Nakagawa Shundai ä å 駿å°, editor & Ishizaki Yuushi ç å èæ, et al, artist
Nakagawa Shundai ä å 駿å°, editor & Ishizaki Yuushi ç å èæ, et al, artist. SHINZOKU KIBUN æ ä¿ç è Touto [Edo] Gangetsudou. Kansei 11 [1799] 6 volumes, oohon. 27.0 x 18.7 cm. In chitsu, well printed and clean, complete. A very interesting late 18th century guide for the literate Japanese public of daily life in China under the Ch'ing Dynasty. Heavily illustrated throughout. Very clean, good printing, very good overall with just a hint of worming in the occasional margin.
Jippensha Ikku åè¿"èä ä , here as é"æå Suisaishi. author
Jippensha Ikku åè¿"èä ä , here as é"æå Suisaishi. author. Zatto Ichiran Zenpenãè¥åä 覧å ç . Kyouto, Yoshinoya Nihei, Zodiacal date on the title page of 1819. 2 volumes 21.9 x 14.3cm in gray-green wrappers string-bound Japanese-style, fukuro-toji with original printed title slips. Jippensha Ikku (1765-1831), comic author and "man of mode," was an important member of the gesaku literary movement of the 19th C., his most famous work being the Tokaidochu Hizakurige (known as the Shank's Mare). Though titled a "zenpen", volume one, it appears to be complete in two volumes, as here. Ikku has created a little sharehon for the playboy set. The title illustrates the work's sly humor, and roughly translates as "This and That," or even "A Perspective on Stuff, volume one." In this work, he has combined his light humorous touch with his own illustrations as well. His naive and silly pictures compliment the contents of this clever work admirably. Wear and damage to covers and title slips but the artwork in this ephemeral book is in overall good condition. Few copies found in the Union Catalogue.
Tachibana Shozan æ å°å±±, artist and Sessuiken/Chasei éªæ° è»'ï¼è é, ed
Tachibana Shozan æ å°å±±, artist and Sessuiken/Chasei éªæ° è»'ï¼è é, ed. HAIKAI SHOKUGYO ZUKUSHI ä¿ è«§è æ¥å°½ 2 vols. Edo, Tempo 13 [1842] Two volumes 23.4 x 16.6cm string-bound Japanese-style, fukuro-toji in original wrappers with printed paper title slips and housed in a modern clasped chitsu. Unusual and interesting haikai collection, with wonderful Edo Shijo-style illustrations, 30 double-page and 11 single page. The author is Inoue Seishichi, writing under his pen name, Sessuiken. Original woodblock prints, carefully printed in light colors, with Japanese text throughout. Portrayed are the "shokugyo zukushi" or "guide to the professions" of the title, such as fisherman, hunter, cliff moss gatherer and blade sharpener, accompanied by poems. The professions are divided by seasons, with Spring and Summer in Vol 1 and Fall and Winter in Vol 2. The printed title slip of Vol 2 missing and there is slight worming throughout, mainly confined to lower margins. Wear to and spots of soiling to wrappers. Overall good condition with excellent impressions and a wonderful demonstration of the variety of color shades possible using nothing but sumi ink. (Please see Mitchell pp. 282-3.). Quite a wonderful book to relax with for an evening in old Japan.
[SINO-JAPANESE PAINTING MANUAL]
ZUE [TOKAI] åæå®å½ SOU-I, 7 vols in one. Edo, Suharaya Shimbei, Kyouho 20 [1735]. Oohon, 27.0 x 17.5 cm. Originally published as a series of artists's guides in a set in China in 1607, it was redone in Japan in 1702, then reprinted, as here, in 1735. Like the HASSHU GAFU å«ç ®ç"»è it had a large influence in Japan, particularly on Nanga style artists. Everything human, animal and vegetable is rendered in beautiful sumi-e woodblock prints. There are extracts from classic Chinese texts on painting technique, going back centuries. A vade mecum for the Edo artist interested in the techniques and theory of Chinese painting. The seven volumes of the original are here rebound into a single volume with the original worn cover and title label. This gappon volume is complete and has been cleaned internally to neutralize staining. There are some pages that remain stained but the book is still a remarkable work which is quite scarce. Most copies referenced online are incomplete or microfilmed. See Mitchell 566 for his information on the original Chinese edition. It should be noted that the copy he saw of the Genroku 1702 edition was incomplete. Not a common set. Mitchell misreads ZUE as ZUKAI in the title.
