Onchi KÅshirÅ æ å°ååé, Kawakami Sumio å ä æ¾ç", Maekawa Senpan åæåå et al, artists
[Woodblock Print Calendar for 1937 - 12 sheets] Onchi KÅshirÅ æ å°ååé, Kawakami Sumio å ä æ¾ç", Maekawa Senpan åæåå et al, artists [Nihon Hanga KyÅkai æ¥æ çç"»å"ä¼ Japan Print Association] n.p. ShÅwa 12 æå12å 1937 12 sheets 24.7 x 12.6cm each illustrating one month of the year ShÅwa 12 æå12å , 1937 in original color woodblock prints. Known to be published annually by the Nihon Hanga KyÅkai æ¥æ çç"»å"ä¼ (Japan Print Association), which issued calendars with the same format until at least ShÅwa 19 . 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 KyÅkai æ¥æ çç"»å"ä¼ Japan Print Association, still in existence today, was established in January 1931 when the Japan Creative Print Association SÅsaku Hanga åµä½çç"» (formed in 1918) merged with the Western Print Association YÅfÅ« Hangakai æ é¢ çç"»ä¼ (formed in 1929), attracting independent artists. January - Hiratsuka Un'ichi å å¡éä (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"ã¡åºã®å°æ§ (lucky mallet) with the name Mt. Yudono æ æ®¿å±±, 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 åç"°æ"¿é. The artist's seal of 'un' é 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 åç"°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¡éä , 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 åæµ é"å «æ [8 Views of Hokkaido]. His hanko seal of "masa" "æ"¿" is in Merritt p 294. March - Katsuhira Tokushi åå å¾ä (1904-1971). It is fitting that the artists depicts the March 3rd festival of Hinamatsuri éç¥ã 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" å¾ is in Merritt p.291. April - Onchi KÅshirÅ æ å°ååé (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 å¤¢äº 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 SÅsaku Hanga åµä½çç"», 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 SÅsaku Hanga and founding member of Nihon Hanga KyÅkai. His work is collected by the British Museum; his hanko 'Takashi' äº« 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 é»ç"°æ è¼ (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 è¤æ£®éé (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) ææ at Tokyo School of Art in about 1914-5. In 2019, the Fukuoka Art Museum ç¦å ¡å ç¾è¡"é¤ (Fukuoka-shi Bijutsukan) held an exhibit of his work from the magazine. He was a founding member of Nihon Hanga KyÅkai and contributed to numerous important works. His hanko 'S' is within the woodcut. August - The red flower illustrated by Azechi UmetarÅ ç¦å° æ¢ å¤ªé (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 'ã¦' 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,
[EHON] Nishikawa SUKENOBU
[EHON] Nishikawa SUKENOBU. EHON CHIYOMI GUSA. 3 vols. Original title labels [original? covers], KyÅto, Hishiya Jihei, HÅreki 5 . String-bound, Japanese-style, fukuro-toji, o^hon, 26.0 x 19.0 cm. Sukenobu's classic compendium of images of women in KyÅto. His lifelong interest in women and their costume is demonstrated in this work. Originally published in the 1740's [Gembun era], this copy is still quite fresh. That said, there are stains and some contemporary handcoloring (the coloring is not unskillful). Overall, a very important work of the ukiyo-e school, Priced with an eye to its faults. In a custom clasped chitsu case.
[EHON] Yamaguchi SOKEN, artist
[EHON] Yamaguchi SOKEN, artist. SOKEN SANSUI GAFU. Heian [Kyoto]: Bunka 15 . 2 volumes, 26.1 x 18.7 cm, patterned paper covers, original printed title slips, bound Japanese-style, fukuro toji. The covers and slips are quite fresh. See Mitchell, p.499., has So^ken's seal on the colophon page and the publishing information on the inside back cover, as in the Mitchell copy. An early printing. See also Hillier, volume one, pp.537-9. Very good condition overall. A handsome and important book of landscapes printed with great elegance. Soken was one of Maruyama O^kyo^'s greatest disciples. 2 vols., complete in a custom clasped chitsu case.
Sekai Shashin Nenkan Kessaku-shÅ« 1938 [World Photo Almanac Masterpiece Collection], Vol 1 ä çåçå éåä½é ã¢ã«ã (Arusu-sha ã¢ã«ã ç¤¾), publisher Showa 12 æå12å 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 èãã£ã«ã, 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  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.
