. Preface by Hiraiwa Akira

    OFFERING: The first printing of Jowa's first book, a compilation of woodblock prints with captions from 74 go games illustrating his game theory and tactics. The set is complete and exceptionally well preserved, as issued with Jowa's seal on the first page in each volume. RARITY: Rare. A worldwide catalog search finds four institution holdings, including the National Diet Library of Japan, Waseda University, and the Library of Congress. CONDITION: Good+. Woodblock Prints: sharp and bright with no insect damage or worming and no tears or chips. Pages: fresh and clean, except one sheet in Volume I with light margin stains outside print frame, some sheets in Volume III with tip creases, some sheets in Volume IV with a minute edge stain; rear blank of Volume III with large stain. / Wrappers: About Good, humidity cockling, substantial rubs, some edge wear and creases. / Title Slips: Vols. I and II: light soiling. Vols. III and IV: soiling, some edge wear. / Bindings: solid and reliable. For two volumes, cords need tightening. PAGINATION: Complete; 208 pages with 104 b/w woodblock printed sheets, 103 numbered: 101 one-sheet illustrations in the two facing pages format with top frame commentary on positions and lines of play and 3 sheets of separate text, the introduction and preface in vol. i, and the afterword in vol. iv. FORMAT: Publisher's brown wrappers decorated with a blind printed go-ishi (go stones) pattern, sewn with 4-stab holes in the fukuro-toji style. SIZE: 260 x 188 mm. EDITION NOTE: The preface is dated December 1825 and the publishing date is often reported as 1825 but the work was registered in the fall of 1826. The work was reissued in 1892 and 1906. HONINBO JOWA [1787-1847]: When the book was published, as a demonstration of the strength of Jowa's game, Genjo was still head of Honinbo House. In 1827, (one year after publication), Genjo retired and Jowa became the 12th head of Honinbo House. He received 8th dan rank in January 1828. Jowa is known to have won 46 games against 6 losses and 5 draws in a golden era of go competition. He was esteemed by the leading players and commentators of his era as a player of remarkable strength and tactical profundity, (In the introduction, Akira calls him, "the crowning glory of the nation." ), and was regarded in his own lifetime as a go sage, one of three to receive this accolade. ADDITIONAL IMAGES: by request.



    MIRO. (Seiyo Bijutsu Bunko.) by Takiguchi Shuzo

    Tokyo (Atelier sha), 1940.. 36, (10)pp., 49 plates (including frontispiece in color). Dec. wraps., with portrait of Miró on the front cover. Covers a bit chipped and worn.



    Karaku yo su (Karaku yosu) by Yasui Senchi. Preface by Oota Jyokai (Gukei Sanjin)

    OFFERING: A very early woodblock printing of the complete set, with exemplary print impressions, sharp and bright. The text by Yasui Senchi and the 97 double-page illustrations with top frame commentary on positions and lines of play demonstrate his highly innovative game theory and center play attack. RARITY: Very Rare. A worldwide catalog search finds one institution holding in the National Diet Library Rare Books Room. SENCHI [1770-1838]: Seventh head of Yasui house [1780-1814], also known as the Great Senchi (O-Senchi) and Yasui Senchi Senkaku. He reached 8th dan rank in 1801. Pre-eminent in play, he was never interested in becoming Meijin and finally stepped aside and took over his father's allied Sakaguchi School. No prominent players continued with his style. "The next genius to appear after Satsugen was O-Senchi, who invented a singular style of play that was so bold, revolutionary, and complex that it wasn't imitated until the 1930s. Emphasizing the center by playing on the fourth and fifth lines in the fuseki, instead of on the territory-oriented third line, and building large moyos, he was able to routinely crush opposition." [Peter Shotwell] A century later, this style came to the forefront with Go Seigen and Kitani Minoru and their highly influential New Fuseki Theory. Now, that historical perspective has been gained, with his emphasis on the center and play from the 4th and 5th lines, O-Senchi is often called the father of the modern game of go. PAGINATION: Complete; 218 pages or 109 folded leaves, 100 numbered; 6 leaves of text, (3 numbered), 97 numbered leaves of woodblock print illustrations, commentary in the top frame + 6 blank leaves. FORMAT: Later azure wrappers with a blind printed wavelet design, mounted title slips printed in black, sewn with 4-stab holes in the fukuro-toji style, spine corners with protective caps (kadogire). SIZE: Prints: 214 x 335 mm / Wrappers: 257 x 176 mm. CONDITION: Near Good. Prints: Exemplary, bright and sharp. Seals: page 1, Vol. I. / Pages: Vols. I and II: Near Fine, a few light spots; note on rear blank of Vol. I / Volumes III and IV: clean and bright. Worming: worm trails in Vols. III and IV. Vol. III: minor worming, a lacy trail at one side edge continues to sheet 5; large trail near bottom begins on sheet 4, and after sheet 10, it becomes small. Vol. IV: trail at side and bottom edges continues to sheet 3; top edge tube trail begins at sheet 4 and continues to sheet 14, but small after sheet 11; final page with a top margin trail. / Wrappers: abrasion, chiefly edges, some color fade, upper sides of Vols. II and III with 2 ink spots. / Title Slips: some soiling, one with small top corner chip, another with light stains, Vols. III and IV slips loose at bottom edge. / Bindings: Vols. I-III: excellent. / Vol. IV: reliable, paper corner cap loose, cord loosened on lower side, lacks threading for holes 3-4 on upper side. REFERENCE: Kokusho so mokuroku, v. 2, p. 246, no. 2239294. ADDITIONAL IMAGES: by request.