[EHON] Mikuma Katen, artist
[EHON] Mikuma Katen, artist. KINSEI KIJIN-DEN, 5 vols. Kyoto, Hishiya Magobei, et al. Kansei 2 [1790]. String-bound Japanese-style fukuro toji, in textured blue-grey covers with printed paper title labels. 37 single page and 2 double page b+w woodcuts, largely depicting the subject matter of the title: TALES OF ECCENTRICS FROM RECENT YEARS. Originally printed, as here, in 1790, this is a deservedly famous and oft-reprinted work in Japan. This is probably a relatively early reprint. It has Wonderful thin paper. The KIJIN_DEN catalogues the eccentricities and eccentrics of the late 18th Century - a time of florescence of the "bunjin" literati ideal in Japan. The bunjin created an esthetically pure environment in the midst of the bustle (and corruption) of everyday life. The initial exemplars were those scholars and artists who withdrew from public life in China after the fall of the Ming Dynasty to the alien Manchus in the mid-17th Century. The KIJIN-DEN represents one of the efforts by the Japanese to domesticate a Chinese cultural import and find native representatives of the literati ideal. It should be noted that this guide came out just as the Kansei Reforms, with a decidedly Confucian, if not authoritarian, bent, had just been promulgated. The "kijin" or literatus might well chafe under such a "reform" agenda. This book even well be seen as a bit of cultural protest on behalf of the individual ideal. The KIJIN-DEN is interesting for its exploration of the art world in Japan- for example, there is a domestic scene of the painters Ikeno Taiga and wife Gyokuran, among others. (Unfortunately, it is the only torn woodcut with part of the image missing) Indeed, there are many women depicted in the KIJIN-DEN. (See JAPANESE WOMEN ARTISTS 1600-1900) Also see Ryerson 416, Mitchell 364, Hillier/Ravicz 22. The condition is good over all, the printings are fair to good. There was a second series done some few years later, but this first series is complete as issued in 5 volumes.
[EHON] Ueda KOCHO ä ç"°å é (1788-1850), artist. KOCHO GAFU Ni-hen å é ç"»è äºç . Osaka: Honya Kichibei & Kawachiya Kihei, Kaei 3 [1850]. Two volumes, yellow covers with original title labels, string-bound Japanese-style, fukuro toji. 25.4 x 18.2 cm. The second series of illustrations, following the original KO^CHO^ GAFU of 1834, published by the same firms. See Mitchell 369-70. An interesting group of human figures, animals, landscapes, etc., from the sedate to the humorous, in a restrained Shijo-influenced style, printed in light colors. The covers are a bit soiled, but the impressions and colors are very good. Complete as issued. Much more unusual to find than the original series. Kocho was a late and influential Shijo school painter in Kansai.
TaigadÅ GahŠ大éåç"»æ , 3 Vols Ike no Taiga æ±å¤§é, artist Shinshosai çè æ, publisher Bunka Gannen æååå [1804] 3 volumes 30 x 19.5cm bound Japanese-style, fukuro-toji with off-white wrappers and title slips. TaigadÅ GahŠ大éåç"»æ [Taigado's Pictorial Methods] is a painting manual with original woodblock prints and Japanese script throughout. The double-page woodcuts, mostly black and white and 3 with color, depict trees, landscape, stones and figures in Ike no Taiga's æ±å¤§é (1723-1776) distinctive Nanga style. Nanga åç"» (Southern painting), also known as Bunjinga æ人ç"» (literati painting), was a school of Japanese painting that used traditional Chinese painting techniques. Volume pages are marked ä (jyo, upper), ä (chu, middle) or ä (ge lower) and each vol has 27 cho. Vol 1 has 25 double page woodcuts, Vol 2 has 26 and Vol 3 has 25 followed by a double-page of script and a double-page colophon. The initial volume begins with a double page of seal script and printed hanko. Vol 1 has 2 color woodcuts and Vol 2 has 1 with color. A wonderful compendium of Taiga's painting methods, originally painted by him for his wife, Gyokuran, also a noted painter, as a painting guide. When the TaigadÅ Gafu was being prepared as a memorial after his death, the GahÅ was prepared for publication as well. See Mitchell pp. 510, Ravicz plate 7, Hillier pp.627-32 and Brown p. 88. Housed in a multicolor brocade chitsu with a circular pattern and clasps. Wear and dust staining to wrappers and partial title slips. Repair work done to rear wrapper of Vol 3. Very good printing.
