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Boston Book Company, Inc.

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Woodblock Print Calendar for 1937 - 12 sheets

Woodblock Print Calendar for 1937 – 12 sheets

Onchi Kōshirō æ åœ°åå››éƒŽ, Kawakami Sumio å ä Šæ¾„ç"Ÿ, Maekawa Senpan å‰æ‘åƒå † et al, artists [Woodblock Print Calendar for 1937 - 12 sheets] Onchi Kōshirō æ åœ°åå››éƒŽ, Kawakami Sumio å ä Šæ¾„ç"Ÿ, Maekawa Senpan å‰æ‘åƒå † et al, artists [Nihon Hanga Kyōkai æ—¥æœ ç‰ˆç"»å"会 Japan Print Association] n.p. Shōwa 12 æ˜å’Œ12å 1937 12 sheets 24.7 x 12.6cm each illustrating one month of the year Shōwa 12 æ˜å’Œ12å , 1937 in original color woodblock prints. Known to be published annually by the Nihon Hanga Kyōkai æ—¥æœ ç‰ˆç"»å"会 (Japan Print Association), which issued calendars with the same format until at least Shōwa 19 [1944]. The top section is the calendar with dates and below it an original artwork, both done in the style of the artist, all of whom were established in the field of woodblock printmaking. All but one of the names are written vertically in Japanese in ink on the rear in the lower right hand corner. Hanko are found in "Guide to Modern Japanese Woodblock Prints: 1900-1975," by Helen Merritt and Nanako Yamada as indicated. The Nihon Hanga Kyōkai æ—¥æœ ç‰ˆç"»å"会 Japan Print Association, still in existence today, was established in January 1931 when the Japan Creative Print Association Sōsaku Hanga 創作版ç"» (formed in 1918) merged with the Western Print Association YōfÅ« Hangakai æ ‹é¢ ç‰ˆç"»ä¼š (formed in 1929), attracting independent artists. January - Hiratsuka Un'ichi å å¡šé‹ä € (1895-1997) created the woodcut of a bearded Daikokuten å¤§é»’å¤ , god of good fortune and wealth, holding aloft an Uchide no Kozuchi æ‰"ち出の小槌 (lucky mallet) with the name Mt. Yudono æ 殿山, a Shinto shrine in Yamagata prefecture, within the work. Hiratsuka initially studied watercolor and later ventured into painting and printmaking. He was prolific in the latter, contributing to numerous periodicals and collaborating with Onchi and Maekawa Senpan, among others, later influencing the younger generation as a teacher, including his student Maeda Masao 前ç"°æ"¿é›„. The artist's seal of 'un' 運 can be found in Merritt p. 285. His works are held at the Art Institute of Chicago as well as other museums. February - Maeda Masao 前ç"°æ"¿é›„ (1904 - 1974). This winter-themed woodcut of skiers on a snowy hill reflects the artist's Hokkaido birthplace and childhood. A student of Hiratsuka Un'ichi å å¡šé‹ä €, he was an active member of printmaking groups and contributed to a number of compiled works. The technical skills and details for which he is known are shown in his well-known work from the 1930s, Hokkaido Hakkei åŒ—æµ é"å «æ™ [8 Views of Hokkaido]. His hanko seal of "masa" "æ"¿" is in Merritt p 294. March - Katsuhira Tokushi 勝å å¾—ä ‹ (1904-1971). It is fitting that the artists depicts the March 3rd festival of Hinamatsuri 雛ç¥ã‚Š or Girl's Day in Japan, as he got his start as an artist carving wood dolls. Largely self-taught, he exhibited his works in a number of competitions and often created prints on the theme of Akita prefecture, where he grew up. His seal of "toku" 得 is in Merritt p.291. April - Onchi Kōshirō æ åœ°åå››éƒŽ (1891-1955) contributed a print of two butterflies with blocks of blue. HIs accomplishments throughout the first half of the 20th century begin with his eminence as a printmaker. Onchi was an innovator who domesticated the ideals of abstraction and "creative printmaking" in Japan when still in art school. From his early years, working with Takehisa Yumeiji ç« ä 夢二 among others, he began a long career as a printmaker, book designer and book illustrator. From the very beginning of his life in the arts he was the center and focus of the Creative Print Movement Sōsaku Hanga 創作版ç"», surrounding himself with fellow artists who took inspiration from his dedication to the cause of self-expression. His works are held in institutions internationally. May - Henmi Takashi é€ è¦‹äº« (1895 -1944) depicted an image of a red carp flag over a house which suggests the May 5th holiday originally known as Boy's Day in Japan. A book designer, poet and artist, he was an active member of the Creative Print Movement Sōsaku Hanga and founding member of Nihon Hanga Kyōkai. His work is collected by the British Museum; his hanko 'Takashi' 享 is within the artwork. June - Yamaguchi Susumu å±±å£é€ (1897-1983) portrays two frogs in water for the June calendar sheet with his hanko within the artwork. A native of Nagano prefecture, his first job out of school was at a post office. He completed his first woodblock print soon after, having taught himself. In 1920 he moved to Kyoto and began studying at the Aoibashi Western Painting Institute under established painter Kuroda Seiki 黒ç"°æ 輝 (1866-1924). His first international exhibition was just 5 years later and after his woodcuts received accolades, he devoted himself to printmaking. His works are held internationally, including the British Museum and the Ringling Museum of Art. July - Fujimori Shizuo 藤森静雄 (1891-1943) shares his abstracted illustration of a bright blue river surrounded by yellow and light green scenery. He was a schoolmate of Onchi and helped with his issues of the seminal work, the art magazine Tsukuhae (Tsukubae) æœˆæ˜ at Tokyo School of Art in about 1914-5. In 2019, the Fukuoka Art Museum ç¦å ¡å ‚ç¾Žè¡"é¤ (Fukuoka-shi Bijutsukan) held an exhibit of his work from the magazine. He was a founding member of Nihon Hanga Kyōkai and contributed to numerous important works. His hanko 'S' is within the woodcut. August - The red flower illustrated by Azechi Umetarō 畦地 æ¢ å¤ªéƒŽ (1902-1999) in the woodcut for August may well be a cliff flower, as Azechi was a mountain climber as well as an artist. Originally from Shikoku, he later worked in Tokyo and was mainly self-taught as a printmaker. His hanko 'ウ' is in Merritt p. 281. His works are held at the Art Institute of Chicago, MOMA, MFA Boston, and others. September - The still life of fruits and nuts by Koizumi Kishio å°æ ‰ç™ å ç" (1893-1945) incorporates the artist's hanko izumi 'æ ‰ with "Kiso" underneath it,
  • $975
Sekai Shashin Nenkan Kessaku-shū 1938 [World Photo Almanac Masterpiece Collection]

