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WU FAN LU: Yi Ming Chu Shu Jì: WU YULU, A SINGER [POET]. Japanese Title:

SHI, Hu Fan. [SEKIKO, Hansei] [Kyoto 1794, Kitamura]. Buff stitched wrs., 2 volumes bound in 1, Kambun text, 12 x 18 cm., 1 double-page illustration, covers dusty, a bit stained, edges, corners rubbed, contents clean & solid, in Chinese. FIRST EDITION **** *** AN ILLUSTRATED CHINESE POETRY BOOK THE AUTHOR: SHI Hu Fan, Chéng Dà Xian Sheng, a big man from the big city. TITLE: WUCHUAN LU YI MING CHU SHU JI: WU YULU A SINGER [POET]. FAN Chengda, Number Shihu, Fan Shihu is Fan Chengda. For the famous poets of the Southern Song Dynasty, and Yu You, Yang Wanli, Lu You, known as "Zhongxing Four Great Poets," its poetry style is fresh and smart, and idyllic poetry is especially successful. "The non-Fanshihu Tianjiazhi is not enough to do its best" from the "After the Red Mansion Dream," "The Grand View Garden Test Questions, the Rongguo House to the Provincial Qingyuan," when everyone saw a man-made idyllic landscape. The sight of growth, so this sentence should mean: "The idyllic style of non-Fanshi Lake is not enough to do the best in this garden." Entering "Entrance to the Mind" is a diary on the way to the Southern Song Dynasty Lu You, in a total of six volumes. It is China's first ministerial travel notes. "Entrance to the Book" will be a daily travel life, natural human landscape, world customs, military politics, poetry and poetry, textual history, tourism aesthetics and the evolution of the inaccurate articles, comment on the ancient theory, the discussion of the clip, the outstanding "Send a deep message." With a double-page illustration of mountain road, showing various architectural buildings, castles, the river, pagodas & others. THE EDITION: This is the Japanese edition of the famous Chinese poetry book. It has been transcribed from the original Chinese [Hanzi] text, with the assistance of Japanese scholars, such as Sekiko Hansei, it was written in Kambun, with Furigana [Japanese sounds] to make it easier to read by Japanese. CONDITION: Two volumes bound in one, bound in the original publisher's stitched stiff wrappers, with a bit of the usual dustiness, minor front cover stain, solidly stitched and firm. The contents are excellent impression, on clean, bright paper, no issues. NOTE: Color scans of this are posted to our website. .
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[P’ALTO CHIDO OR EIGHT PROVINCES (KOREA) MAPS.] KOREAN PROVINCAL MANUSCRIPT MAPS

[EIGHT MANUSCRIPT PROVINCE MAPS OF KOREA] [Korea late 18th-early 19th century 1780-1810?]. Eight color gouache pastel tinted maps, ca. 57.5 x 90.1 cm.,contemporary re-backing, very solid, clean examples, complete set of all provinces. RARE & OBSCURE **** *** A RARE & COMPLETE SET OF ANTIQUARIAN MANUSCRIPT KOREAN YI PERIOD PROVINCIAL MAPS "P’ALTO CHIDO" OR "EIGHT PROVINCES MAPS" DELUXE ELEPHANT FOLIO SIZE SHEETS HAND-COLORED GOUACHE PASTELS This is a very RARE & COMPLETE set of eight Korean provincial manuscript maps. Drawn circa [1780-1810] by an unsigned Korean cartographer. These maps are of historical importance, giving place names isolating the time frame. Painted on very thin, finely hand-made mulberry-fiber tissue paper, contemporary re-backed with a stiff hand-made paper. Beautifully hand-painted & colored in gouache pastels. The record shows several reliable verities of manuscript maps showing the eight ancient Korean provinces. Commonly these maps had no title, cartographer's name, date or other critical bibliographic colophon data. This is a common theme with Korean manuscript maps. Political divisions of Korea are by and large mostly stable, making name comparisons easier. PROBABLE MAP TITLES INCLUDE: a. The "SINJUNG-TONGGUK-YOJI-SUNGNAM:" "EIGHT SEPARATE MAPS EACH SHOWING ONE COMPLETE PROVINCE OF THE EIGHT KOREAN PROVINCES similar in intention to the "P’ALTO CHIDO." The eight provinces were established during the Choson dynasty [1392-1910], alternately and commonly called the Yi dynasty. The eight provinces are from the north to south: 1. Hamgyong 2. P'yong'an 3. P'yongyang 4. Kangwon 5. Hwanghae 6. Kanghwa 7. Kyongsang 8. Cholla'ungch'ong During the Sejo reign [1455-68], Yang Songji made the first "P'Alt-do ["P’ALTO CHIDO"] type maps of the eight provinces, this type and style became the "standard" for future examples. There after his style and format were copied by others for centuries. b. A second version and style of the above eight provinces maps is called "TONGGUK CHIDO: MAP OF THE EASTERN COUNTRY [i.e. KOREA]" showing a compressed northern frontier [along Manchuria] the characteristic "CHONG CH'OK" style. c. A third similar map: "P'ALDO-CHONGDO: A SINGLE MAP SHOWING THE EIGHT PROVINCES OF KOREA." These maps are pictorially beautiful and artistically drawn in detail. Graphics expressing a primitive, naive folk charm depicts prominent geological landscape features. Mountain ranges, hills, forests [in green], streams/rivers [blues], political district seats distinctively painted cartouches [box-like] in various differing colors for each province. Roads, paddy, coastal shore line & islands in blue tints, with other features nicely colored. There are a large number of name throughout each map, all written in Hanzi [traditional Chinese characters called "Hanja" in Korean] as was the common practice at that time for Koreans. There are no Hangul characters at all. The Hanja identify navigational directions, names of surrounding ocean, harbors, beaches, geographical names, city, towns, villages, mountains, rivers, roads and the like. Each of the eight maps illustrates a complete single province. Within each of the various political divisions and boundaries outlined and named. RARITY OF KOREAN ANTIQUITIES: Antiquarian Korean examples are sparse, when compared to items of the same period in China and Japan. Korean works are less than 10% of those created elsewhere. Fewer Korean items were made, survived and preserved. The attrition rate: bad weather, unstable ancient mud building structures, fires, natural disasters, earthquakes, war and other factors diminished the remaining examples. Those the numbers that come to marked are steadily reduced, while the value continues to appreciate. Many never return to market when acquired by institutions or private collectors who eventually donate to museums. DATING THESE MAPS: These were mostly undated. There are three possible methods of dating. a. BY PLACE NAME: there are details in the reference books about county seat names being colored or put in various kinds of 'boxes' on the map, depending on that, according to the resources, approximate dates can be derived. b. PAPER TECHNOLOGY & FIBERS: Koreans have been using hand-made mulberry bark and fiber paper from the Zhenguan period [AD 627-649], printing Buddhist sutras by woodblocks on similar kinds of paper. These two technologies [papermaking and woodblock printing] was transmitted to Japan around 700 AD. Since that time both Koreans & Japanese have utilized mulberry paper [Washi in Japanese] to woodblock print and paint a large variety of items including maps, books and single page works. By comparing the paper of these maps with known dated printed Japanese books, a very close approximate date can be derived. These Korean map papers are nearly identical to dated woodblock-printed Japanese examples we have. It is therefore highly possible these maps were painted on hand-made mulberry paper from circa 1780-1810 period. In ancient times, sheet size was limited to a small size, then joined to other sheets to create a large size single sheet. These maps are of that format. See McCune below, where he states the kind of paper used, which matches our examples. CONDITION: Per McCune we summarize: as usual these maps were folded several times from their creation time so they could be safely stored and carried in small 'book' format in covers with a tied string. See McCune below. Being painted on very fine & thin hand-made mulberry paper, most all examples were eventually re-backed. Ours as typical have period re-backing, using the same character hand-made mulberry fiber paper, of a thicker quality. They are well preserved, however nevertheless, as usual there remains some old original wear at the folds, the expected light water stains, dustiness with other typical very minor flaws for an item of this grand size being 200+ years old. These do not detract from the overall excellent impression and stunning appeal. RARITY: The complete set is RARE! The work is nicely executed in a firm hand, with artistic value, illustrating artistically hills, mountains, and other features of the map pictorially. It is not only a map, but a work of art. Tastefully colored in subtle pastels, nice representation of water, rives and sea. Such early and beautifully artistic examples seldom come to market. A RARE AND FRESH EXAMPLE, NEVER BEEN ON THE MARKET IN THE LAST 120 YEARS ! PROVENANCE: These items were acquired from a former missionary's estate, who was stationed in Korea from circa 1900-1930's. They have been in this private collection since and have never been on the market. NOTE: Color scans are posted to our website. REFERENCES: TOOLEY, Ronald V. et al.: Article: Shannon McCune: SOME KOREAN MAPS, pp.70-102 with illustrations. McCUNE, Shannon.: KOREAN MAPS OF THE YI DYNASTY, KOREAN CULTURE, [Korean] Consulate General, L.A. Ca. Sept. 1983, pp.21-31, [34] back cover color plate, color & b.w. illustrated. He discusses "P’ALTO CHIDO"["EIGHT PROVINCES MAP"] origins, maps without scale, and were copies of a Korean scholar named Won [his title was: Haksaeng] works based on Chong Ch’ok’s [1390-1475] TONGGUK CHIDO [MAP OF THE EASTERN COUNTRY], then modified by Won to be the more typical "P’ALTO CHIDO" ["EIGHT PROVINCES MAP"] but in his new style. This new style clearly resembles our maps in layout, format, color of county seats, and similar boxes around them, and other critical details. [KOREAN] CONSUL GENERAL, KOREAN CULTURE, September 1983, pp.21-31, [34] color map on back cover, color and b.w. illustrated. . It was from these maps that the later versions similar to ours eventually emerged mostly by Imperial Order by the "...Yi Dynasty court, specifically decreed that both magistrates and governors should prepare up-to-date maps of their territories udder their supervision." [p.25]. HARLEY, J.B. ed. et al.: CARTOGRAPHY IN THE TRADITIONAL EAST AND SOUTHEAST ASIAN SOCIETIES. [Ahead of Title: THE HISTORY OF CARTOGRAPHY, Vol. 2, Book 2], an excellent article by Gari Ledyard: CARTOGRAPHY IN KOREA, pp. 235-345,239, figures 10.23, 10.24, et al. NAKAMURA, Hiroshi.: EAST ASIA IN OLD MAPS. --. NIHON KO CHIZU TAISEI: GREAT COLLECTION OF OLD JAPANESE MAPS [MONUMENTA CARTOGRAPHICA JAPONICA] --. OLD CHINESE WORLD MAPS PRESERVED BY THE KOREANS. Article in IMAGO MUNDI IV 1958. LEE, Chan. [CH'AN, Yi].: OLD MAPS OF KOREA. Han'guk ko chido. [By: Ch'an Yi, Hong-gyu Che, Han'guk Tosogwanhak, Yon'guhoe]. He discusses and illustrates a good number of similar examples. On pp.226-27, he outlines an early Yi Dynasty example of: THE MAP OF EIGHT provinces found in TONGGUK YOJI SUNGNAM Chong Sang-gi's Tongguk Chido. These manuscripts were on large paper, one province per sheet. Many other fine related examples are illustrated & discussed. --. OLD MAPS OF KOREA: HISTORICAL SKETCH. He traces the early origins of Early Yi dynasty[1392-1910] Eight Provinces Map origins and progressions, excellent, lucid article, with illustrations and references to Yi HOE’s MAP OF EIGHT PROVINCES. Excellent essay on provincial maps. SHIN, Michael D. ed.: KOREAN HISTORY IN MAPS: From Prehistory to the Twenty-First Century. British Museum similar examples cited: commons.wikimedia.org/wiki/Category:Room_67,_British_Museum# /media/File:Map_of_the_Jeolla_Province_British_Library_c.27. f.14_fol.12_n02.jpg Library of Congress: https://www.loc.gov/item/84117116 JAPANESE WOODBLOCK PRINTING; https://en.wikipedia.org/wiki/Woodblock_printing .
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SHOGATSU NAMBA SHINICHI OSAKA: A NEW YEAR IN NAMBA SHINCHI, IN OSAKA &: How Japa