[EHON] Onishi Chinnen 大西椿å (1792-1851), artist. EHON AZUMA NO TEBURI ãã¤ã¾ã®ã¦ãµã (Alternative title TAIHEI YUZO 太å æ象). Edo: Kobayashi Shimbei & Osakaya Gembei, Bunsei 12 [1829]. 27.8 x 18.6 cm, string bound Japanese-style, fukuro toji, in the original blue paper covers from which the mica decoration has largely been rubbed away. The title slip is missing as well, but otherwise this copy collates identically with the copy in Mitchell, p.214. See Hillier, volume 2, pp. 768-70, in which he describes Chinnen's SONAN GAFU & this volume, the AZUMA NO TEBURI, as being "among the best known and most admired of all Japanese books". The 25 double page color prints of genre scenes in Edo done in Chinnen's inimitable Shijo style are very well printed. The colors are excellent and are those of an early printing. This is a very handsome book, carefully restored, and an important cornerstone item for any ehon collection - Chinnen only produced two major works of book illustration, this and the iconic SONAN GAFU. Complete in a blue clasped chitsu case.
[EHON] Tsukioka æå ¡ TANGE ä ä [Settei éªé¼/Masanobu æä¿¡] Eiri ISE MONOGATARI çµµå¥ä¼å¢ç èª. Osaka, Hà reki 6 [1756]. 2 vols., complete. String bound Japanese-style, fukuro toji. In the original very worn hand-painted covers with one title label complete and one 1/4 torn away. Settei (1710-86), originally trained in the Kanà style, was one of the uniquely creative artists of his day, whose flexibility and breadth make it hard to pigeonhole him, though his subject matter and general spirit mark him as an ukiyo-e artist. Indeed, he is considered, along with Sukenobu 西å ç¥ä¿¡, the principle Ukiyo-e artist of the Kansai (West Japan) region. Here Settei takes on the theme of the Tales of Ise, told and retold throughout Japanese literate history. There are six single page and six double page sumi-e woodcuts, as well as the two illustrated title pages and the two original illustrated FUKURO DUSTWRAPPERS! Settei material is quite scarce, but original 18th century fukuro are scarcer still. Overall the internal condition is good with a bit of worming, the printings good or better, with some slight handling wear to the impressions, especially in volume one. Very unusual. In a custom clasped chitsu case.
[EHON] Yamaguchi SOKEN å±±å£ç çµ¢ (1759-1818), artist. SOKEN SANSUI GAFU ç çµ¢å±±æ° ç"»è. Heian [Kyoto]: Bunka 15 [1818]. 2 volumes, 25.6 x 18.3 cm, dark blue stiff paper covers, no title slips, bound Japanese-style, fukuro toji. This copy appears not to be in original covers, else, it is identical in collation to the copy in Mitchell, p.499. See also Hillier, volume one, pp.537-9. A well-printed early copy. With a few childish sketches on the final blanks, not effecting any pages with text or images. A bit of thumbing, else very good condition. A handsome and important book of landscapes printed with great elegance. Soken was one of Maruyama Okyo's most skilled disciples. 2 vols., complete, with defects noted.
[EHON] Kawamura BUMPO æ æ'æé (1779-1821), artist. KIMPAEN GAFU é'æ ¢å'ç"»è. Kyoto: Hishiya Magobei, Bunsei Gan-nen. 26.4 x 17.1 cm. Original soiled and darkened yellow-brown covers with a karazuri printed large reishi mushroom. The bibliographical details of this copy correspond upon inspection to the copy from the Pulverer collection, now in the Smithsonian. Interestingly enough, Hishiya Magobei, the printer, has included an ad for their related back stock, but the ad is dated 1818, though the preface to this book is dated 1820. Mitchell p. 362-3 Bartlett and Shiohara, page 528. Soiling and wear to the covers an the title slip is partly effaced. Very nice printing quality and colors with occasional splashed ink on a few pages. Priced accordingly. With an Isseido label inside dated 1940. In a clasped chitsu case. The KIMPAEN GAFU is often regarded as one of the important artist Bumpo's most intriguing picture books. The contrast of light and dark, bright flowers and subdued foliage in early printings is quite remarkable. The printing here is early and captures the effect very well.