Sekai Shashin Nenkan Kessaku-shÅ« 1938 [World Photo Almanac Masterpiece Collection], Vol 1 ä –ç•Œå†™çœŸå 鑑傑作集 アルã‚

Sekai Shashin Nenkan Kessaku-shÅ« 1938 [World Photo Almanac Masterpiece Collection], Vol 1 ä –ç•Œå†™çœŸå 鑑傑作集 アル゠(Arusu-sha アル゠社), publisher Showa 12 æ˜å’Œ12å 1937 26x18.5cm volume with light blue-gray dust jacket bound and opens Western style. Title with letter shading in white and the date '1938' in red with 'Vol 1' across it in black text. Rear has "Camera"' and Japanese text in white across the top, a center design of a ship with '1938' in red and a price of ¥1.50. Inner rear flap mentions Kiku film 菊フィルãƒ, Japan's first domestically produced camera film. Paper wrappers are plain beige and inside wrappers advertise cameras and film with illustrations and text in blue. 6pp Table of Contents, 128pp of black and white photo illustrations and 43 pp of explanatory Japanese text. Photos have photographer names, with Western names in English, and some with the topic in Japanese. Additional pages of advertising in the front and back. The Table of Contents breaks down the photo illustrations into sections with the subject/title of the work and the names of the photographers in katakana and English next to page numbers. The [8] sections are: Photofreund Jahrbuch 1938, Modern Photography 1937-8, The Year's Photography 1937-8, Deutscher Kamera-Almanach 1938, The Annual of Photography, This is Japan by Fritz Henle, Arbeit! von Dr. Paul Wolff, U.S. Camera 1938. Full-page, half and ¾ page reproduced photos by established photographers, such as Remie Lohse (1893-1947), Fritz Henle (1909-1993), Paul Wolff (1887-1951), fashion photographer Cecil Beaton (1904-1980) and Lala Aufsberg (1907 - 1976). Notable photo illustrations: well-known aviator Ruth Nichols, Olympic gold medal fencer Helene Mayar (1910-1953), Mexican actress Dolores Del Rio (1904-1983), an aerial photo of a US city, action shots of sports games, a parachuter and dancers, still lifes, landscapes and portraits of children. A color sheet advertising the company Arsen folds open to 26 x 37.7cm and is tipped into the binding before the Table of Contents. A 10.6 x 14.5 sheet with a gray scale of 12 examples is tipped in on p 23. Small chips and tears to edges of dust jacket. Toning throughout with thumbing. A remarkable guide to early photographers and photography with Japanese and Western appeal.
  • $150
Shinjin Chōshishō Gafu æ 人張åç¥¥ç"»èœ Qingren Zhang Zixiang Huapu [Painting album of Zhang Zixiang of China]

Shinjin Chōshishō Gafu æ 人張åç¥¥ç”»èœ Qingren Zhang Zixiang Huapu [Painting album of Zhang Zixiang of China]

Zhang Zixiang å¼µåç¥¥, artist and Ōta Tokujirō, editor 太ç"°å¾ æ ¡éƒŽ ç è¼ Shinjin Chōshishō Gafu æ 人張åç¥¥ç"»èœ Qingren Zhang Zixiang Huapu [Painting album of Zhang Zixiang of China] Zhang Zixiang å¼µåç¥¥, artist and Ōta Tokujirō, editor 太ç"°å¾ æ ¡éƒŽ ç è¼ Meiji period Tokyo 2 volumes 15.8 x 11.4cm bound Japanese style fukuro-toji. Vol 1 is 18 cho (no cho numbered 16) and Vol 2 is 17 cho with printed book slips on front wrappers. Each volume has 16 polychrome double-page original woodblock prints with calligraphy. 2 volumes (jyo ä Š upper/former and ä ‹ ge lower/latter). Colophon is at the end of Vol 2. A peek inside the fukuro "bags" reveal an inner layer of bookprint or newspaper. A few pages of Vol 1 appear to be printed on a darker paper. Among the lovely botanical woodcuts are black and gray-blue, vibrant purple, green or red and highlighted with light yellow or deeper hues. A bug or two are hidden within the branches and a fish swims through plants. Compared with an online NDL first edition, released in March of 1881, our Vol 1 has 1 fewer cho and 2 fewer woodcuts. (No earlier editions available for comparison.) Priced accordingly. Joshua Fogel writes about this work in his book "The Role of Japan in Modern Chinese Art." "In this period, a large number of albums of Chinese calligraphers and painters were edited and published in Japan. the Qingren Zhang Zixiang Huapu by Ōta Tokujirō in Tokyo in March 1881. These all testify both to the demand in Japanese society of the time for works by Chinese painters and calligraphers and to the demand for published albums of their works." (See p. 37-38 chapter 1 and footnote 41) Soiling of wrappers and writing in marker with crossing out on rear wrappers. Damage to front wrapper, rip to rear inner wrapper and tear to thread on rear of Vol 2. Damp stain or stain to a few woodcuts. Toning to and soiling of some pages. Forecorner cloth is chipped on both. Small pencilled in numbers on the top of 7 cho in Vol 2. An important work in terms of both Japanese and Chinese art history.
  • $350
You tong wen ku di 1 ji å ¼ç«¥æ–‡ç« ç ä €é›† [24 vols]

You tong wen ku di 1 ji å ¼ç«¥æ–‡ç« ç ä €é›† [24 vols]