YASUTOMO, Kamehachi. Osaka 1871. Large Kawaraban, sheet: 48.8 x 35.2 cm., print: 47 x 33 cm., black & white woodblock print, very good image & impression,center folded,clean solid copy, forty-six boxed illustrations, one for each province. AN OBSCURE EXAMPLE ! **** *** A CHARMING COLLAGE OF 46 INDIVIDUAL ILLUSTRATIONS DEPICTING HOW THE JAPANESE IN EACH PROVINCE CELEBRATES OSHOGATSU [NEW YEARS] This work consists of 46 named provinces with a large illustration of "Edo" in the center showing Samurai welcoming the New Year. Each province shows a typical view of how the people welcome and celebrate the arrival of the New Year, the most important holiday of the year in Japan. Some of the illustrations show strange behavior such as: a bare-breasted woman making Udon [noodles]; sharpening arrows; two devils meeting and planning bad deeds; a man under a waterfall purifying himself; fox crying; woman wearing a new silk Kimono, three monkeys: "speak, see, hear no evil;" Sumo wrestlers; In Hizen [Nagasaki] a foreigner with a Japanese woman and dog; Kintaro; woman bathing her child; itinerant pilgrim; fighting the wind with an umbrella; Kintai Bashi; sword practice; chasing bulls; Samurai sword fighting; going fishing; embarking on a pilgrimage; boat riding; weaving silk; cooking; riding a horse and several others. NOTE: Color scans are posted to our website. CONDITION: The work is clean, with very good impression, center folded and neatly re-backed, there are no holes or blemishes Ready for framing and display. .
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KUSAKI SENSHU ROKU DANJYO NO ZU: SELECTION OF MALE & FEMALE PLANTS & SEEDS.

MIYASADA, SAHEI SADAO. Shimousa [1828]. Large Kawara-ban, black and white woodblock print: 45.4 x 33 cm., sheet: 49 x 35.4 cm., bright and clean paper, neatly rebacked, center folded, slight ink smear to lower text, else clean & nice, verso blank. OBSCURE EXAMPLE! **** *** A SUPERB AND EARLY EXAMPLE AN UNUSUAL LIST OF VALUABLE PLANTS, VEGETABLES & SEEDS INCLUDING GOURD, EGGPLANT, MELON, CHESTNUTS, PEARS, TANGERINE, DAIKON, CARROTS, BRAINS, SOY BEANS, RICE COTTON, SWEET POTATO, TARO, ACORN, BAMBOO SHOOTS, PEAS AND SEVERAL OTHER CASH CROPS This is an excellent pictorial monograph and list of useful edible plants with discussion on farming, growing, harvesting & preserving food crops, including bamboo shoots. It also distinguishes the gender of plants, giving farmers more control of growing fewer male plants while increasing the planting of female plants which produce more fruit. The sheet illustrates over 50 examples of both male & female plants, fruit & seeds. RARITY: This example and this subject are rare, seldom found. By and large these kinds of prints were pasted to the walls of farmer's homes and used as a reference. Few survived. This example quite clean and bright, being far and above the average print of the same period. Seldom found. NOTE: Color scans are posted to our website. CONDITION: The work is clean, on white Washi paper. There is a bit of ink blur at the lower edge & left edge, otherwise free from marks or worming. The verso is blank and clean, center folded with contemporary re-backing. Now firm and solid. ready for framing and display. .
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KOHYA HAKKEI HINOKI ZAIKU: EIGHT JAPANESE VIEWS OF DAILY OCCUPATIONS AND PASS TI