Hasegawa Settan é è° å éªæ¦, artist; Saitou Choushuu æè¤é ç§, et al. EDO MEISHO ZUE æ±æ åæå æ 20 vols. Suharaya Mohei & Suharaya Ihachi. Edo, Osaka & Kyoto, Tempou 7 [1836]. Oohon, 25.7 x 18.0 cm Original covers and title labels with some wear. Internally clean with fair to good impressions in sumi throughout. All in two large clasped chitsu cases. This work has an interesting back story. Saitou Choushuu worked for eight years on compiling the information about the great city, at the time one of the largest in the world, as it still is today. When he died in 1799 his son-in-law and then his grandson continued his work. In the 1830s, the artist Hasegawa Settan created over 600 images to accompany the text and it was published to great popularity. It helped to create a demand for such guidebooks, which flourished as a genre in late Edo. Certainly for that reason, not a rare book. But considering it was printed well over 170 years ago, the existence of handsome sets in good condition is not an everyday event. A remarkable record of Japan before Perry.
[THEATRE]. Natori Shunsen ååæ¥ä», Yamamura Kouka å±±æ'èè±, è±æ, Torii Kotondo é ¥å±è 人, Ishii Hakutei ç äºæäº, et al. SHIN NIGAO-E æ°ä¼¼é¡"çµµ Five issues, complete. Volume one: 18.5 X 12.4 cm. Original covers, beige. The abbreviated title, "Shin nigao" and volume number are printed directly on the cover. On the right is the publication date, June 1, Taisho 4 (1915), and a note that subsequent numbers will be published on the first day of each month. Table of contents. Preface by Kinoshita Sataro. The fourteen color woodcut portraits are by Natori Shunsen (5), Matsuda Seifü (4), Yamamura Koka (3), Torii Kotondo (1), and Ogawa Heibei (1). Block cutter: Igami Bonkotsu. Printer: Nakamura Sanjiro. The text on actors and roles are mainly printed on tissue interleaves. Colophon page, dated June 1, Taisho 4 (1915). Compiler: Egawa Kinpei. Published by Nigao-do. Volume two: 25.5 X 18.5 cm. Covers, light blue. The abbreviated title and volume number are printed directly on the cover. The first actor print is pasted to the cover, credited internally to Natori Shunsen. Front endpaper, table of contents. The fourteen woodcut portraits are by Shunsen (4, including the cover), Koka (3), Terazawa Kotaro (2), Isshii Hakutei (2), Matsuda Seifu (2), Heibei (1). Colophon, dated July 1, Taisho 4; otherwise as for Vol. one. Volume three: 25.2 X 18.7 cm. Covers, beige. Title and volume number, as for Vol. two. The first actor print is pasted to the cover, as above. The fourteen actor portraits: Shunsen (5), Seifu (3), Hakutei (3), Koka (2), and Heibei (1). Colophon dated Aug. 1; otherwise, as above. Volume four: 26 X 18.4 cm. Covers, light blue, in the same format as above. The fourteen actor portraits: Shunsen (5), Koka (4), Hakutei (2), Seifü (2), Heibei (1). Colophon dated Oct. 1; otherwise, as above. Back cover, an ad for the forthcoming special Coronation issue of Shin nigao. Volume five: 24.8 X 18.2 cm. Covers, grey paper embedded with green fibers over stiff boards, bound with green silk tassels. The title, Shin nigao-e kinen-go: Tairei Hoshoku gafu (Shin nigao: Special Coronation Number) is printed directly on the cover. The format is basically the same, but two special sections have been added: five portraits of officials associated with Emperor Taisho's coronation, and five portraits of geisha from Tokyo and Kyoto. The remaining eleven prints are of actors, for a total of twenty-one color woodcuts: Shunsen (11), Heibei (3), Seifu (3), Ishizuka Kan (2), Kondo Hiroshi (1), and Koito Gentaro (1). Colophon, dated Nov. 1, Taisho 4 (1915); otherwise, as above. The complete run of this scarce periodical is enclosed in a specially made clasped chitsu case. The magazines and prints are clean. Very unusual complete, with all the many prints intact. Volume three: 25.2 X 18.7 cm. Covers, beige. Title and volume number, as for Vol. two. The first actor print is pasted to the cover, as above. The fourteen actor portraits: Shunsen (5), Seifu (3), Hakutei (3), Koka (2), and Heibei (1). Colophon dated Enclosed in a custom made clasped chitsu. Good to very good condition.