You tong wen ku di 1 ji å ¼ç«¥æ–‡ç« ç ä €é›† [24 vols] Minguo 民國 23-24 [1934-5] Shang wu yin shu guan å•†å‹™å°æ› é¤ , publisher Shanghai ä Šæµ 24 volumes of children's books staple-bound approx 18.5 x 13cm published from 1934-5 in China with illustrations and Chinese text throughout. Front wrapper color illustrations are related to the story while the back wrapper sepia tone illustrations are all the same drawing of a group of children and a dog playing outdoors, with a colophon within a box in the center. Each cover also has a title. Interior pages are full color or one- or two-tone throughout. The stories begin on the inside front cover and end on the inside rear cover and there are 18 numbered pages in each. There appear to be multiple artists across the series. Themes include food, dogs, honey bees and boats while others are fairy tales and cultural stories. Many feature children within the pages and more than one is a serial story across volumes. #112 has lyrics and a musical score. #110 and #111 are parts 3 and 4 of a multiple part story and #120 is the 2nd part of a 2 part story. #106 is a notable issue with its bold, abstract illustrations in color on the topic of paper craft. Title numbers are 25 (Minguo 24) å ¾å€‹å‰äºº Ji ge wei ren [Several Great Men in China], 45 狗 (M 23) Guo [dogs], 55 (M 24) 蜜蜂 Mi feng [bees], 72 (M 24) èˆ Chuan [boats], 80 (M 23) 奇妙的åŠæ • Qi miao de jia fa [addition], 93 (M 24) æˆ‘çš„éŠæˆ Wo de you xi [play], 100 (M 24) å°åœ’ä Xiao yuan ding [gardening], 106 (M 23) æœ‰è £çš„å‰ªè ¼ You qu de jian tie [paper craft], 110 (M 24) æˆ‘çš„æŒ Wo de ge [nursery rhyme #3], 111 (M 24) æˆ‘çš„æŒ Wo de ge [nursery rhyme #4], 112 (M 23) å ¼ç«¥æ–°æŒæ› You tong xin ge qu [children's songs #1], 116 (M 23) å§å§çš„æ—¥è ˜ Jie jie de ri ji [girl's fictional diary], 120 (M 23) æˆ‘çš„è Žèªž Wo de mi yu [children's rhyming riddles #2], 123 (M 24) å¥½è ˆç– Hao ji ce [fiction], 125, 131(M 23) é˜¿å¤§å°‹å¿«æ ‚ Ada xun kuai le [fiction], 139 (M 23) å°è± éŽæ ‹ Xiao zhu guo qiao [fiction], 169 (M 24) é›çš„æ— è¡Œ Yan de lü xing [geese], 182 (M 23) çŽ‹äºŒçš„å ƒå Wang Er de yuan bao [moral tale of wealth], 184 (M 23) 大黑狗 Da hei gou [The Big Black Dog], 186 (M 23)ä €éš»å°ç¾Š Yi zhi xiao yang [fiction about a sheep], 194 (M 24) 小牧童 Xiao mu tong [shepherds], 195 (M 24) å 隻çˆé ¥çš„狼 Liang zhi zheng dou de lang [wolves], 196 (M 24) å°é ¥å¤§æœƒ Xiao niao da hui [birds]. Toning and chipping to volumes. Good to very good condition. Unusual.
  • $2,500
  • $2,500
Iokibe Kin'ichi

Iokibe Kin’ichi, Terada Masaaki: Mokuhan ShigashÅ« 五百旗éæ £ä € å ºç”°æ”¿æ˜Ž æœ ç‰ˆè 画集 [A Collection of Woodcuts with Verse – by Iokibe Kin’ichi and Terada Masaaki]

Terada Masaaki å ºç"°æ"¿æ˜Ž, artist and Iokibe Kin'ichi äº"百旗éæ £ä €, author Iokibe Kin'ichi, Terada Masaaki: Mokuhan ShigashÅ« äº"百旗éæ £ä € å ºç"°æ"¿æ˜Ž æœ ç‰ˆè ç"»é›† [A Collection of Woodcuts with Verse - by Iokibe Kin'ichi and Terada Masaaki] Terada Masaaki å ºç"°æ"¿æ˜Ž, artist and Iokibe Kin'ichi äº"百旗éæ £ä €, author Kyoto FÅ«butsushisha é¢ ç‰ è 社 Showa 35 [1960] Published by FÅ«butsushisha é¢ ç‰ è 社. Numbered 21 of a limitation of 100. 14 sheets approx 39 x 48.5cm with verse and prints in color. The title is printed in green on a sheet 51.4 x 41.4cm and the colophon is printed on a separate sheet 51.7 x 41.6cm, for a total of 16 sheets. Incomplete; 1 sheet is missing. The sheets are housed in a large navy blue portfolio 52 x 42.5cm with ribbon ties and a printed title slip. A lovely collection of original woodblock print pairings of poetry and artwork. The poetry is by a well-known poet, Iokibe Kinichi äº"百旗éæ £ä € (1913-1978), who was a woodcut artist himself, and the woodcuts are by award-winning artist Terada Masaaki å ºç"°æ"¿æ˜Ž (1912-1989). Terada, originally from Fukuoka prefecture, was an early member of the Independent Art Association (Jiyu Bijutsu Kyokai 自ç"±ç¾Žè¡"å"会会å"¡), participating in an exhibition with future members in 1937, just weeks before the group was officially founded. He was also a founding member of the Japan Artists Association (Nihon Bijutsuka Renmei Kaiin æ—¥æœ ç¾Žè¡"å® é€£ç›Ÿä¼šå"¡). The verse and artwork pay homage to a Japan that was vanishing even as the set was being created. Each poem is accompanied by a design that speaks to the words - a sharp-beaked bird, fallen leaves, a landscape with an electric train, a brilliant Red Spider Lily, a blue-gray fish, and other lovely illustrations. The poem/print titles are as follows: åˆå† Shotō [Early Winter], 鍵屋 Kagiya [Locksmith], é§ Eki [Train Station], 草軽電鉄 Kusakaru Dentetsu [Kusakaru Electric Railway], é¢ éŸ» FÅ«in [Elegance], çŸ æ¿¤ Shitao [Shi Tao], あられ Arare [hail], å† æ—¥å°æ™ Fuyubi Shōkei [Winter Sun], æ— æ˜¥ Sōshun [Early Spring], くちなし Kushinashi [Gardenia], å½¼å 花 Higanbana [Red Spider Lily], éšé‡Žå ã®é®Ž Uono Kawa no Ayu [Sweetfish from the Uono River], 初夏 Shoka [Early Summer] and æœƒæ ¥ã®ç"º (ä¼šæ ¥) Aizu no Machi [Town of Aizu]. A rare collection that appears to be incomplete; only one set was found online in OCLC database. Lovely images created with words and woodcuts. Very fine condition.
  • $850
Arubamu No Matomekata アルバãƒã®çº’ã‚æ– [How to Assemble Albums]