KOHYA HAKKEI HINOKI ZAIKU. [Edo 1828 ?], Koyano. Large Kawaraban, sheet: 49 x 35.2 cm., 49 x 35.2 cm, very good, black & white woodblock print, very neatly re-backed, verso clean, tiny bit of smear at lower edge, else solid, 27 individual illustrations. OBSCURE WORK! **** *** A DELIGHTFUL VIEW OF THE JAPANESE DURING THE EDO PERIOD A COLLAGE OF 27 INDIVIDUAL DRAWINGS AND PICTURES OF JAPANESE AT THEIR DAILY CHORES AND PASS TIMES This is a nice broadside poster type print format. It shows various views of the Japanese at their daily tasks, leisure and relaxation times. From the top right to left: Rickshaw puller carries a woman. Japanese antics, a woman rolling out noodle paste; a beggar and his black cat; a pair of courtiers out for a stroll; itinerant vender calls out his wares; a lady of quality embarks on a pilgrimage; mother and daughter on a foot journey; coolie carries a yoke of transfer goods; Tengu out to scare people; Buddhist priest gives advice to earthlings; four travelers cross a bridge on their journey; a lady with a large fan and son taking a stroll; tea-house maid greets customers; a boy jumps from a waterfall; tofu makers; buying fish; story tellers; two travelers cross a bridge, pounding Mochi [New Years] activity; two men on the road; Buddhist monks praying; view of a Pagoda; two angry Samurai in sword-play; Samurai prepares to dispatch a commoner; man of the house sees a Yurei [ghost]; Tengu and his baby chicks hatch from eggs &c... A fascinating collage of humorous drawings and sketches. NOTE: Color scans are posted to our website. CONDITION: This large broadside is on clean white Washi paper with black ink. It has a center fold and a has a contemporary re-back. There is the slightest hint of a bit of blur to the lower edge which is barely perceivable. There is the usual minor bit of surface dust, else, solid and firm. With excellent impression. .
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UJIGAWA RYOHGAN ICHIRAN: A GLANCE AT BOTH BANKS OF THE UJI RIVER.

MATSUKAWA, Hanzan. [artist & writer] Osaka 1863, Kawachiya. Stiff yellow wrappers,stitched spine, 12.5 x 17.8 cm.,7 double-page color woodblock illustrations, 47 pages in all, covers dusty, soiled, edges worn, contents clean, thumbed. VOLUME 1 OF 2 ONLY. RARE FIRST EDITION **** *** ONE OF A SIMILAR SERIES OF THREE GUIDES PLANNED & ILLUSTRATED IN THE SAME MANOR, EACH CONTAINS OLD POEMS, AND DESCRIPTIONS ON FAMOUS PLACES WITH THEIR VIEWS WRITTEN AND ILLUSTRATED BY HANZAN The three guides are: NANIWA NO NIGIWAI; YODOGAWA RYOHGAN ICHIRAN and the current title: UJIGAWA. THE ARTIST/AUTHOR MATSUKAWA Hanzan [flourished ca. 1850-1882]: Hanzan was a grand innovator & took it upon himself to educate the average Japanese in agriculture, nature natural science, medicine and a host of other "foreign and Western technological & scientific subjects. He wrote many illustrated books written in easy to read Japanese with Furigana sounds to help understand the difficult Kanji. His books had practical application for the betterment of the common Japanese farmer, the lowest in the feudal system. He was a Ukiyo-e printmaker, born and worked in Osaka. He specialized in Surimono and was also a distinguished illustrator of many period woodblock printed books of the time and Edo culture exponent. He used several "Go" [studio names" such as: Gikyo, Takaji, Chokusui, Kakyo & Suiedoh. His books are widely collected by world museums and libraries. With text calligraphy by Kamada Sluio. NOTE: Color scans are posted to our website. REFERENCES: MITCHELL, C.H. et al.: THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A Bibliography, p. 544. TODA, Kenji.: DESCRIPTIVE CATALOGUE OF JAPANESE AND CHINESE ILLUSTRATED BOOKS IN THE RYERSON LIBRARY OF THE ART INSTITUTE OF CHICAGO, p.302. BRITISH MUSEUM 1904: 16113.b.23 ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, p.39 for a biography of Hanzan. NAKADA 256 DURET 540 NOT IN: KERLEN, H.: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS. .
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BANSHO SHASHIN ZU FU: PICTORIAL BOOK OF ILLUSTRATIONS OF ALLCREATIONS.

HASHIMOTO, Gyokuransai. UTAGAWA, Sadahide. Edo 1864, Suharaya. Vol.1. Yellow stiff stitched wrs., [18] double-folded leaves =36 color plates,2p.text, 11.8 x 18 cm. covers a bit dusty, contents very clean & solid, woodblock printed on mulberry Washi paper. RARE FIRST & ONLY EDITION **** *** FAMOUS PLACES AND NATIRE IN JAPAN: A BIRD'S EYE VIEW OF LANDSCAPE, FLOWERS, PLANTS, VEGETABLES & ANIMALS WONDERS OF THE NATURAL WORLD THE ARTIST: HASHIMOTO Gyokuran [Gyokuransai] aka. UTAGAWA Sadahide [1807-1873]: He was an excellent artist, stylist, book illustrator, cartographer, Ukiyo-e print & painter who dogged foreigners in Yokohama. He made large numbers of "Yokohama-E" [Yokohama prints] depicting foreigners and fstrange oreign life style in Yokohama. He was also well-known throughout Japan as a stunning map maker and landscape artist, often using the "Bird's Eye View" style of perspective to depict his broad views. He specialized in grand panoramic views, showing wide expanded perspectives. His works were charming and expressed a kind of unique visual skill. He also produced a good number of Imperial, Shogun and military processions in panoramic style. He lived in Edo & worked under the master painter & Ukiyo-e print-maker Kunisada I. He was a prolific print maker and cartographer. His "Bird's Eye View" maps are among the most spectacular and decorative ever done in the mid-19th century and show a high degree of artistic skill, excellent composition and the foreign principles of three-dimensional drawing. He was truly a unique and creative artist and far ahead of his time. Aventually he moved to Yokohama to watch and draw foreigners. "GOD'S CREATIONS: This work is Sadahide's interpretation of his concept of how "God's Creations" were spread throughout Japan. He drew all of the beautiful and impressive, natural & botanical items with flair, giving animals an almost human face with expression. His joy in drawing and showing nature in the best light is evident by the fabulous images he left for the world to enjoy. THE SUBJECT OF THE BOOK: Each volume follows the same format: inside front cover a color title page, followed by 2 pages text, the balance of the book [number of pages vary] are color illustrations, consisting of either single page or double page, inside the back cover is the colophon. Cover colors vary. AN 8 VOLUME SET: Note we only have the volumes we listed, per Edgren he states there are 8 volumes in all, we can not verify that information. See below. Volume 1: Floral botanicals & animals. This example is a kind of 'dictionary,' beginning with pink Botan [peony] flowers in full bloom, lilies & Nasu [eggplant]. The next bulbs, opposite page is divided into 8 squares showing Asagao [morning glories, following pages again 16 squares, 8 are mushrooms, the other 8 are sprouted examples. Next again 8 sections of Asagao, and a full page of Lotus. Next page of water chestnuts, opposite side of baby mice and adults. The next continues with 2 pages various duck eggs and opposite side shows geese. Then double pages of: a buffalo; tiger; frog & birds. Single pages show: sparrows, rabbits, dragon, snake, horses, toads/frogs, butterflies, Vol.2: Vol.3: Covers landscape, statues [temple demons, Gods] botanicals and animals. NOTE: this volume comes with the original color printed slip cover chemise, please see the image posted to our website: illus15.jpg. It begins with 9 double-page color landscape view of: Tsushu volcanic Mount Fuji and a bridge over the river, Sesshu waterfall, distant view of Mr. Fuji and a small dragon island and its shrine, temple shrine along the shore line, Mikaha no Kuni Horaiji temple, Goshu Yabashi coast line and sailing vessel, Kahi no Kuni Shimo Gun extended bridge, a spectacular engineering example ! Hizen double bridge & Banshu hamlet. Followed by 13 giant temple demons or Gods and protectors. A double-page of the loofa sponge gourd, Warabi [fern fiddle heads], a leopard, and a double-page elephant. Vol.4: Vol.5: Landscapes along Japan's coastal areas, 19 double-page views, + 2 single pages. Begins from Hinzen Okayama ad continues along to Nagamon Motoyama. Including lots of small islands, castles, inland sea lanes, shipping, Misaki, Hashima, Hingono Kuni, Mihara no Shiro &c. Vol.6 Vol.7 Vol.8 The illustrations are charming and typical of the Sadahide style. He captures the "essence" of the botanical and natural historic animals and flowers, with the name of each example noted. Excellent example of Sadahide's lovely style. CONDITION: All volumes are bound in the publishers swastika blind-stamped embossed & stitched stiff wrappers, firmly bound. Typical minor edge & corner wear, mild dustiness, soil and rubbing to the covers. Each has a title slip, more details below. Contents: by and large each is very clean on bright, clean paper, with excellent impression and registry. NOTE: Please see color photos posted to our website, per below they relate to each volume, with brief condition notes: Vol.1: illus01.jpg-illus05.jpg, very clean Vol.3: illus06.jpg-illus11.jpg, title slip darkened, with original color printed paper slip cover chemise. Vol.5: illus12.jpg-illus14.jpg, covers faded, title slip rubbed. REFERENCE: L. Roberts: DICTIONARY OF JAPANESE ARTISTS: p.135. A major woodblock print artist of the mid-19th century, well collected by world museums, libraries & collectors. KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN. YOKOHAMA UKIYOE TO SORATOBU ESHI, GOUNTEI SADAHIDE: SPECIAL EXHIBITION: YOKOHAMA UKIYOE: LIFE AND WOODCUT WORKS OF GOUNTEI SADAHIDE. [A Woodblock Print Artist of the Mid-19th Century] KOBE CITY MUSEUM. EZU TO FUKEI, E NO YONA CHIZU, CHIZU NO YONA E: BETWEEN LANDSCAPE PAINTING AND PANORAMIC MAPS. [Literal Title: PICTURE MAPS & LANDSCAPES, PICTURE-LIKE MAPS AND MAP-LIKE PICTURES.] KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN: YOKOHAMA UKIYOE TO SORATOBU ESHI, GOUNTEI SADAHIDE: SPECIAL EXHIBITION: YOKOHAMA UKIYOE: LIFE AND WOODCUT WORKS OF GOUNTEI SADAHIDE. Excellent reference on Yokohama and works by Sadhide. T. TAMBA: NISHIKI-E NI MIRU MEIJI TENNO TO MEIJI JIDAI: THE EMPEROR MEIJI AND THE MEIJI PERIOD SEEN IN PRINTS HASHIYAMA, Takashi. et al. BAKUMATSU MEIJI BUNMEI KAIKA: The Westernization of Japan in Ukiyo-e. EDGREN, J.S. : CATALOGUE OF THE NORDENSKIOLD COLLECTION OF JAPANESE BOOKS IN THE ROYAL LIBRARY, p.282, # 865. DAWES, Leonard G.: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS IN THE DEPARTMENT OF PRINTS AND DRAWINGS, p.212, E.2503-1925. ROSNY: 45/221 NOT LISTED IN: Mitchell Kerlen: cites this artist in the indes, p.873,875 Bartlett .
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ZOOHO JIKINSHO: VIEW OF THE EARTH’S RAIMENT: A TREATISE ON FLOWERS, INCLUDING MA