    Chicago: The Ralph Fletcher Seymour Co., 1912. Tan Japanese paper over boards, lettered in dark blue, with abstract Crane device stamped in olive green. Fibrous Japanese paper endsheets. Neatly rebacked in tan paper board. Boards slightly smudged and lightly edgeworn, attractive period bookplate on front pastedown, otherwise a good copy, in oversize folding clamshell box. First published printing of the first edition, preceded by another printing which Wright disliked and destroyed (but for an alleged 'few'). This is one of the copies printed Japan vellum, of which, depending on the reference, there were either thirty-five or fifty copies. Inscribed by Wright in 1915 at the lower edge of the first blank, and signed with initials. This was Wright's first book for which he was the sole author of the text, and is the most substantive of his publications devoted to his pioneering passion for this subject. SWEENEY 109.



    Shigeo Fukuda: Arts Know-How by Fukuda Shigeo

    OFFERING: An exceptional presentation embellished for Paul Rand. Memorializing their longstanding friendship, it alternates lines in Japanese and English and in red and black inks and is decorated with a line drawing of two mingled hearts, one red, one black. Paul Rand was instrumental in arranging Shigeo Fukuda's first United States solo exhibition, "Toys and Things Japanese" (1967). The book is an early illustrated survey of Shigeo Fukuda's art and design work including graphic designs, visual illusions, toys, and sculptures and emphasizes the representation of visual ideas within the context of art history with its format of historical precedents, followed by examples of Fukuda's work. RARITY: Now Scarce. A worldwide catalog search finds institution holdings in the United States at Yale and Cornell, and in Japan at the National Diet Library and 110 other institutions. CONDITION DETAIL: Pages: fresh and clean. / Boards: top edge with light dings, otherwise fine / Binding: Fine / Jacket: clean with rubs and some light edgewear / Publisher's Bookmark: worn at fold-over. PAGINATION: Complete; 134 pages, profusely illustrated with captioned black and white reproductions, with introduction, text divided into 30 chapters, afterword, and exhibition history to 1977. Chapters include: altered heads, altered portraits, decorated initials using human forms, advertising posters and circulars, transformed objects, and a closing section on Fukuda's celebrated handmade toys. EDITION NOTE: The series subtitle is: Aidea no eremento : atarashii dezain no tame no shikaku genre to sono hyogen (Elements of the visual idea, principles and representations for new design). FORMAT: Publisher's flexible sewn boards and pictorial book jacket, illustrated in color on the upper side with Fukuda's best known poster, "Victory 1945", the gold medal prize winner at the 1975 Warsaw International Poster Biennale. SIZE: 262 mm (10.32 inches). 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.