Zhang Zixiang å¼µåç¥¥, artist and Åta TokujirÅ, editor å¤ªç"°å¾ æ ¡é ç è¼
Shinjin ChÅshishÅ Gafu æ äººå¼µåç¥¥ç"»è Qingren Zhang Zixiang Huapu [Painting album of Zhang Zixiang of China] Zhang Zixiang å¼µåç¥¥, artist and Åta TokujirÅ, editor å¤ªç"°å¾ æ ¡é 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 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 Åta TokujirÅ 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.
You tong wen ku di 1 ji å ¼ç«¥æç« ç ä é [24 vols] Minguo æ°å 23-24 [1934-5] Shang wu yin shu guan ååå°æ é¤ , publisher Shanghai ä æµ 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 ¾ååäºº Ji ge wei ren [Several Great Men in China], 45 ç (M 23) Guo [dogs], 55 (M 24) èè Mi feng [bees], 72 (M 24) è Chuan [boats], 80 (M 23) å¥å¦çåæ Qi miao de jia fa [addition], 93 (M 24) æçéæ Wo de you xi [play], 100 (M 24) å°åä Xiao yuan ding [gardening], 106 (M 23) æè £çåªè ¼ You qu de jian tie [paper craft], 110 (M 24) æçæ Wo de ge [nursery rhyme #3], 111 (M 24) æçæ Wo de ge [nursery rhyme #4], 112 (M 23) å ¼ç«¥æ°ææ You tong xin ge qu [children's songs #1], 116 (M 23) å§å§çæ¥è Jie jie de ri ji [girl's fictional diary], 120 (M 23) æçè èª Wo de mi yu [children's rhyming riddles #2], 123 (M 24) å¥½è ç Hao ji ce [fiction], 125, 131(M 23) é¿å¤§å°å¿«æ Ada xun kuai le [fiction], 139 (M 23) å°è± éæ Xiao zhu guo qiao [fiction], 169 (M 24) éçæ è¡ Yan de lü xing [geese], 182 (M 23) çäºçå å Wang Er de yuan bao [moral tale of wealth], 184 (M 23) å¤§é»ç Da hei gou [The Big Black Dog], 186 (M 23)ä é»å°ç¾ Yi zhi xiao yang [fiction about a sheep], 194 (M 24) å°ç§ç«¥ Xiao mu tong [shepherds], 195 (M 24) å é»çé ¥çç¼ Liang zhi zheng dou de lang [wolves], 196 (M 24) å°é ¥å¤§æ Xiao niao da hui [birds]. Toning and chipping to volumes. Good to very good condition. Unusual.
Terada Masaaki å ºç"°æ"¿æ, artist and Iokibe Kin'ichi äº"ç¾æéæ £ä , author
Iokibe Kin'ichi, Terada Masaaki: Mokuhan ShigashÅ« äº"ç¾æéæ £ä å ºç"°æ"¿æ æ çè ç"»é [A Collection of Woodcuts with Verse - by Iokibe Kin'ichi and Terada Masaaki] Terada Masaaki å ºç"°æ"¿æ, artist and Iokibe Kin'ichi äº"ç¾æéæ £ä , author Kyoto FÅ«butsushisha é¢ ç è ç¤¾ Showa 35  Published by FÅ«butsushisha é¢ ç è ç¤¾. 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"ç¾æéæ £ä (1913-1978), who was a woodcut artist himself, and the woodcuts are by award-winning artist Terada Masaaki å ºç"°æ"¿æ (1912-1989). Terada, originally from Fukuoka prefecture, was an early member of the Independent Art Association (Jiyu Bijutsu Kyokai èªç"±ç¾è¡"å"ä¼ä¼å"¡), 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¥æ ç¾è¡"å® é£çä¼å"¡). 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: åå ShotÅ [Early Winter], éµå± Kagiya [Locksmith], é§ Eki [Train Station], èè»½é»é Kusakaru Dentetsu [Kusakaru Electric Railway], é¢ é» FÅ«in [Elegance], ç æ¿¤ Shitao [Shi Tao], ããã Arare [hail], å æ¥å°æ Fuyubi ShÅkei [Winter Sun], æ æ¥ SÅshun [Early Spring], ãã¡ãªã Kushinashi [Gardenia], å½¼å è± Higanbana [Red Spider Lily], ééå ã®é® Uono Kawa no Ayu [Sweetfish from the Uono River], åå¤ Shoka [Early Summer] and ææ ¥ã®ç"º (ä¼æ ¥) 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.