ITOH, Ihei. [Author & Illustrator] Edo 1710, Suwaraya. Blue stitched wrs. 8 of the 20 vol. set, we have volumes:2,4-8,10 & 11 only, 11 x 15.5 cm.,woodblock printed, profusely illustrated, Japanese text, clean & solid example, excellent impression, "sold as is." **** *** AN EXCELLENT MULTI-VOLUME MONOGRAPH ON JAPANESE PLANTS A NICELY ILLUSTRATED BOTANICAL . Each volume is devoted to a different kind of plant: Tsubaki or tea camellia, Momiji or Japanese maples [various kinds], various flowers, water grasses, winter grasses and a host of others. Each plant is nicely described and illustrated. THE BEST EDITION: This is the Hoei 7th year [1710, revised & enlarge edition. COLLATION AND SUBJECT OF EACH VOLUME: Volume #: flower, number of double-folded sheets: 1. Tree peony [Botan], 39 [lacking] 2. Camellia [Tsubaki], also tea camellia [Cha], 18 4. Maple trees [Kaede], 19 5. Wisteria [Fuji], Pine [Matsu], Bamboo [Take zasa], Winter tree [Toboku], 21 6. Flowering spring, summer plants [Kusabana Haru/Natsu no bu], Lilies [Yuri], Water-grass [Mizukusa] 21 7. Flowering fall/winter plants [Kusabana Akino/Fuyugusa], Chrysanthemum 29 8. Soils [Zooho Jikin Shoo], 36 10. Illustrations of flowering 38 kinds of plants [Zooho Jinkin Shoo], 18. 11. Japanese maple, 36 kinds [Zooho Jikin Shoo], illustrations of 36 kinds of maple leaves, 18. NOTE: Color scans are posted to our website. REFERENCES: See Kerlen [below] for full notes on the above. He also seems to be unaware this is a set of more than the 8 volumes he cataloged. He also states there is no title page [in volume 1], --. KERLEN, H.: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS, PAGE 804, #1905. KSM: [honzo, engei] 5-285-1 BARTLETT, Harley H. et al.: JAPANESE BOTANY DURING THE PERIOD OF WOOD-BLOCK PRINTING, no.16, p.122-123 + figure 12a. Bartlett attributes this work to a difference reading of the title as: CHIKINSOH: VIEW OF THE EARTH'S RAIMENT. Illustrated treatise o flowers, including maple leaves considered 'flowers' by the Japanese due to the various colors. Please see this entry for the volume number count & supplements, somewhat complicated, issued in two series: vols. 1-8, + 4 supplement volumes. Second series: volumes: 9-16, + 3 supplementary volumes 1-3. Volume 11 Furoku [additions] an odd volume with repetition of the title and volume number of vol. 11, but entirely different in text and figures, both deal with the same subject of "maple leaves." MERRILL, Elmer D. et al. [Walker].: A BIBLIOGRAPHY OF EASTERN ASIATIC BOTANY, 47 Catalogue the supplement of 1733 as three books only making the total 19 books. .
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BANSHO SHASHIN ZU FU: PICTORIAL BOOK OF ILLUSTRATIONS OF ALLCREATIONS.