Arubamu No Matomekata アルバãƒã®çº’ã‚æ– [How to Assemble Albums]

Yoshikawa Hayao å‰å é€Ÿç" , author Arubamu No Matomekata アルバãƒã®çº’ã‚æ– [How to Assemble Albums] Yoshikawa Hayao å‰å é€Ÿç" , author Genkōsha (GKS) çŽ„å ‰ç¤¾, publisher Showa 13 [1938] æ˜å’Œ13å Hardcover volume 18.5 x 15.5cm is bound and opens western style and is covered in slubbed brown fabric. The binding has the title, author and publisher initials in silver on the binding and a vertically interlocking 'S' design in silver on the front cover. 249pp. with single and multiple black and white photographic images per page as well as photo reproductions of album pages and Japanese text throughout. Housed in a case 19.3 x 16.3cm. The author and photographer Yoshikawa Hayao å‰å é€Ÿç" (1890-1959), an established expert in the field, has written multiple books on the topic of photography that were published between 1921 and 1958. Here he illustrates chapter points with reproductions of his photos, both personal and public, showing people, places and objects of everyday life in Japan in the 1920s. Yoshikawa wrote the foreword, which is dated Showa 13. The book is divided into 3 parts. Part 1 (Naze arubamu o tsukuru ka ä½•æ• ã‚¢ãƒ«ãƒãƒã‚’作るか) focuses on why to create an album and fundamentals such as long-term storage methods for film and albums. Part 2 (Arubamu no tsukurikata アルバãƒã®ä½œã‚Šæ– ) centers on the methodology and philosophy behind photo albums, including dealing with frustrations that must have arisen when working with early photos, such as how to control one's temper (Kibun no usenu uchi ni 氣分の失せだうちに). This part also includes the many types of albums, such as news, sports, trains, hiking, travel and children. On a side note, the section on albums with multiple people has a swastika and members of the Nazi party. In Part 3 (Watashi no arubamu kara 私のアルバãƒã‹ã‚‰) the author shares his own photo albums, including locations such as Hachijōjima å «ä ˆå , a volcanic island located in the Philippine Sea, Nara and Hakone. He also includes reproduced photos of his Tokyo earthquake album, in which album pages with photos of the disaster are visible. There is a publisher's note on the verso of p. 120, facing p. 116, explaining why 116-119pp are missing. The canceled leaves appear to be the two leaves in between pages 120 and 121 that have been torn out, even though the page numbers are sequential. The note and our translation into English follows: 御æ–ã‚Š - 117, 118, 119 éã®å «çœŸç‰ˆã éƒ½åˆã«ä¾ã‚Šå‰Šé™¤è‡ ã—ã¾ã—ãŸ æ• å¾¡äº†æ‰¿é¡˜ã ã¾ã™ã€‚ä½†ã—å† å® ã ã€Œæ„Ÿé›»ã€ ã ã€Œäº¤é€šäº‹æ• ã€ã®ã‚ ã‚±ãƒƒãƒå «çœŸã§å¤šå°‘ ä €èˆ ã«ä å®‰ã®æ„Ÿã‚’å‚ ã•ã—ã‚€ã‚‹è™žã‚ã‚Šã è€ƒã ã‚‰ã‚Œã¾ã—ãŸã®ã§è£½æœ å¾Œä¿„ã«å‰Šé™¤è‡ ã—ãŸæ ¡ç であります。[Disclaimer - The photo version on pages 117, 118, and 119 has been deleted due to circumstances. The contents are sketch photographs of "Electric Shock" and "Traffic Accident" and were thought to be somewhat unsettling to the general public, so they were deleted immediately after binding.] A colophon page at the end is dated Showa 13 [1938] and has a laid-down navy blue and white publisher's stamp with a blue hanko. [9]pp of publisher ads follow. A sheet 13.6 x 16.6 advertising another of the author's books, My Photo Salon, with a large photo of the book and text on both sides, is laid in. A sheet 15.1 x 14.3cm with text errata is laid in. Case is toned. Internal binding is starting at top; otherwise in very good condition.
  • $150
Sangaku Shashin no Utsushi Kata å±±å å†™çœŸã®ã†ã¤ã—æ– [How to Shoot Mountain Photos]

Sangaku Shashin no Utsushi Kata å±±å å†™çœŸã®ã†ã¤ã—æ– [How to Shoot Mountain Photos]

Nukada Hayashi 額ç"°æ•, author Sangaku Shashin no Utsushi Kata å±±å å†™çœŸã®ã†ã¤ã—æ– [How to Shoot Mountain Photos] Nukada Hayashi 額ç"°æ•, author Showa 7 æ˜å’Œ7 [1932] Genkōsha (GKS) çŽ„å ‰ç¤¾, publisher Hardcover volume 19 x 13.5cm is bound western-style and opens Japanese style. Front cover is two-toned cloth binding (white/ gray-blue) while the rear cover is gray-blue with an embossed design of 2 offset squares with a small circle between them. Title in silver on binding. 294+pp. with photo illustrations and Japanese text throughout. Housed in a case 9.5 x 14cm with a design that incorporates title, author and publisher. Sangaku Shashin no Utsushi Kata å±±å å†™çœŸã®ã†ã¤ã—æ– [How to Shoot Mountain Photos] was written and photo illustrated by Nukada Hayashi 額ç"°æ• (1892-1980). The book opens with a Title page followed by a Profile of the author, describing him as an alpinist, scientist and writer, traveling from research lab to mountain to lab again. A Preface by Toshio Fujishima 藤å 敏ç" follows, with continued preliminary text and then a Table of Contents on 11-18pp. Topics include: Photography Equipment å†™çœŸå™ , Styles of Mountaineering and Camera Selection ç™»å±±ã®å½¢å¼ã ã‚«ãƒ¡ãƒ ã®é æŠž, Types and Characteristics of Cameras ã‚«ãƒ¡ãƒ ã®ç ®é¡žã ç‰ å¾ , Lens Focus ãƒ ãƒ ã‚ºã®ç„¦ç‚ , Lens Brightness ムムズの明るさ, Depth of Focus ç„¦ç‚ æ ±åº¦, Filters フィルター, and others. [18] pages of black and white photography of mountains numbered 1-40 with locations underneath are then followed by 294pp of text. On those pages with two photos, the photos are marked A and B. Colophon with a lavender and gray publisher's stamp and red hanko is laid down on the page facing the final page. [2]pp of publisher ads follow. Some dust staining to rear cover and rubbing at edges of covers. Unusual and important volume in the development of photography.
  • $85
Kuriya no Kokoroe åŽ ã®å¿ƒå¾— [Knowledge of the Kitchen]