    1925. Original photograph album. Very Good. Oblong, string-tied album of black cardstock leaves, 11" x 13", photographs mounted on 35pp, blanks at the rear. Bound in black, flexible boards with an embossed sailing ship and gilt lettering (Photo-Album) on the cover. Pasted in are 116 albumen and silver gelatin prints, ranging from small candids to 8 ½" x 10 ½" group portraits, a few fading, overall sharp and clean. Laid into the album are a Japanese news article, a small head-shot of an older gentleman, and a watercolor portrait (10" x 8 ¼") of a man's face. Most of the photographs in this album. circa 1895-1925, were taken in Mie-Ken (or "Mie prefecture"), part of the Kansai region on the main island of Honshu. The group and individual portraits reflect new social and economic developments and cultural norms that emerged during this period. Subjects are shown in either traditional Japanese garments or in Western dress. Group shots often depict people wearing both styles within the same picture. There are many group shots of schoolchildren of both sexes, young people in uniforms posed before buildings with Japanese signs on them, as well as many formal group shots of families, some "nuclear"-husband, wife, children- others extended by relatives. Individual shots of young children show them almost invariably in western dress, one posed with his tricycle, young boys in uniform, a young girl in kimono showing a dance move while holding a fan, infants in traditional robes, and young men in business suits. Several birdseye views feature very large groups of rural people in traditional dress, posed outdoors. Among the most striking photographs are: one (8 ½" x 10 ½") showing 11 doctors/ medical students posed around two corpses (one smiling happily) being dissected on two tables; four women and one man posed around a table doing handwork (weaving, tatting?); men in western dress, "strap-holding" inside a streetcar; and 5 actors (2 male, 3 female) on stage in costume. ~~ The Meiji period (1868-1912) saw the restoration of the Emperor (this time with a centralized bureaucracy behind him) after years of shogun rule. Japan was under heavy influence from Western political, economic, and educational models, and the country became more capitalist, industrial, and progressively democratic, offering free education to youngsters of both genders. Transportation and communications systems were modernized, the feudal lords and samurai lost their power, and a powerful national army and navy were created. By the early 1870s, the government declared all classes of people to be equal. The Taishu period (1912-26) saw the continued influence of Western culture, and values such as efficiency and individualism continued to replace more traditional ones. Japanese participation on the world stage continued to grow as the nation co-founded the League of Nations and emerged on the winning side in WWI. By 1925, there was universal male suffrage in Japan. Corruption in government increased, however, and the West began to form negative views of this newly-powerful, non-white nation, exacerbated by Japan's poor treatment of China.