HASHIMOTO, Gyokuransai. UTAGAWA, Sadahide. [Edo 1864, Suharaya]. Vol.3. Blue stiff stitched wrs., [21] double-folded leaves = 42 color plates, 2p. text, 11.8 x 18 cm., contents bright, clean & solid,40 color woodblocks,many double-page,with original chemise. RARE FIRST & ONLY EDITION **** *** FAMOUS PLACES AND NATIRE IN JAPAN: A BIRD'S EYE VIEW OF LANDSCAPE, FLOWERS, PLANTS, VEGETABLES & ANIMALS WONDERS OF THE NATURAL WORLD THE ARTIST: HASHIMOTO Gyokuran [Gyokuransai] aka. UTAGAWA Sadahide [1807-1873]: He was an excellent artist, stylist, book illustrator, cartographer, Ukiyo-e print & painter who dogged foreigners in Yokohama. He made large numbers of "Yokohama-E" [Yokohama prints] depicting foreigners and fstrange oreign life style in Yokohama. He was also well-known throughout Japan as a stunning map maker and landscape artist, often using the "Bird's Eye View" style of perspective to depict his broad views. He specialized in grand panoramic views, showing wide expanded perspectives. His works were charming and expressed a kind of unique visual skill. He also produced a good number of Imperial, Shogun and military processions in panoramic style. He lived in Edo & worked under the master painter & Ukiyo-e print-maker Kunisada I. He was a prolific print maker and cartographer. His "Bird's Eye View" maps are among the most spectacular and decorative ever done in the mid-19th century and show a high degree of artistic skill, excellent composition and the foreign principles of three-dimensional drawing. He was truly a unique and creative artist and far ahead of his time. Aventually he moved to Yokohama to watch and draw foreigners. "GOD'S CREATIONS: This work is Sadahide's interpretation of his concept of how "God's Creations" were spread throughout Japan. He drew all of the beautiful and impressive, natural & botanical items with flair, giving animals an almost human face with expression. His joy in drawing and showing nature in the best light is evident by the fabulous images he left for the world to enjoy. THE SUBJECT OF THE BOOK: Each volume follows the same format: inside front cover a color title page, followed by 2 pages text, the balance of the book [number of pages vary] are color illustrations, consisting of either single page or double page, inside the back cover is the colophon. Cover colors vary. AN 8 VOLUME SET: Note we only have the volumes we listed, per Edgren he states there are 8 volumes in all, we can not verify that information. See below. Volume 1: Floral botanicals & animals. This example is a kind of 'dictionary,' beginning with pink Botan [peony] flowers in full bloom, lilies & Nasu [eggplant]. The next bulbs, opposite page is divided into 8 squares showing Asagao [morning glories, following pages again 16 squares, 8 are mushrooms, the other 8 are sprouted examples. Next again 8 sections of Asagao, and a full page of Lotus. Next page of water chestnuts, opposite side of baby mice and adults. The next continues with 2 pages various duck eggs and opposite side shows geese. Then double pages of: a buffalo; tiger; frog & birds. Single pages show: sparrows, rabbits, dragon, snake, horses, toads/frogs, butterflies, Vol.2: Vol.3: Covers landscape, statues [temple demons, Gods] botanicals and animals. NOTE: this volume comes with the original color printed slip cover chemise, please see the image posted to our website: illus15.jpg. It begins with 9 double-page color landscape view of: Tsushu volcanic Mount Fuji and a bridge over the river, Sesshu waterfall, distant view of Mr. Fuji and a small dragon island and its shrine, temple shrine along the shore line, Mikaha no Kuni Horaiji temple, Goshu Yabashi coast line and sailing vessel, Kahi no Kuni Shimo Gun extended bridge, a spectacular engineering example ! Hizen double bridge & Banshu hamlet. Followed by 13 giant temple demons or Gods and protectors. A double-page of the loofa sponge gourd, Warabi [fern fiddle heads], a leopard, and a double-page elephant. Vol.4: Vol.5: Landscapes along Japan's coastal areas, 19 double-page views, + 2 single pages. Begins from Hinzen Okayama ad continues along to Nagamon Motoyama. Including lots of small islands, castles, inland sea lanes, shipping, Misaki, Hashima, Hingono Kuni, Mihara no Shiro &c. Vol.6 Vol.7 Vol.8 The illustrations are charming and typical of the Sadahide style. He captures the "essence" of the botanical and natural historic animals and flowers, with the name of each example noted. Excellent example of Sadahide's lovely style. CONDITION: All volumes are bound in the publishers swastika blind-stamped embossed & stitched stiff wrappers, firmly bound. Typical minor edge & corner wear, mild dustiness, soil and rubbing to the covers. Each has a title slip, more details below. Contents: by and large each is very clean on bright, clean paper, with excellent impression and registry. NOTE: Please see color photos posted to our website, per below they relate to each volume, with brief condition notes: Vol.1: illus01.jpg-illus05.jpg, very clean Vol.3: illus06.jpg-illus11.jpg, title slip darkened, with original color printed paper slip cover chemise. Vol.5: illus12.jpg-illus14.jpg, covers faded, title slip rubbed. REFERENCE: L. Roberts: DICTIONARY OF JAPANESE ARTISTS: p.135. A major woodblock print artist of the mid-19th century, well collected by world museums, libraries & collectors. KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN. YOKOHAMA UKIYOE TO SORATOBU ESHI, GOUNTEI SADAHIDE: SPECIAL EXHIBITION: YOKOHAMA UKIYOE: LIFE AND WOODCUT WORKS OF GOUNTEI SADAHIDE. [A Woodblock Print Artist of the Mid-19th Century] KOBE CITY MUSEUM. EZU TO FUKEI, E NO YONA CHIZU, CHIZU NO YONA E: BETWEEN LANDSCAPE PAINTING AND PANORAMIC MAPS. [Literal Title: PICTURE MAPS & LANDSCAPES, PICTURE-LIKE MAPS AND MAP-LIKE PICTURES.] KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN: YOKOHAMA UKIYOE TO SORATOBU ESHI, GOUNTEI SADAHIDE: SPECIAL EXHIBITION: YOKOHAMA UKIYOE: LIFE AND WOODCUT WORKS OF GOUNTEI SADAHIDE. Excellent reference on Yokohama and works by Sadhide. T. TAMBA: NISHIKI-E NI MIRU MEIJI TENNO TO MEIJI JIDAI: THE EMPEROR MEIJI AND THE MEIJI PERIOD SEEN IN PRINTS HASHIYAMA, Takashi. et al. BAKUMATSU MEIJI BUNMEI KAIKA: The Westernization of Japan in Ukiyo-e. EDGREN, J.S. : CATALOGUE OF THE NORDENSKIOLD COLLECTION OF JAPANESE BOOKS IN THE ROYAL LIBRARY, p.282, # 865. DAWES, Leonard G.: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS IN THE DEPARTMENT OF PRINTS AND DRAWINGS, p.212, E.2503-1925. ROSNY: 45/221 NOT LISTED IN: Mitchell Kerlen: cites this artist in the indes, p.873,875 Bartlett .
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IZUMI BASHI NO YU YUKI: SNOWY NIGHT ON IZUMI BRIDGE. [A Color Shin-hanga Woodblo

[SEKI]. [TSUCHIYA, Koitsu Or TAKAHASHI Hiroaki [Shotei] ?] [Tokyo 1930-34, Watanabe?]. Otanzaku oblong color woodblock print,32.3 x 10.7 cm., Mitsugiri size, artist's Hanko [seal/ chop] in upper right corner, else unsigned, a knock-off of Shotei's famous "Izumibashi No Ame," a very clean example. **** A STRANGE VERY EXAMPLE ! MOST LIKELY A PERIOD "KNOCK-OFF" OF A TAKAHASHI HIROAKI [HIROAKI] FAMOUS PRINT OF IZUMI BASHI [IZUMI BRIDGE] IN RAIN, THIS BEING ON A SNOWY NIGHT A MAN HOLDING A LANTERN LEADS A KIMONO-CLAD WOMAN OVER THE BRIDGE WHILE BOTH HOLD OIL-SKIN UMBRELLAS This unlusual example, is more than likely a "knock-off" of a famous print illustrated in Stephens of remarkably and very similar printbyi Takahashi Shotei [Hiroaki] executed after 1923 with title: "IZUMIBASHI NO AME [RAIN ON THE BRIDGE IZUMI BASHI," The orignal published in Tokyo by Watanabe. See below for details. THE SUBJECT OF THE INSPIRATION FOR OUR EXAMPLE: The male servant of a Geisha leads her across the Izumi Bridge on a rainy night while holding a paper lantern. He wears no shoes, which is exceptionally strange, for all Japanese wear at least Wara Zori [rice straw sandals, even the poorest of the poor can make from straw way-side straw]. The two bend towards the driving rain he with a half-open oil skin paper umbrella, she with a wide open umbrella fighting to keep the umbrella in position. OUR EXAMPLE: The first indication to us that this was not an original print but a poor copy of the original and well-known example by Takahashi Shotei [Hiroaki] [1871-1945]: IZUMI BASHI NO AME: RAIN ON THE IZUMI, was when we examined the foot wear of the man-servant. He was barefooted, and did not even wear 'wara zoori' [sandals made of rice straw] which is someting every poverty-stricken Japanese of the Edo period was capable of doing by collecting road-side grass or rice straw. These could be made quickly and only for the effort. It is inconceivable that any Japanese [regardless of how poor] would be out walking during a snow storm on snow without any foot gear at all!. This was a strong indication the print was bogus. While the artist "Seki" who's Hanko [seal/chop] adorns the upper right corner, after exhaustive search of the usual references, could find no reference to this name or Hanko whatso ever. Another strange lacking feature of our print, is the rain ! While the two bridge crossers bend to the wind, there is no rain in this print! But rather a major change to the original by replacing rain for snow. A STUDY PIECE: Regardless of the above, this example has interestingpoints, and is worthy of study, and a good source for a variant on the original work. NOTE: Color scans are posted to our website. REFERENCE: Amy Stephens.: THE NEW WAVE: plate 86, p.111-114, plates including 94 a & b. TAKAHASHI, Hiroaki. [Shotei] [SHIMIZU, Hisao. comp.]. : TAKAHASHI SYOTEI [HIROAKI]: SHOTEI [HIROAKI] TAKAHASHI: HIS LIFE AND WORKS, p.42, #85, 1924-1927, Pinckard #114. .
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BANSHO SHASHIN ZU FU: PICTORIAL BOOK OF ILLUSTRATIONS OF ALLCREATIONS.