Kuriya no Kokoroe åŽ ã®å¿ƒå¾— [Knowledge of the Kitchen]

Ishikawaken Daiimeiko Shiken Gakko çŸ å çœŒç ä €å¥ åå «ç „å¦æ¡ [Ishikawa Prefectural First Women's Normal School], compiler Kuriya no Kokoroe åŽ ã®å¿ƒå¾— [Knowledge of the Kitchen] Ishikawaken Daiimeiko Shiken Gakko çŸ å çœŒç ä €å¥ åå «ç „å¦æ¡ [Ishikawa Prefectural First Women's Normal School], compiler Meiji 13 [1880] æ˜Žæ »13å Single volume 22.3 x 15 cm in yellow wrappers with original brushed title slip. Published in Meiji 13 [1880]. 57pp. Striking original double-page color woodblock print frontispiece and Japanese text throughout. Compiled by Ishikawaken Daiimeiko Shiken Gakko çŸ å çœŒç ä €å¥ åå «ç „å¦æ¡ [Ishikawa Prefectural First Women's Normal School]. The lovely double-page woodcut with bright yellow, purple, red and green illustrates five Japanese beauties preparing traditional foods. Kuriya no Kokoroe åŽ ã®å¿ƒå¾— [Knowledge of the Kitchen] is a cooking manual that starts with how to cook rice é£ , and continues with dishes such as miso å‘ å™Œ, soy sauce醤æ , pickles æ¼ ç‰ , egg dishes 卵料理, natto ç è±†, vegetables 野菜 and fruit æžœç‰ . The inside front wrapper has a publisher ad with a purposely made round cut-out in the center that reveals a woodcut flower on the paper underneath. Preliminary text is followed by a Table of Contents. Colophon is on the final sheet, which is pasted down onto the inside rear wrapper. Our copy compares with Shin Nihon Kotenseki Sōgō Database æ–°æ—¥æœ å¤å ç±ç åˆãƒ‡ãƒ¼ã‚¿ãƒ™ãƒ¼ã‚ online copy, although our copy has the circular cut out as well as a red hanko on the title page and on page 1. Small chip in bottom of title slip not affecting text; otherwise very fine condition.
  • $475
Kachō Gasui èŠ±é ¥æ› ç [Birds and Flowers]

Kachō Gasui èŠ±é ¥æ› ç [Birds and Flowers]

Numata KashÅ« æ ¼ç"°è 舟, artist Kachō Gasui èŠ±é ¥æ› ç [Birds and Flowers] Numata KashÅ« æ ¼ç"°è 舟, artist Shōzandō 松山å‚, publisher Taisho 5 [1916] 25 x 17.5cm volume string-bound Japanese-style, fukuro-toji with attractive decorative wrappers that have metallic pigment on the front and back. Taisho 5 [1916] reprint. Initial cho of introductory notes in calligraphy with red hanko. 9 single- and 8 double-page original color woodblock prints by established artist Numata KashÅ« æ ¼ç"°è 舟. Lovely colors and good printing done on heavy paper with a metallic sheen. The name of the bird or plant is identified in kanji characters with katakana syllabary below to represent the pronunciation of the bird or plant name in Japanese. Housed in a modern brown chitsu with clasps 15.5 x 18.5cm. Numata KashÅ« æ ¼ç"°è 舟 was born in Nagoya in 1838 into a noble family. It is said that he learned to paint from his grandfather, and he made his living as a painter, helping to decorate the Imperial Palace in Tokyo in the 1880s. He was known for his work in the bird and flower genre, a theme in East Asian art that goes back at least 1300 years, to the T'ang dynasty in China. As with so many other aspects of Chinese art, bird and flower painting made the passage to Japan over the course of their long cultural interaction and subsequently became part of the Japanese tradition of woodblock printing. Wear and dirt staining of wrappers. Some toning; otherwise interior pages in very good condition. A lovely example of the genre.
  • $450
[Single sheet woodblock printed suribotoke 摺仏 of 3 standing 11-faced Kannon åä €é¢è¦ éŸ ] [Buddhist image]

[Single sheet woodblock printed suribotoke 摺仏 of 3 standing 11-faced Kannon åä €é¢è¦ éŸ ] [Buddhist image]

[Single sheet woodblock printed suribotoke 摺仏 of 3 standing 11-faced Kannon åä €é¢è¦ éŸ ] [Buddhist image] [late 12th - Early 13th Century] Single sheet woodblock printed suribotoke 摺仏 of 3 standing Kannon è¦ éŸ figures printed from a hangi ç‰ˆæœ woodblock. Sheet is approx 25.5 x 36.5cm and each standing figure is approx 23.2 centimeters tall. There are 3 full images with a partial image to the left. The right arm is bent upwards with the hand raised and the left hand is down with the palm facing outward. 11 small heads adorn the "crown" and there is a triple "halo" with flames around the head. The Kannon is wearing draped robes, has bare feet and is standing on a lotus platform. The images correspond to the late Heian å 安 or the early Kamakura 鎌倉 period; the late 12th or early 13th century. The following sources establish the date as well as the place of origin of the sheet as HōryÅ«ji Temple æ •éš†å º, founded by Prince Shōtoku è–å¾ å¤ªå (Shōtoku Taishi 574-627) in Nara å¥ˆè‰ in the early 7th century. It is one of the original Buddhist temples of Japan and the HōryÅ«ji complex was built, rebuilt and added to over the centuries, remaining perhaps the most amazing repository of classical Japanese culture in existence. See figure 24 [p20] and 110 [p.70] from Nihon no Bijutsu æ—¥æœ ã®ç¾Žè¡" issue 7 #218 published in 1984, Showa æ˜å’Œ59, which is dedicated to Buddhist art. Also see Japanese Buddhist Prints by Mosaku Ishida, Abrahms & Kodansha 1964 p. 111 and the cover images from an a brochure entitled Butsu Hanga no Sekai 仏版ç"»ã®ä –ç•Œ from a Buddhist printing exhibition held at the Hamamatsu City Art Museum (Hamamatsu Bijutsukan æµœæ¾å ‚ç¾Žè¡"é¤ ) in 1974 (Showa æ˜å’Œ49). The unprinted margin on the right hand side of the paper is torn but the image is intact. There are a few small holes. Very clear impressions. Important both for the history of Buddhist art and the world history of illustration as well.
Kamera no Tabi: Nara ã‚«ãƒ¡ãƒ ã®æ— ãƒ» 奈è‰