Yoshikawa Hayao åå éç" , author
Arubamu No Matomekata ã¢ã«ããã®çºãæ [How to Assemble Albums] Yoshikawa Hayao åå éç" , author GenkÅsha (GKS) çå ç¤¾, publisher Showa 13  æå13å 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 åå éç" (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 ä½æ ã¢ã«ãããä½ãã) focuses on why to create an album and fundamentals such as long-term storage methods for film and albums. Part 2 (Arubamu no tsukurikata ã¢ã«ããã®ä½ãæ ) 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 æ°£åã®å¤±ãã ãã¡ã«). 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 ç§ã®ã¢ã«ãããã) the author shares his own photo albums, including locations such as HachijÅjima å «ä å , 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: å¾¡æã - 117, 118, 119 éã®å «ççã é½åã«ä¾ãåé¤è ãã¾ãã æ å¾¡äºæ¿é¡ã ã¾ããä½ãå å® ã ãæé»ã ã ãäº¤éäºæ ãã®ã ã±ããå «çã§å¤å° ä è ã«ä å®ã®æãå ããããèããã èã ããã¾ããã®ã§è£½æ å¾ä¿ã«åé¤è ããæ ¡ç ã§ããã¾ãã[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  and has a laid-down navy blue and white publisher's stamp with a blue hanko. 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.
Nukada Hayashi é¡ç"°æ, author
Sangaku Shashin no Utsushi Kata å±±å åçã®ãã¤ãæ [How to Shoot Mountain Photos] Nukada Hayashi é¡ç"°æ, author Showa 7 æå7  GenkÅsha (GKS) çå 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 åçã®ãã¤ãæ [How to Shoot Mountain Photos] was written and photo illustrated by Nukada Hayashi é¡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 è¤å æç" follows, with continued preliminary text and then a Table of Contents on 11-18pp. Topics include: Photography Equipment åçå , Styles of Mountaineering and Camera Selection ç»å±±ã®å½¢å¼ã ã«ã¡ã ã®é æ, Types and Characteristics of Cameras ã«ã¡ã ã®ç ®é¡ã ç å¾ , Lens Focus ã ã ãºã®ç¦ç , Lens Brightness ã ã ãºã®æãã, Depth of Focus ç¦ç æ ±åº¦, Filters ãã£ã«ã¿ã¼, and others.  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. 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.
Ishikawaken Daiimeiko Shiken Gakko ç å çç ä å¥ åå «ç å¦æ¡ [Ishikawa Prefectural First Women's Normal School], compiler
Kuriya no Kokoroe å ã®å¿å¾ [Knowledge of the Kitchen] Ishikawaken Daiimeiko Shiken Gakko ç å çç ä å¥ åå «ç å¦æ¡ [Ishikawa Prefectural First Women's Normal School], compiler Meiji 13  ææ »13å Single volume 22.3 x 15 cm in yellow wrappers with original brushed title slip. Published in Meiji 13 . 57pp. Striking original double-page color woodblock print frontispiece and Japanese text throughout. Compiled by Ishikawaken Daiimeiko Shiken Gakko ç å çç ä å¥ åå «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 å ã®å¿å¾ [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, soy sauceé¤æ , pickles æ¼ ç , egg dishes åµæç, natto ç è±, vegetables éè and fruit æç . 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 SÅgÅ Database æ°æ¥æ å¤å ç±ç åãã¼ã¿ãã¼ã 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.
MATTSON, Morris. THE AMERICAN VEGETABLE PRACTICE, OR A NEW AND IMPROVED GUIDE TO HEALTH, DESIGNED FOR THE USE OF FAMILIES. Boston: Daniel L. Hale, 1841. Illustrated with ten black and white medical illustrations and 26 full-page colored botanical illustrations, all called for. Two volumes in one. xii, 706 pp. 8vo., brown leather, worn along edges with front hinge starting. Ex-library, with all of the usual marks. Leaf at page 369 is torn and is missing approximately a half sheet of text. One black and white plate, is chipped and torn slightly at margins, effecting only a small part of the illustration. Text and prints show occasional spotting; however, prints remain bright and vividly illustrate a wealth of practical botanical and medical knowledge from the 19th century. As is.