HASHIMOTO, Gyokuransai. UTAGAWA, Sadahide. [Edo 1865, Suharaya]. Vol.5. Green stiff stitched wrs., very clean, title slip,[21] double-page color plates=[42]p.+title page, 2p. text, 11.8 x 18 cm., covers worn, contents bright, 20 double-page color woodblock plates. RARE FIRST EDITION **** *** FAMOUS PLACES AND NATIRE IN JAPAN: A BIRD'S EYE VIEW OF LANDSCAPE, FLOWERS, PLANTS, VEGETABLES & ANIMALS WONDERS OF THE NATURAL WORLD THE ARTIST: HASHIMOTO Gyokuran [Gyokuransai] aka. UTAGAWA Sadahide [1807-1873]: He was an excellent artist, stylist, book illustrator, cartographer, Ukiyo-e print & painter who dogged foreigners in Yokohama. He made large numbers of "Yokohama-E" [Yokohama prints] depicting foreigners and fstrange oreign life style in Yokohama. He was also well-known throughout Japan as a stunning map maker and landscape artist, often using the "Bird's Eye View" style of perspective to depict his broad views. He specialized in grand panoramic views, showing wide expanded perspectives. His works were charming and expressed a kind of unique visual skill. He also produced a good number of Imperial, Shogun and military processions in panoramic style. He lived in Edo & worked under the master painter & Ukiyo-e print-maker Kunisada I. He was a prolific print maker and cartographer. His "Bird's Eye View" maps are among the most spectacular and decorative ever done in the mid-19th century and show a high degree of artistic skill, excellent composition and the foreign principles of three-dimensional drawing. He was truly a unique and creative artist and far ahead of his time. Aventually he moved to Yokohama to watch and draw foreigners. "GOD'S CREATIONS: This work is Sadahide's interpretation of his concept of how "God's Creations" were spread throughout Japan. He drew all of the beautiful and impressive, natural & botanical items with flair, giving animals an almost human face with expression. His joy in drawing and showing nature in the best light is evident by the fabulous images he left for the world to enjoy. THE SUBJECT OF THE BOOK: Each volume follows the same format: inside front cover a color title page, followed by 2 pages text, the balance of the book [number of pages vary] are color illustrations, consisting of either single page or double page, inside the back cover is the colophon. Cover colors vary. AN 8 VOLUME SET: Note we only have the volumes we listed, per Edgren he states there are 8 volumes in all, we can not verify that information. See below. Volume 1: Floral botanicals & animals. This example is a kind of 'dictionary,' beginning with pink Botan [peony] flowers in full bloom, lilies & Nasu [eggplant]. The next bulbs, opposite page is divided into 8 squares showing Asagao [morning glories, following pages again 16 squares, 8 are mushrooms, the other 8 are sprouted examples. Next again 8 sections of Asagao, and a full page of Lotus. Next page of water chestnuts, opposite side of baby mice and adults. The next continues with 2 pages various duck eggs and opposite side shows geese. Then double pages of: a buffalo; tiger; frog & birds. Single pages show: sparrows, rabbits, dragon, snake, horses, toads/frogs, butterflies, Vol.2: Vol.3: Covers landscape, statues [temple demons, Gods] botanicals and animals. NOTE: this volume comes with the original color printed slip cover chemise, please see the image posted to our website: illus15.jpg. It begins with 9 double-page color landscape view of: Tsushu volcanic Mount Fuji and a bridge over the river, Sesshu waterfall, distant view of Mr. Fuji and a small dragon island and its shrine, temple shrine along the shore line, Mikaha no Kuni Horaiji temple, Goshu Yabashi coast line and sailing vessel, Kahi no Kuni Shimo Gun extended bridge, a spectacular engineering example ! Hizen double bridge & Banshu hamlet. Followed by 13 giant temple demons or Gods and protectors. A double-page of the loofa sponge gourd, Warabi [fern fiddle heads], a leopard, and a double-page elephant. Vol.4: Vol.5: Landscapes along Japan's coastal areas, 19 double-page views, + 2 single pages. Begins from Hinzen Okayama ad continues along to Nagamon Motoyama. Including lots of small islands, castles, inland sea lanes, shipping, Misaki, Hashima, Hingono Kuni, Mihara no Shiro &c. Vol.6 Vol.7 Vol.8 The illustrations are charming and typical of the Sadahide style. He captures the "essence" of the botanical and natural historic animals and flowers, with the name of each example noted. Excellent example of Sadahide's lovely style. CONDITION: All volumes are bound in the publishers swastika blind-stamped embossed & stitched stiff wrappers, firmly bound. Typical minor edge & corner wear, mild dustiness, soil and rubbing to the covers. Each has a title slip, more details below. Contents: by and large each is very clean on bright, clean paper, with excellent impression and registry. NOTE: Please see color photos posted to our website, per below they relate to each volume, with brief condition notes: Vol.1: illus01.jpg-illus05.jpg, very clean Vol.3: illus06.jpg-illus11.jpg, title slip darkened, with original color printed paper slip cover chemise. Vol.5: illus12.jpg-illus14.jpg, covers faded, title slip rubbed. REFERENCE: L. Roberts: DICTIONARY OF JAPANESE ARTISTS: p.135. A major woodblock print artist of the mid-19th century, well collected by world museums, libraries & collectors. KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN. YOKOHAMA UKIYOE TO SORATOBU ESHI, GOUNTEI SADAHIDE: SPECIAL EXHIBITION: YOKOHAMA UKIYOE: LIFE AND WOODCUT WORKS OF GOUNTEI SADAHIDE. [A Woodblock Print Artist of the Mid-19th Century] KOBE CITY MUSEUM. EZU TO FUKEI, E NO YONA CHIZU, CHIZU NO YONA E: BETWEEN LANDSCAPE PAINTING AND PANORAMIC MAPS. [Literal Title: PICTURE MAPS & LANDSCAPES, PICTURE-LIKE MAPS AND MAP-LIKE PICTURES.] KANAGAWA KENRITSU REKISHI HAKUBUTSUKAN: YOKOHAMA UKIYOE TO SORATOBU ESHI, GOUNTEI SADAHIDE: SPECIAL EXHIBITION: YOKOHAMA UKIYOE: LIFE AND WOODCUT WORKS OF GOUNTEI SADAHIDE. Excellent reference on Yokohama and works by Sadhide. T. TAMBA: NISHIKI-E NI MIRU MEIJI TENNO TO MEIJI JIDAI: THE EMPEROR MEIJI AND THE MEIJI PERIOD SEEN IN PRINTS HASHIYAMA, Takashi. et al. BAKUMATSU MEIJI BUNMEI KAIKA: The Westernization of Japan in Ukiyo-e. EDGREN, J.S. : CATALOGUE OF THE NORDENSKIOLD COLLECTION OF JAPANESE BOOKS IN THE ROYAL LIBRARY, p.282, # 865. DAWES, Leonard G.: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS IN THE DEPARTMENT OF PRINTS AND DRAWINGS, p.212, E.2503-1925. ROSNY: 45/221 NOT LISTED IN: Mitchell Kerlen: cites this artist in the indes, p.873,875 Bartlett .
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HAHA KO ZOH: STATUE OF MOTHER MARIA AND THE HOLY CHILD. [A CHRISTIAN THEME]