Kamera no Tabi: Nara ã‚«ãƒ¡ãƒ ã®æ— ãƒ» 奈è‰

Yoshikawa Hayao å‰å é€Ÿç" , author Kamera no Tabi: Nara ã‚«ãƒ¡ãƒ ã®æ— ãƒ» å¥ˆè‰ Yoshikawa Hayao å‰å é€Ÿç" , author Genkōsha çŽ„å ‰ç¤¾ Showa 15 æ˜15 [1940] Single volume 17.6 x 12.7cm bound Western style, opens Japanese style. Tan paper wrappers with small color papers embedded. Printed title in metallic ink on brown square background on the cover; printed title in silver ink on green background on the binding. Free end papers and title page on textured paper. Publisher seal tipped into colophon page. Author Yoshikawa Hayao å‰å é€Ÿç" (1890-1959) wrote numerous books on the topic of cameras and photography for both the beginner and advanced photographer. Book design is likely by Onchi Kōshirō æ åœ°åå››éƒŽ (1891-1955), with his distinctive look of incorporating large dots into the case cover. The accomplishments of Onchi Kōshirō æ åœ°åå››éƒŽ throughout the first half of the 20th century begin with his eminence as a printmaker. He was an innovator who domesticated the ideals of abstraction and "creative printmaking" in Japan when still in art school. From his early years, working with Takehisa Yumeiji ç« ä 夢二 among others, he began a long career as a printmaker, book designer and book illustrator. From the very beginning of his life in the arts he was the center and focus of the Creative Print Movement Sōsaku Hanga 創作版ç"», surrounding himself with fellow artists who took inspiration from his dedication to the cause of self-expression. His works are held in institutions internationally. 264pp of reproduced photos, line illustrations and Japanese text throughout on the subject of photography in the city of Nara. Housed in a decorated case 18.5 x 13.5cm. Dirt staining and tears to case; foxing to book binding.
Saishin Kagaku Zukan Zen 18 Maki Soroi 最新科å¦å› 鑑 å 18å »æƒ [The Latest Science Encyclopedia - Complete Set of 18 volumes]

Saishin Kagaku Zukan Zen 18 Maki Soroi 最新科å¦å› 鑑 å 18å »æƒ [The Latest Science Encyclopedia – Complete Set of 18 volumes]

Kitazawa Tetsuo 北原鉄雄, editor Saishin Kagaku Zukan Zen 18 Maki Soroi 最新科å¦å› 鑑 å 18å »æƒ [The Latest Science Encyclopedia - Complete Set of 18 volumes] Kitazawa Tetsuo 北原鉄雄, editor ARS (Arusu-sha アル゠社), publisher Tokyo Showa 6-8 æ˜å’Œ6-8å [1931-33] 18 volumes 24.5 x 19cm on the natural sciences and other science-related topics published by Arusu-sha アル゠社 (ARS) from Showa 6-8 æ˜å’Œ6-8å [1931-33]. Complete set. Nickel gilt design on red background with bright ultramarine blue decoration around a discrete photogravure illustration on the cover of each volume. Title page has a printed line design with yellow with a color frontispiece opposite. Colorful abstract endpapers feature strong blocks of orange, teal, brown and cream. Each volume has black and white photos and drawing reproductions and Japanese text throughout in brown tone. Some vols also have color illustrations and more than one has a fold-out brown tone or color section. Tipped-in colophon on final page. 178-264pp in each volume. Some volumes have laid-in publisher advertising newsletters (1 in green tone 27 x 20cm folded; 1 in brown tone 21.3 x 13.5cm folded). Vol 2 has a small laid-in sheet with 2 photo reproductions. Edited by Kitazawa Tetsuo 北原鉄雄 (1887-1957), publisher, founder and head of Ars, which specialized in photography, science and literature. Artist and designer Onchi Koshiro æ åœ°åå››éƒŽ took great care with the design of the books and cases which is evident in all aspects of the binding. The binding is listed with a photo on p. 131 of his book binding raisonné, Onchi Koshiro Seihon no Gyo æ åœ°åå››éƒŽ è£ æœ ã®æ¥. From his early years, working with Takehisa Yumeiji ç« ä 夢二, among others, he began a long career as a book designer and book illustrator. From the very beginning of his life in the arts he was the center and focus of the Creative Print Movement (Sōsaku Hanga 創作版ç"»), surrounding himself with fellow artists who took inspiration from his dedication to the cause of self-expression. He designed over a thousand books, collaborating in his later years with such important figures as Kitasono Katue åŒ—åœ’å ‹è¡›, in short, he was the major figure involved with works on paper in his time. These volumes were written and/or edited by the following noted scientists and writers: Vol 1 by scientist and historian Oka Kunio å ¡é‚¦é›„ (1890-1971), Vol 5 by Ishikawa Chiyomatsu çŸ å åƒä»£æ¾ (1860-1935) a decorated Japanese biologist and zoologist who was known for introducing Darwin's Theory of Evolution to Japan, Vol 14 by co-writers biologist and geneticist Naohide Yatsu è° æ ¥ç› ç§€ (1877-1947) and Satō Kaneharu (?) ä½è—¤é‡‘æ », Vol 15 by botanist Kawamura Seiichi å æ‘æ ä € (1881-1946), Vol 16 by entomologist Yokoyama Kirio æ ªå±±æ¡éƒŽ (1894-1932) and Vol 17 also by co-writers Naohide and Satō. Vol I p.89 has a laid-in reproduced portrait 9 x 6.5cm of Swedish botanist Carl von Linné (Rinne リムネ 1707-1778), who is best known for creating the binomial system, which identifies plants with two names in Latin, and the name he gave humans, Homo sapiens. Vol XIV p. 177 is a sheet titled Meriyasu メリヤ゠, a knitwear for underwear and swimwear, with 8 laid-down fabric samples of rayon 3.5 x 5.7cm in bright colors. The titles of each volume: Vol 1: Kagaku bunmei-shi 科å¦æ–‡æ˜Žå [The History of Science & Civilization] Vol 2: TenkÅ« no kagaku å¤ ç ºã®ç§‘å¦ [The Science of Air] Vol 3: ChikyÅ« no kagaku åœ°çƒã®ç§‘å¦ [The Science of the Earth] Vol 4: Ningen no kagaku 人é–"ã®ç§‘å¦ [The Science of Humans] Vol 5: Shinka iden no kagaku é€ åŒ–éºä¼ã®ç§‘å¦ [The Science of Evolutionary Genetics] Vol 6: Kikai jidai-jō æ Ÿæ¢°æ™‚ä»£ä Š [The Machine Age Pt 1] Vol 7: Kikai jidai-ka æ Ÿæ¢°æ™‚ä»£ä ‹ [The Machine Age Pt 2] Vol 8: Denki jidai-jō é›»æ°—æ™‚ä»£ä Š [The Electric Age Pt 1] Vol 9: Denki jidai-ka é›»æ°—æ™‚ä»£ä ‹ [The Electric Age Pt 2] Vol 10: Kensetsu no kagaku-jō 建è の科å¦ä Š [The Science of Construction Pt 1] Vol 11: Seizō kōgyō no sekai-jō 製é€å ¥æ¥ã®ä –ç•Œä Š [The World of the Manufacturing Industry Pt 1] Vol 12: Seizō kōgyō no sekai-ka 製é€å ¥æ¥ã®ä –ç•Œä ‹ [The World of the Manufacturing Industry Pt 2] Vol 13: Nōsan no kagaku è¾ ç"£ã®ç§‘å¦ [Agricultural Science] Vol 14: Dōbutsu zufu-jō å‹•ç‰ å› èœä Š [An Illustrated Reference to Animals Pt 1] Vol 15: Shokubutsu zufu æ¤ç‰ å› èœ [An Illustrated Reference to Botanicals] Vol 16: KonchÅ« zufu æ˜†è™«å› èœ [An Illustrated Reference to Insects] Vol 17: Dōbutsu zufu-ka å‹•ç‰ å› èœä ‹ [An Illustrated Reference to Animals Pt 2] Vol 18: Kensetsu no kagaku-ka 建è の科å¦ä ‹ [The Science of Construction Pt 2] Wear to and toning of cases. Wear and rubbing to covers, some toning inside. In Vol VIII the pages of reproduced photos between pp.52-3 are detached. Otherwise, the interior pages are in very good condition. Unusual as a complete set.
Zukai Shashinjutsu Shoho å› è§£å†™çœžè¡" ・ 初æ [Illustrated Photography: The Basics]