Baichiku Rangiku [Album of Plum, Bamboo, Orchid and Chrysanthemum]. Baichiku Rangiku æ¢ç« èè [Album of Plum, Bamboo, Orchid and Chrysanthemum] Kyoto 1710ãA single volume 28. 1 x 19. 4cm string-bound, Japanese style fukuro-toji with the original dark blue-green wrappers and the original printed paper title label. [52] cho of preliminary text followed by original, black and white woodblock prints of the 4 types of botanicals in the title, with Japanese text within the woodcuts. Baichiku Rangiku [Album of Plum, Bamboo, Orchid and Chrysanthemum] is one volume of an 8 volume set entitled Hasshu Gafu å«ç ®ç"»è, originally published in Ming-era China. The Ming edition is unobtainable and the first Japanese edition of 1672 virtually so. This is almost certainly one of the volumes of the 1710 Kyoto edition, printed by Nakagawa Mohei. "Hasshu Gafu" literally translates as "A Collection of Eight Illustrated Sketchbooks." The books in the collection had no intrinsic connection with each other, save that they were heavily illustrated in woodcut. Some, like this one, are done on a botanical theme, others are illustrated poetry collections. In any event, the Hasshu Gafu had a great deal of influence on the Chinese style painters of the early Edo period once it was published there, an influence that only started to fade upon the import from China of the color printed "Mustard Seed Garden" and Ten Bamboo Hall." Wear to wrappers with rips and chipping at spine and edges. Wear and rip to title slip. Bottom section of binding is unstitched and some pages are split. Artwork is in overall good condition, good impressions. A remarkably lovely sumi-e botanical.
[MEISHOKI] AKISATO Rità ç§éç± å . TOKAIDO MEISHO ZUE æ±æµ é"åæå ä¼ 6 vols., Osaka, Kyoto & Edo, Kansei 9 [1797] 25.9 x 18.3 cm., string-bound, fukuro-toji, printed paper title labels. Illustrations by various Kyoto artists including Soken, Goshun, Soen, etc., etc. Quite a departure from most meishoki åæè which are only marginally interesting from an aesthetic point of view. Several of the illustrations are quite amazing. There are scenes from the history of the fabled Eastern Sea Route, the post road from Edo to Kyoto. Unlike the 53 Station visual trope, it focuses more on the history along the road rather than the post station locations. Good impressions and overall condition internally. Mitchell 528-9. The labels of volumes three, four, five and six are partly toward away, the label on volume two is complete, the covers with their blind-stamped vegetal patterns are quite worn. Volume one has a brushed label. Complete. To my mind, one of the most appealing and interesting of the meishoki genre.
[EHON] Hokusai åæ, artist. Wakan EHON SAKIGAKE Shohen å'漢絵æ éåç . {Tempo^ 7ã[1836]}. Hanshihon, 22.6 cm x 15.7 cm. Unusually, tan covers, with a deeply incised blind-stamped cloud pattern on front and rear covers. The paper label is present, glued to the inside front cover. Could these be alternative original covers? A complete copy, with the title page pasted to the inner front cover, Hokusai's own two page preface dated 1836, 30 sheets of images, and 1 sheet of colophon and ads. It has the "77 year old" Hokusai with his "Gakyou Rojin" moniker, indicating the book itself was soon to appear, followed by 3 sequels. (only two were done). It also lists the block carvers. Egawa and Sugita. masters of the craft. Also see Hillier's ART OF THE JAPANESE BOOK for his appreciation of this work. The bookstore list often found at the end appears not to have been bound in (or was lost). Very minor soiling throughout. Very good impressions. An early printing of this important and often reprinted work. The Wakan EHON SAKIGAKE was the first volume of Hokusai's so-called "warrior trilogy". It is a visual epitome of traditional Japanese (and Chinese) historical heroes, from the legendary to the flesh and blood. It is a brilliant example of Hokusai's ability to create visual narrative by capturing the moment which evokes the character most perfectly to the viewer. In an older clasped chitsu case.
[EHON - DRAWING MANUAL] Miyamoto Kunzan å®®æ åå±±, Okada Beisanjin å ¡ç"°ç± 山人 & Okada Hanko å ¡ç"°åæ±. KANGA HITORI KEIKO æ¼¢ç"»ç ç ½å¤ 2 volumes. Wakayama, Bunka 4 [1807]. 25.1 x 17.5 cm, string-bound, Japanese-style, fukuro-toji. Hanko was Beisanjin's son. Both, but particualrly Beisanjin, are admired fr their amateur status as artists. true "bunjin". Another wonderful guide to Chinese-style brush painting, nicely printed in b+w woodcut. Another example of the pervasive growth of publishing in the hinterlands, as Wakayama was economically capable of supporting a cultural community of some influence. A charming set of books. The title labels are worn, the original covers a bit soiled. See Mitchell p.334 for more on this interesting production.
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