SHIBUYA, Eiichi. [Tokyo ? undated ca. 1975-1980]. A color etching, on large stiff paper, sheet: 32.7 x 41.7 print: 17.5 x 24.3 cm., fine & brilliant example, no issues,artist's pencil signed title, limitation 23/50 & signature. FIRST & ONLY RARE EDITION **** *** A STUNNING FEAST FOR THE EYES , A SUPERB COLOR ETCHING [OR MEZZOTINT] HAHA KO ZOH: STATUE OF MOTHER MARIA AND THE HOLY CHILD This is a stunning view of the Holy Mother and Child. One of Shibuya's most impressive images. The print is pencil signed, titled and the limitation noted number 23 of 50 examples. The print is poly-chrome, giving an impressive image of the duo. Exquisitely executed with a 'stained-glass' background effect. THE ARTIST SHIBUYA Eiichi [1928-2011]: He utilized etching [often mezzotint] as a medium with graceful, slender female figures, who emerge from linear tangles and swirls. He utilized many varied colors and lines to unify his prints, his work seems both fanciful and faithful, portraits of moods rather than scenes. See Blakemore below. He was a member of the Japan Print Assn. and studied abroad. His average edition was approximately between 50 and 70 pencil numbered, signed and titled copies. All examples are strictly the FIRST & ONLY EDITIONS, he never reprinted any prints, rather choosing to destroy the original plate, after each print was completed. NOTE: At the bottom of the print is the artist's very fine line pencil limitation statement [23/50], title HAHA KO ZOH, with the artist's signature, it is therefore very hard to get a good digital scan of this line. Suffice to say we tried out best to capture it, but it still remains very feint. CONDITION: This print is fresh and a brilliant example, contained in a Washi [hand-made mulberry] paper folded protector since its publication. We estimate this to have been produced around 1975-80, it is undated. The print is exceptionally clean, there are two tiny remnants of white cloth hinges on the verso [back] near the top margin, otherwise pristine example, printed on deckle-edge acid free paper. With plate mark as usual. There are not flaws or marks whatsoever, the verso is clean. Please review photos posted to our website. NOTE: Color scans are posted to our website. REFERENCES: BLAKEMORE, Frances.: WHO'S WHO IN MODERN JAPANESE PRINTS, pp. 180,with 3 print example. RED LANTERN, Kyoto catalogs from 1973 onward. .
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BIJIN GEISHA OR JORO: A GEISHA [PROSTITUTE] WITH DAUGHTER. [A Color Woodblock Pr

UTAMARO, Kitagawa. [Tokyo n.d. ca 1950-1960's, Adachi?]. Oban color woodblock print, 26.6 x 39.8 cm., excellent example, with crushed mica background, verso with 'Adachi' seal, fine impression and registry, in extra-large size, a brilliant work. **** *** A STUNNING VIEW OF A GEISHA OR JORO [PROSTITUTE] WITH HER YOUNG DAUGHTER This is a spectacular reprint, a view of an Edo period Geisha or Joro [prostitute] and her young daughter. The print has a very rare crush mica background, a technique seldom used because of the major difficulty in getting it to stick. The background also has several vertical gauffrage lines indicating Soji [screen] background. This color woodblock print is larger than the standard Oban size, an unusual example, in the best condition. WHO WAS KITAGAWA UTAMARO: [c.?1753-31 October 1806]: He was a Japanese artist. He is one of the most highly regarded practitioners of the Ukiyo-e genre of woodblock prints, especially for his portraits of beautiful women, or Bijin-ga. He also produced nature studies, particularly illustrated books of insects. Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the "Japanese influence" among these artists often refers to the work of Utamaro. THE CARVER/PRINTER: This print was expertly carved by Harada Kame and superbly printed by Ito Satoshi. CONDITION: This print is in stunning condition, with superb impression and impression, the colors are pastels, no fading, or other issues. There is a very minor bit of rubbing to the mica, which is typical, otherwise in far and above average condition. NOTE: Color scans are posted to our website. REFERENCES: STEWART, Basil. JAPANESE COLOUR-PRINTS AND THE SUBJECTS THEY ILLUSTRATE: A Guide for the Collector & Student with Description of the Subjects Illustrated in Landscape, Drama, Story and Portraiture. VON SEIDLITZ, W. A HISTORY OF JAPANESE COLOUR-PRINTS. LANE, Richard. IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT, INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E: Utamaro entries on pp.21, 124,127, 135-41, 341-346. [ISHII, Kendon.] NISHIKI-E NO ARATAME-IN NO KOH-SHOH: READINGS OF CENSOR'S SEALS ON JAPANESE PRINTS ROBERTS, Laurance P. A DICTIONARY OF JAPANESE ARTISTS PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER: p.193. KOBAYASHI, Tadashi. UTAMARO. WikiPedia: https://en.wikipedia.org/wiki/Utamaro .
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THE EVENING VIEW OF KOMINATO. [A SHIN HANGA COLOR WOODBLOCK PRINT]

SUZUKI, Kason. [KWASSON] [Tokyo ca 1910, Hasegawa].Color woodlbock print: 27.6 x 21.2 cm., tiny restorations to left corners, else fine registry & impression, done in grey pastels, unsigned example,the verso clean, a solid example. OBSCURE FIRST & ONLY RARE EDITION **** ** A STUNNING EVENING VIEW OF KOMINATO OFF THE CHIBA COAST A SUPERB & SERENE VIEW OF SAIL BOATS SUSUKI Kason: [1860-1919]: He was a fine artist, a student of Kikuchi Yosai [1788-1878], Nakajima Kyosai, later created a style based on the Tosa, Ukiyo-e and Shijo schools of painting. He also produced Kuchi-e [frontispieces for books or inserts in magazines & newspapers]. He favored drawing Bijin [beauties] in publications like the YOMIURI SHINBUN [a newspaper] and the BUNGEI KURABU a magazine, although he is best known for his KACHO [bird & flower] drawings & landscapes. Kason came into prominence around 1889-1890. He was also quite well-known in the West by submitting wok=rk to the Japan-Britain Exhibition of 1910. He is best known as the teacher of Ohara Koson [Shoson] Kason's works were published by the well-known and prolific Hasegawa house of Tokyo. See below. The current offering is the right half and while Hasegawa illustrates this with the artist's signature at the left margin, our example does not have the signature. It is clearly an earlier or First Edition, as the signature is alos found in the second print with signature at far left. At thist time, diptychs were seldom done. The logic of signature application was to put on the last print, as by Japanese logic, since this set of two companion prints were to be sold as a pair, there would be no need for the first half to be signed. Traditionally Japanese wooodblock prints issued in diptych or tryptych only had a signature on the last print. Japanese could not imagine foreigners collecting single prints from a group of matching prints. Our example matches identically the one illustrated by Stephensk except for no signature. See Stephens below. CONDITION: The work is remarkable clean and solid, with excellent registry & impression. The left two corners were restored at some time in the past, along with several very tiny pin holes mostly near the edges, by Washi paper on the verso. The print is solid and stable. Otherwise the verso is clean, no issues. NOTE: Please review color photos posted to our website. REFERENCES: Amy Stephens: THE NEW WAVE, p.88, color illustrations 49a & 49b. which is our example. NISHINOMIYA & HASEGAWA: HASEGAWA PUBLISHING CO.: "CATALOGUE OF JAPANESE COLOUR PRINTS, ILLUSTRATED BOOKS ETC." undated,illustrating each of the two prints as a diptych, included are three views entitled: THE EVENING VIEW OF KOMINATO, with one illustrated with seal, [unlike those illustrated by Stephens]. Each a different size. The catalogue further advertises coillaborative work between Kason and Yoshimune of illustrations to crepe-paper book JAPANESE FAIRY TALES by Lafcadio Hearn. Page 30. SHARF, Frederic A.: TAKEJIRO HASEGAWA: Meiji Japan's Preeminent Publisher of Wood-block-Illustrated Crepe-Paper Books. Takejiro Hasegawa An Innovative Publisher of Meiji Japan. Bibliographical Notes on Takejiro Hasegawa's Contributing Authors and... There are a large number of books illustrated by Kason listed in this resource. Its very clear, that from an early time Kason had a working relationship with Hasegawa and was a stable artist working on a substantial number of illustrated crepe paper books. See pp.21, 35-37 + title index for his illustrated fairy tales. .
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“BEAUTY & NANDINA:” A MODERN TAISHO PERIOD JAPANESE BEAUTY. [Shin Hanga Color Wo