REED, F. R. C.
REED, F. R. C. THE ORDOVICIAN AND SILURIAN BRACHIOPODA OF THE GIRVAN DISTRICT. [IN: TRANSACTIONS OF THE ROYAL SOCIETY OF EDINBURGH, VOLUME LI, PART IV. SESSIONS 1915-17] Edinburgh: Robert Grant & Son/Williams and Norgate, 1917. This periodical is paginated from pp. 795-1088, with an 8-page Table of Contents for the entire Volume LI at rear. 4to., burgundy cloth stamped in gilt and blind. Spine shaken, gilt lettering at spine dulled, moderate shelfwear to cloth. Endpapers have offset tanning. The rear hinge is cracked. This is complete and unopened, with 24 b/w plates, each with multiple figures. Also included in this volume (pp. 999-1088) is Dr. R. KIDSTON's THE FOREST OF WYRE AND THE TITTERSTONE CLEE HILL COAL FIELDS, with 5 plates in b/w and 6 text figures. Extra shipping required.
Kitazawa Tetsuo ååéé, editor
Saishin Kagaku Zukan Zen 18 Maki Soroi ææ°ç§å¦å é å 18å »æ [The Latest Science Encyclopedia - Complete Set of 18 volumes] Kitazawa Tetsuo ååéé, editor ARS (Arusu-sha ã¢ã«ã ç¤¾), publisher Tokyo Showa 6-8 æå6-8å [1931-33] 18 volumes 24.5 x 19cm on the natural sciences and other science-related topics published by Arusu-sha ã¢ã«ã ç¤¾ (ARS) from Showa 6-8 æå6-8å [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 ååéé (1887-1957), publisher, founder and head of Ars, which specialized in photography, science and literature. Artist and designer Onchi Koshiro æ å°ååé 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 å°ååé è£ æ ã®æ¥. From his early years, working with Takehisa Yumeiji ç« ä å¤¢äº, 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 (SÅsaku Hanga åµä½çç"»), 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 ååå 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 ç å åä»£æ¾ (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 SatÅ Kaneharu (?) ä½è¤éæ », Vol 15 by botanist Kawamura Seiichi å ææ ä (1881-1946), Vol 16 by entomologist Yokoyama Kirio æ ªå±±æ¡é (1894-1932) and Vol 17 also by co-writers Naohide and SatÅ. Vol I p.89 has a laid-in reproduced portrait 9 x 6.5cm of Swedish botanist Carl von Linné (Rinne ãªã ã 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 ã¡ãªã¤ã , 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 ç§å¦ææå [The History of Science & Civilization] Vol 2: TenkÅ« no kagaku å¤ ç ºã®ç§å¦ [The Science of Air] Vol 3: ChikyÅ« no kagaku å°çã®ç§å¦ [The Science of the Earth] Vol 4: Ningen no kagaku äººé"ã®ç§å¦ [The Science of Humans] Vol 5: Shinka iden no kagaku é åéºä¼ã®ç§å¦ [The Science of Evolutionary Genetics] Vol 6: Kikai jidai-jÅ æ æ¢°æä»£ä [The Machine Age Pt 1] Vol 7: Kikai jidai-ka æ æ¢°æä»£ä [The Machine Age Pt 2] Vol 8: Denki jidai-jÅ é»æ°æä»£ä [The Electric Age Pt 1] Vol 9: Denki jidai-ka é»æ°æä»£ä [The Electric Age Pt 2] Vol 10: Kensetsu no kagaku-jÅ å»ºè ã®ç§å¦ä [The Science of Construction Pt 1] Vol 11: SeizÅ kÅgyÅ no sekai-jÅ è£½éå ¥æ¥ã®ä çä [The World of the Manufacturing Industry Pt 1] Vol 12: SeizÅ kÅgyÅ no sekai-ka è£½éå ¥æ¥ã®ä çä [The World of the Manufacturing Industry Pt 2] Vol 13: NÅsan no kagaku è¾ ç"£ã®ç§å¦ [Agricultural Science] Vol 14: DÅbutsu zufu-jÅ åç å èä [An Illustrated Reference to Animals Pt 1] Vol 15: Shokubutsu zufu æ¤ç å è [An Illustrated Reference to Botanicals] Vol 16: KonchÅ« zufu æè«å è [An Illustrated Reference to Insects] Vol 17: DÅbutsu zufu-ka åç å èä [An Illustrated Reference to Animals Pt 2] Vol 18: Kensetsu no kagaku-ka å»ºè ã®ç§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.