    Bansho Shasei Hinagata (How to sketch from Nature) by Takizawa Kiyoshi

    OFFERING: The first issue of Volume II from the rare two volumes painting instruction manual, the first preface page and final print stamped with Kiyoshi's seal. The prints were made from on-site nature sketches and focus on the life cycles and growth stages of selected insect, plant, fungi and bird species. The comparative view section of related species of mushrooms includes some rarely seen. The introductory text is illustrated with three pages of decorative woodblock prints. The suite has 38 pages of color woodblock prints, showing views of 56 species.RARITY: A worldwide search finds two institution holdings for the set, at the National Diet Library, Japan and the Ryerson Library at the Art Institute of Chicago. CONDITION DETAIL: Prints: 20, 21 and 30 with slight scattered soiling; some with top edge and bottom edge soiling outside the print frame, a few with a top edge nick, Print 13 with light pencil markings in the top and bottom margins, the mikaeshi print with one hole, otherwise excellent. / Preface: slight soiling / Original Covers: worn / Original Title Slip: edge rubs / Binding: solid and reliable with sewing slightly loosened. PAGINATION: Complete, as issued for the volume, artist's gago-in seal stamped twice in cinnabar, colophon stamped with the publisher's seal; 21 folded leaves (nineteen numbered), so 42 pages illustrated with 41 pages of prints, the 34 prints of on-site nature sketches on 38 pages + the Mikaeshi color woodblock print design on the inner side of the upper wrapper + preface of two pages with b/w vignettes of artist tool designs imprinted within the text. FORMAT: Publisher's navy blue bellflower (Konkikyo) wrappers, blind printed with a framed minicheck square pattern, sewn with 4-stab holes in the fukuro toji style. SIZE: 183 x 121 mm. SPECIES PRINTS: 1) MUSHROOMS: The volume opens with a suite of 15 mushroom species, primarily in natural wood settings, some highlighted in isolation and including several rare species. Among the more readily identifiable: the pine (matsutake), red pine (hatsutake), shitake and green brittlegill (ao hatsu). 2) LILIES: A suite of 21 Lily species including the Lilium speciosum (Kanoko yuri), with one beautiful one-sheet print (in the two facing pages format) showing comparative growth stages for several Lilium. 3) Plum Blossom: A suite of 3 double-page prints shows seasonal growth stages for the trunk, branch, bud, leaf, blossom and fruit of the Japanese apricot tree (ume). 4) WATERBIRDS: A center section shows 8 wading and water bird species including, the Eastern Great Egret (Dai-sagi), Grey Heron (Ao Sagi), Mute Swan (kobu-hakuchou), and Mallard Duck (Magamo) and features comparative views of the sexes. 5) Lepidoptera: A fine suite of 10, chiefly butterflies and moths, with two examples of cocoons. Butterflies include: the Brown Awl (Badamia exclamationis), Harima callipteris and other Skippers and Satyridae, and also the Swallowtail, Papilio machaon (Ki-ageha). 6) Ant: The manual concludes with a superb rendering of the growth stages of the rarely seen leaf litter ant, Paratrechina flavipes (Ameiro-ari). EDITION NOTE: Kiyoshi (Takizawa Senryudo) is known to have flourished in the 1870s–1880s. Block cutting was principally by Otsuka Tetsugoro who worked extensively with the publisher and the artist. REFERENCE: Toda, Ryerson. Strange, Japanese Art, pages 10 and 18. ADDITIONAL IMAGES: by request.



    Strange Pictures by Anno, Mitsumasa

    Tokyo, Japan: Fukuinkan-Shoten, 1971. Not a First. Hardcover. Very Good/No Jacket. Mitsumasa Anno. Tokyo, Japan: Fukuinkan-Shoten, 1971. Copyright date is 1968, this copy dated 1971. Gift inscription on inside of front cover reads, "To B. M., This book "Strage Pictures" is by Anno, a Japanese illustrator, a man who we think is sensitive to the dilemmas of Everyman in any urban setting. With thanks for all your kind help. T, W, S, L Tokyo to Chicago." Title on cover and on title page are in Japanese. CONDITION: Paper covered boards show light soiling along the edges as does the plastic sleeve, (which is not attached, but stretched over the boards so we didn't remove it to try to clean it.) The interior is all illustration - no words - and is unmarked and clean throughout. . Not a First. Hard Cover. Very Good/No Jacket. Illus. by Mitsumasa Anno.