Zukai Shashinjutsu Shoho å› è§£å†™çœžè¡” ・ 初æ [Illustrated Photography: The Basics]

Yoshikawa Hayao å‰å é€Ÿç" , author Zukai Shashinjutsu Shoho å› è§£å†™çœžè¡" ・ 初æ [Illustrated Photography: The Basics] Yoshikawa Hayao å‰å é€Ÿç" , author Genkōsha çŽ„å ‰ç¤¾ Showa 8 æ˜ 8 [1933] 19 x 13 cm volume with 257pp of reproduced photos, line illustrations and Japanese text throughout on the subject of basic photography techniques. Publisher's seal laid down on colophon. Author Yoshikawa Hayao å‰å é€Ÿç" (1890-1959) wrote numerous books on the topic of cameras and photography for both the beginner and advanced photographer. Book design is likely by Onchi Kōshirō æ åœ°åå››éƒŽ (1891-1955), with his distinctive look of incorporating large dots into the case cover. The accomplishments of Onchi Kōshirō æ åœ°åå››éƒŽ throughout the first half of the 20th century begin with his eminence as a printmaker. He was an innovator who domesticated the ideals of abstraction and "creative printmaking" in Japan when still in art school. From his early years, working with Takehisa Yumeiji ç« ä 夢二 among others, he began a long career as a printmaker, book designer and book illustrator. From the very beginning of his life in the arts he was the center and focus of the Creative Print Movement Sōsaku Hanga 創作版ç"», surrounding himself with fellow artists who took inspiration from his dedication to the cause of self-expression. His works are held in institutions internationally. Housed in a decorated case 19.8 x 13.5cm Dirt stained covers with damage to front of covers. Pages detached at binding.
Rokō no Hiketsu éœ å ‰ã®ç§˜è £ [The Secrets of (Photographic) Exposure]

Rokō no Hiketsu éœ å ‰ã®ç§˜è £ [The Secrets of (Photographic) Exposure]