IWATA, Sentaro. [Osaka 1937, Osaka Mainichi]. An Oban color woodblock print extracted from a Japanese magazine, evidence of mended pin holes at right margin, all edges restored, small brown spot upper right, else excellent registry & impression. R A R E ! **** *** A STUNNING COLOR SHIN HANGA WOODBLOCK PRINT OF A TAISHO PERIOD BIJIN [JAPANESE BEAUTY] PRINT TITLE: "BEAUTY & NANDINA" THE ARTIST: IWATA Sentaro [1901-1974]: He studied with Ito Shinsui and made newspaper and magazine illustrations up to World War II. He is known for woodblock prints of Bijin [beauties]. A celebrated & eminent Shin Hanga period artists. This print is signed in block: "Sentaro Ga." CONDITION: This print was bound in the Osaka Mainichi magazine: JAPAN TODAY AND TOMORROW, 1937. The image is excellent with fine impression and registry in superb pastels, tastefully colored. Typical of Showa period prints bound in magazines, this one was printed on poor quality paper, after 80+ years the edges were broken and chipped. The right margin shows evidence of the print being bound into a period Japanese magazine, thus the remaining pin holes where binding thread held the print fast. Most likely 'roughly' removed, however all edges, margins restored, sold "as is" please review photos posted to our website. The image is by and large excellent, only the edges were restored. The print has been restored using Washi [hand-made mulberry] paper and rice glue, making it firm and stable. There are a few small but mended closed tears and a bit of re-backing, the print is firm, solid and stable. There is a small spot at the back of the woman's head in the upper right, else no other issues. The image can be matted and framed, excluding the edges. Excellent for display. All in all an obscure image, in above average condition. NOTE: Please carefully review photos posted to our website. REFERENCES: MERRITT, Helen. et al.: GUIDE TO MODERN JAPANESE WOODBLOCK PRINTS: 1900-1975, pp.49.50 [Biography], p.350. --. MODERN JAPANESE WOODBLOCK PRINTS: The Early Years. p.105 NOT LISTED IN: Amy Stephens. et al. The New Wave -Twentieth -Century Japanese Prints from the Robert O. Muller Collection. MERRITT, Helen. et al.: WOODBLOCK KUCHI-E PRINTS: Reflection of Meiji Culture. BROWN, Kendall H. et al.: SHIN-HANGA: New Prints in Modern Japan. SMITH, Lawrence.: MODERN JAPANESE PRINTS 1912-1989: Woodblocks and Stencils. .
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NARA KOFUKUJI: KOFUKU SHRINE, NARA [A Shin Hanga Color Woodblock Print]

TSUCHIYA, Koitsu. [Tokyo 1937, Doi]. Obam print, sheet size: 28.5 x 42.5 cm., print size: 25.9 x 39.4 cm., superb registry and impression, deckle edge top, fine example, 12 colors. RARE FIRST EDITION *** *** SUPERB VIEW OF NARA KOFUKU-JI: KOFUKU SHRINE, NARA STUNNING REFLECTION IN THE WATER OF THE PAGODA FIRST EDITION JUNE, 1937 A SUPERB EXAMPLE ! A marvelous look at the pagoda with superb reflections. From the "VIEWS OF JAPAN" series, WHO WAS TSUCHIYA KOITSU [1870-1949]: Shin-Hanga Artist: Koitsu, born in Hamatsu, Shizuoka prefecture, he studied with the carver Matsuzaki, who worked for the famous painter and print artist Kobayashi Kiyochika. He then worked with Kiyochika and was published by Watanabe & Doi. Koitsu's specialty was landscape prints, his works are comparable to Hasui and Shinsui's landscapes. SUPERB AND IMPRESSIVE EXAMPLE: This stunning print is nicely executed, ready for display, flawless, in the publisher’s original paper-framed mat. THE SERIES: This print is from the "Nihon Fukei Shu" [Collection of Japanese Scenery]. PUBLISHER, CARVER, PRINTER SEALS: In the left margin is the Doi publisher seal, below that is the printer: Yokoi, and carver Harada seals in black. CONDITION: This print is in excellent condition, there are no issues, the verso is clean. NOTE: This print is just a tiny bit larger than our scanner, therefore we could not scan the top deckle edge with ample margin to outline this. Please see illus04.jpg which clearly shows the top portion of the print. NOTE: Color scans are posted to our website. REFERENCES: A. Stephens ed.: THE NEW WAVE, p.110-114. K. Brown: SHIN-HANGA: New Prints in Modern Japan pp.70-72, 82-83, illustration numbers 70,67,69,91, figures 90, 93 & 111 et al. S. Watanabe: CATALOGUE OF WOOD-CUT COLOR PRINTS BY CONTEMPORARY JAPANESE ARTISTS, 1951: p.44-45 for a list of prints by him and biographical notes. WALKER, Ross F.: THE CATALOGUE RAISONNE OF TSUCHIYA KOITSU, no. TK-DH-44, p.92, 332 [TSUCHIYA, Koitsu].: TSUCHIYA KOITSU FUHKOH RAISAN: TSUCHIYA KOITSU ADORATION OF SCENERY. [SHIN-HANGA PRINTS OF TSUCHIYA KOITSU IN CHIGASAKI CITY ART MUSEUM] SCENERY. [SHIN-HANGA PRINTS OF TSUCHIYA KOITSU IN CHIGASAKI CITY ART MUSEUM]. .
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AZUMA MEISHO HAkKEI: EIGHT FAMOUS SIGHTS OF EDO [OLD TOKYO] [Big Head Bijin [Jap

TOYOKUNI I. Edo ca 1805-1815, Maruya. Oban color woodblock print, sheet: 26 x 39 cm.,9 colors, minor & usual bit dusty, a mild fold, artist signed, censor & publisher's Hanko [chop/seal], with excellent impression & registry. FIRST & ONLY EDITION **** *** A LOVELY VIEW OF A BIG HEAD BIJIN [JAPANESE BEAUTY] FROM THE SERIES: AZUMA MEISHO HAKKEI EIGHT FAMOUS SIGHTS OF EDO [OLD TOKYO] TOYOKUNI I [1769-1825]: He was a noted Ukiyo-E painter, print artist & illustrator, pupil of Toyoharu. Of the leading Ukiyo-E designers Toyokuni was the least original butr succeeded so well in emulatint the finer points of his more creative contemporariesthat, in his best work,he is uliverwaly accorded a place nearly equal to theirs. See Lane below. THE SCENE: This shows a close-up of a Japanese Bijin [beauty] who carries a tray of food, a red-lacquer box and several small ceramic dishes of Tsukemono [pickles]. She wears an elaborate Edo period coiffeur with one Kanzashi [long hair pin]. Her Kimono shows three bats as part of the design. CONDITION: The registry & impression are excellent, there is an old minor center fold, one small black spot right of her coiffeur, overall a bit dusty, otherwise a very good example. Please review the photos posted to our website. NOTE: Color photos are posted to our website. REFERENCE: LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E. pp.337-338, publisher seal p.316. .