    Japan at Liberty by Liberty Department Store

    OFFERING: An exceptional collection of 14 rare ephemera from the Liberty Department Store exhibition, shown as part of the Fall 1991 London Japanese Festival, and featuring the catalog of the first exhibit of design prototypes by Tokyo Creative, the group of fourteen established in 1990 to develop and promote the best in Japanese design. With the catalog is offered: the exhibitor guide with folding floor plan, the set of illustrated exhibitor cards, the invitation to the opening of the exhibition, and the business card of Gary Rowland and associates, the design group responsible for the publications' design, including the original, geometric silk screen print for the catalog's cover. PROTOTYPES: Most were later manufactured. Several have been recognized as designs of distinction including: the first Muji Shaft Drive Bicycle (design by Yasui Satoshi), 1 of 25 contemporary designs selected for the London Design Museum; the first Olympus µ[mju:] (design by Yoshihisa Maitani), an ultraportable with no case and integrated lens cover, ergonomically designed to fit in one hand; the Olympus Ecru (design by Naoki Sakai), a limited edition automatic compact, white with finishing after optics instrumentation, given Germany's 1991 Innovative Design Award; the Seiko Asterisk wrist watch (design by Naoki Sakai and Shunji Yamanaka), with stainless steel block body, and analogue display inspired by 1950s sports car speedometers. RARITY: Virtually Unobtainable. Except for the rare catalog, the ephemera are from examples reserved for collaborators. CONDITION SUMMARY: Catalog: Very Good / Ephemera: Good to Fine: 8 are at least Very Good / (details below). CATALOG: Deluxe commemorative in the spiral binding with yolk card wrappers and transparent, heavyweight acetate overlay with the Gary Rowland silk screen color print on the upper side and an elegant L-shape border design with contrasting white and black letters on the lower side. / Size: 350 x 220 mm. Pagination: Complete; 52 unnumbered pages, the introduction to exhibition and foreword on Japanese design by Jonathan Glancey, layout with 21 prototypes illustrated and described, each on its own page with facing color page-no text-alternating colors of fuchsia, red, lime and tangerine. Condition: Wrappers with Print: bright, rubs / Card Wrappers: light edge wear / Pages: few with light edge wear / Binding: Excellent, one crown punch hole slit, foot with light edgewear. FLOOR PLAN: Exterior: Fuchsia with Japanese characters and the Japanese Festival label seal / Interior: color blocked with English captions. Size: Open State: 448 x 448 mm / Closed: 205 x 210 mm. Condition: Good, edgewear, seal slit. INVITATION TO OPENING: Fuchsia, lime and red folding card, interior with event information, rear with exhibitor guide; 161 x 121 mm. Condition: Very Good, slight edge wear. GRa CARD: upper side in their house yellow, lower side with color illustrations of 90s designs for Liberty. Condition: a top corner with slight buckle, otherwise fine. FOLDING EXHIBITOR CARDS: Interior color illustrations / 200 x 100 mm. Condition: 1) Tokyo Creative: About Fine. / 2) Supermarket: Good+, light tip wear. / 3) Nuno with textile designs by Jun'ichi Arai and Reiko Sudo. Good, light edgewear. DOUBLE-SIDE EXHIBITOR CARDS: Title on upper side / Illustration on lower side / 200 x 100 mm. Condition: 1) Yuki Torii Collection: Very Good, slight rubs. 2) Issey Miyaki Permanente Collection: Good, tip wear. 3) Japan Creative Housewares: Fine. 4) Al-jab bed linens and Kenji Kobayashi bedroom furniture: Near Fine, light wear to top tips. 5) Osamu Maeda Collection: Good+, slight wear to top tips. 6) Kitchen Accessories: Very Good. 7) Bizen ware by Yosei Itaka. Fine. OTHER PROTOTYPE HIGHLIGHTS: Juturna Household Hot Tub [Inax]; design by Teruhiko Kitamura, awarded 1991 METI G-Mark. Shower Toilet Series 300 lavatory seat with integrated bidet + controls to adjust water temperature [Inax], an innovative design. Playoffice table and desk [Itoki]; designs by Isao Hosoe. Air Purifier [Nomura], a new standard for elegance. LTC-2 Low-energy, mounted fluorescent lamp with wide luminosity range via adjustable cylinder case [Seibu], an innovative design. 3LC 3000 LCD flat screen television in laptop format, transportable by briefcase after folding down [Philips, Japan], awarded 1991 iF Product Design Award. TWO UNPRODUCED PROTOTYPES: Millennium Tower, sited for an artificial island in Tokyo Bay, a self-contained, stacked hyper-structure designed by Norman Foster to generate its own energy and process its own waste. Then, it would have been the world's tallest building, its 840 meter height twice that of the Empire State Building, capable of housing 50,000+ workers. [Obayashi] XF-4 Motorbike with high performance two-stroke, one cylinder 125cc air-cooled engine and automatic transmission, aspects of its design later used for the Bandit GJ74A and RM125 series. [Suzuki] OTHER PROTOTYPES: Electronic balloon toy flied by remote control with microchip Tokyo map [Bandai]. CB-1 couch bed [Nishikawa Sangyo]. Modular Accessories Platform Bed [Nishikawa Sangyo], design by Jean-Pierre Vitrac. 4LC 4050 Pocket Television 4" liquid crystal screen miniature desktop display with teletext capability [Philips, Japan]. Can Crusher [Seibu], still in production. Spirit Wristwatch [Seiko]. Info-Art display module [Sharp]. SW-1 Motorbike [Suzuki]. ADDITIONAL IMAGES: by request.



    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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