Sawa KurÅ ä½åä é, author. Onchi KÅshirÅ æ å°ååé, book design
RokÅ no Hiketsu é å ã®ç§è £ [The Secrets of (Photographic) Exposure] Sawa KurÅ ä½åä é, author Onchi KÅshirÅ æ å°ååé, book design ARS ã¢ã«ã (Arusu-sha ã¢ã«ã ç¤¾), publisher ShÅwa 29 æå29  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 KÅza ä½ååçæè¡"è åº§, [Sawa Course in Photography Techniques] by author Sawa KurÅ ä½åä é. 240pp of Japanese text and reproduced photos. Colophon has a publisher's seal and a photo negative with in glassine tipped in. Author Sawa KurÅ ä½åä é 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 ShÅsha æ¥ã®ä åç¤¾ in Ginza; the same year he founded the photo magazine Kamera ã«ã¡ã [Camera]. He went on to write numerous books on the subject of cameras and photography. Book design by Onchi KÅshirÅ æ å°ååé (1891-1955). The accomplishments of Onchi KÅshirÅ æ å°ååé 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 å¤¢äº 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 SÅsaku Hanga åµä½çç"», 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 èè [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, ã«ã¡ã ã ã ã ãº [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.
Fujita Kenji ãµãããã"ã, artist, Kimura Isao ãããããã, author
Mokko (Ehon) ã¢ãã ãçµµæ [children's book] Fujita Kenji ãµãããã"ã, artist, Kimura Isao ãããããã, author BungeikyÅkai Shuppan æè å"ä¼åºç, 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 ãµãããã"ã [è¤ç"°å¥æ »]. Text is by Kimura Isao ãããããã. (The original blocks were cut by Kawashima KeizÅ ãããã¾ãããã.) 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 [è¤ç"°å¥æ »] was born in 1939 in Tsuruta-cho é ç"°ç"º in Aomori-ken éæ£®ç, a lovely, forested prefecture that to this day reflects its name of "Aomori" (éæ£®, "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 éæ£®æ°å newspaper, he was encouraged in his artwork. As a child, he had been inspired by the established manga artists Osamu Tetzuka æå¡æ »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 (ã¿ã¢, 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" çè å ¦ã®ãªã¤ã ãã"ã°ã 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.
[PHARMACY]. MEDICAL BOTANY: OR, HISTORY OF PLANTS IN THE MATERIA MEDICA OF THE LONDON, EDINBURGH, & DUBLIN PHARMACOPOEIAS. London: E. Cox and Son, 1821-22. Second edition. 2 octavo volumes: 228; 216 pp. Frontispiece portrait of Linnaeus in Vol. 1 and 138 hand-colored plates. Rebound in period half morocco with marbled paper-covered boards. Ex-library, with library stamps to title-page and page 1 of each volume, and an ink stamp on verso of plate 138. Text leaves are slightly toned at edges; a few plates and pages with a bit of soiling and/or light foxing. However, the plates are generally bright and clean. Scarce and lovely. (Johnston, Cleveland Herbal, Botanical, etc., 854; Pritzel 10706).
[BROADSIDE] BRIDGFORD, John. A CATALOGUE OF FLOWER ROOTS, IMPORTED BY JOHN BRIDGFORD, NURSERY, SEEDSMAN, AND FLORIST, NO. 104, MARKET-STREET, MANCHESTER. (Manchester: J. Harrop, Printer, Market-Place), n.d. A single sheet, 33.5 x 20 cm, divided into three columns and printed on both sides. 204 varieties of hyacinths are offered, along with smaller numbers of amaryllis, polyanthus narcissus, tulips, irises, jonquils, anemones, crown imperials, crocuses, colchicums, and ranunculuses, with prices given. A small woodcut rose is printed near the bottom edge on verso. Some light soiling on recto, else clean and in very good condition.
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. ,108, 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.