Sawa Kurō ä½å’Œä éƒŽ, author. Onchi Kōshirō æ åœ°åå››éƒŽ, book design Rokō no Hiketsu éœ å ‰ã®ç§˜è £ [The Secrets of (Photographic) Exposure] Sawa Kurō ä½å’Œä éƒŽ, author Onchi Kōshirō æ åœ°åå››éƒŽ, book design ARS アル゠(Arusu-sha アル゠社), publisher Shōwa 29 æ˜å’Œ29 [1954] Hardcover volume 21.3 x 15cm bound and opens Western style. Yellow front cover with black geometric design and silver line accent and printed title and black rear cover. Vol 1 in a series by the publisher entitled Sawa Shashin Gijutsu Kōza 佐和写真技è¡"è ›åº§, [Sawa Course in Photography Techniques] by author Sawa Kurō ä½å’Œä éƒŽ. 240pp of Japanese text and reproduced photos. Colophon has a publisher's seal and a photo negative with in glassine tipped in. Author Sawa Kurō ä½å’Œä éƒŽ was employed as an engineer in a job related to electrical engineering when he took up photography as hobby. In 1921 he opened the photography shop Hinomaru Shōsha 日のä 商社 in Ginza; the same year he founded the photo magazine Kamera カメム[Camera]. He went on to write numerous books on the subject of cameras and photography. Book design by Onchi Kōshirō æ åœ°åå››éƒŽ (1891-1955). The accomplishments of Onchi Kōshirō æ åœ°åå››éƒŽ throughout the first half of the 20th century begin with his eminence as a printmaker. He was an innovator who domesticated the ideals of abstraction and "creative printmaking" in Japan when still in art school. From his early years, working with Takehisa Yumeiji ç« ä 夢二 among others, he began a long career as a printmaker, book designer and book illustrator. From the very beginning of his life in the arts he was the center and focus of the Creative Print Movement Sōsaku Hanga 創作版ç"», surrounding himself with fellow artists who took inspiration from his dedication to the cause of self-expression. His works are held in institutions internationally. Publisher sheet folded to 18.3 x 12.7cm laid in. The title of the publisher sheet is Dokusha to Chosha èªè€ ã è‘—è€ [Reader and Author] and the text on the first page is by the author. The inside pages feature essays by two university professors in the field of photography and information about the course. The rear page features a photo illustration and ad for the next book in the series, カメムだムムズ [Cameras and Lenses]. Housed in a yellow and black case 21.7 x 15.6cm with printed title, author and publisher, that opens Japanese style, with the opening to the left. Wear and dust staining to case and stain on front cover of book as well as a chip.
Mokko (Ehon) ãƒ¢ãƒƒã‚ ã€€çµµæœ [children's book]

Mokko (Ehon) ãƒ¢ãƒƒã‚ ã€€çµµæœ [children’s book]

Fujita Kenji ふじたけã‚"じ, artist, Kimura Isao きむらいさお, author Mokko (Ehon) ãƒ¢ãƒƒã‚ ã€€çµµæœ [children's book] Fujita Kenji ふじたけã‚"じ, artist, Kimura Isao きむらいさお, author Bungeikyōkai Shuppan æ–‡èŠ å"会出版, publisher Aomori-ken 1973 Single volume 29.4 x 21.2cm bound Western style, opens Japanese style. Navy textured paper over hard boards with a printed title slip. Black and white throughout with Japanese text. Illustrated title page followed by 12 double-page woodblock reproductions by Fujita Kenji ふじたけã‚"じ [藤ç"°å¥æ »]. Text is by Kimura Isao きむらいさお. (The original blocks were cut by Kawashima Keizō かわしまけいぞう.) This is a children's book reproduced from an original woodblock work. A 4pp 10.8 x 15cm sheet is tipped in between the colophon and last page and addressed to mothers that features short essays by the artist, author and others. Manga and monsters go hand-in-hand, and in this book, cartoon-like characters face imaginary beasts of large proportions. Fujita uses the double-page to great advantage; the monsters appear even larger and scarier as a result. In Mokko, the first illustration is a landscape of a snowy winter day and the second illustration features a tree that is centered between the pages, stretching over to both sides, while villagers work in the rice fields underneath its branches. The idyllic atmosphere is ruptured in the third illustration, when a creature appears out of nowhere, killing many of the villagers. The gigantic centipede-like insect confronts the citizens and reader across double pages until ultimately the village is saved by the volcano Mokko that watches over it. The last page is simply white text against a dark background. Fujita Kenji [藤ç"°å¥æ »] was born in 1939 in Tsuruta-cho é ç"°ç"º in Aomori-ken 青森県, a lovely, forested prefecture that to this day reflects its name of "Aomori" (青森, "green woods.") A cartoonist, print artist and essayist, Fujita formerly retired in 1999, but his work continues to be exhibited in museums and featured in local commercial products. Starting out as a civil servant working for the local Minyu Aomori 青森民友 newspaper, he was encouraged in his artwork. As a child, he had been inspired by the established manga artists Osamu Tetzuka æ‰‹å¡šæ »è™« and Masazo Takenami ç« æµªæ£é€ and so began developing his unique cartoon style, relying on his rural childhood for inspiration. One particular memory, of playing under a neighborhood Tamo tree (タモ, Japanese ash) , influenced many of his landscape and pictorial images. The artistry of woodblock prints, coupled with the whimsy and nostalgia of childhood, is an intriguing combination. He is also known for his non-fiction book "Kangofu no Oyaji Ganbaru" 看è å ¦ã®ã‚ªãƒ¤ã‚ ãŒã‚"ばる series, based on his own experience of living with a wife who was a nurse, which was made into a movie in 1980. Foxing to title slip and marks on rear cover.
book (2)

HARD TIMES

DICKENS, Charles DICKENS, Charles. HARD TIMES. New York: T. L. McElrath & Co., 1854. 'First' American edition - one of several issued that year. This edition derives from the typesetting for the periodical publication of Hard Times in the American issue of Household Words, also published by T. L. McElrath. Octavo. [2],108,[2] pp. Text printed in double columns. The final leaf is a blank. Original dun paper wrappers with price (25 cents), title and the name of the Boston agents, Fetridge & Company, printed on the front wrapper, and an advertisement for a face cream - available at Fetridge & Co. - on the back. Although the wrappers are stained and edge-creased, they are surprisingly intact. The stains on the covers have seeped into the bookblock, diminishing as the pages progress toward the center. Sporadic pages have light-colored foxing, which is occasionally heavy. Some leaves have slightly dog-eared corners. One leaf (p. 105-6) has some loss in fore-edge. Very good overall. (See Podeschi A138 - third copy.) Offered with: HARD TIMES, Chapters 1-5, and part of Chapter 6, as issued in the American edition of "HOUSEHOLD WORDS, a journal conducted by Charles Dickens" for May 1854 (New York: McElrath & Barker, Boston: Frederick Parker. Volume 2, Number 1; Whole Number Monthly 13). Dickens' story appears at the beginning of the issue and again at the end, in groups of pages numbered 1-4 and 5-12, with 92 pp. of the regular issue between them. Text is printed in double columns within a double-rule frame on each page. Bound in the original dun paper wrappers, with the title information printed on the front wrap and an advertisement for Hard Times on the back. Wrappers are moderately edgeworn, chipped, and creased, with some soiling and staining. There is a dampstain on the front cover at the fore-edge and intermittently, waxing and waning, throughout the bookblock. Otherwise the text leaves are clean. Good plus. A very scarce format.