[Japan?]: [c. early 20th century]. Accordion-bound large octavo artist's sketchbook, containing 25 double-page, hand-painted color images, including nature scenes, portraits of Hotei and Daruma, and village life. The images are minimalist and bold, with heavy influence from Chinese brush painting. The artist is anonymous, but quite talented. Bound in blue cloth-covered boards with paper label on upper cover; board edges rubbed, water stain to lower right corner of one image. An excellent collection of original Asian art.
January 29, 2019 eList: Asia
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Kyoto: 1823. Early edition of a collection of Japanese ballads by the Heian poet and musician Senmaru. 3 vols, pp. ; ; ; 9 double-page color woodblock images by Akatsuki no Kanenari, plus a few single-page illustrations; stab bound, yellow stiff paper wrappers; string broken, cover label on third volume perished, good. A later edition was published in 1850. This is likely the first.
n.p., n.d. [Japan: ca. 1840s-50s.]. The first, approx. 8½" square shows a printed zodiac wheel with a working volvelle in the middle, with 12 zodiac animals and characters for the 4 seasons on a blue background, and within a neat, interlocking black-ruled border; the second, approx. 7" x 9¼" is based based on the I Ching and includes three printed sticks that when tossed produce trigrams. These trigrams are then matched to associated fortunes on a octogonal chart. The center of the chart can be folded over to provide three separate sets of fortunes, apparantly depending on weather conditions.Printed in blues and reds, with a label on back reading, "Kaich sokuza uranai: Shunj doshi;" the third, approx 9" square shows a circular chart with 30 segments in red and yellow on a blue background. The center folds up to become a standing divider. On back is a label in blue and red with an image of a gourd. Accompanied by three cards with text on each side. The second and third items have slight creasing and worming, affecting some text.
Tokyo: Gihido, 1962. 8vo, pp. 7, , 50, , 198, , 31, ; preliminaries in Japanese with English translation laid in, hundreds of illustrations, including plans, layouts, landscapes, and details, most photographic, a few in color, with captions in Japanese and English; blue and white cloth boards with details in blind; owner's stamps on title page, a couple preliminaries dogeared, in an edgeworn blue dust jacket. Saito Katsuo was a Living Treasure of Japan, and designed a number of famous modern Japanese gardens, including Myo-wa-en in Seattle and the rock garden at the New York UN. His analysis of dozens of extant gardens in this book provides a window into his overall design philosophy.
Tokyo: Gyokugandou, [Mid 1800s]. 2 volumes, 39 and 43 leaves, 5 preliminary material and the rest containing conjugation charts for around 700 terms. Bound in the Japanese manner in blue paper covers and paper labels; light wear to covers, string binding renewed, very good. A Japanese grammar. The author's preface is dated Tenpou 12 (1840), though given the nature of woodblock printing and the lack of a proper colophon it is difficult to say if this is the date of printing for this particular copy. Ci.nii.ac.jp lists two editions in 1848 and 1852. An increase in contributors listed in the back of vol. 2 from other known copies suggests our copy was likely printed around the later date.
Tokyo: Zuiji Shobou, 1884. 2 volumes, 50 and 51 leaves bound in the Japanese manner, blue paper covers and paper labels, cover title in vol. 1; light rubbing to covers, ties refreshed, very good.A reader covering difficult points in the Japanese language, with vocabulary lists, grammar charts, and selections of prose marked or highlighted with borders to aid the student.
Tokyo: Kinshodo, 1880. 15 volumes, slim 8vo, original color pictorial wrappers sewn in the Japanese manner, contained in 5 color pictorial sleeves (3 volumes per sleeve, as issued); illustrated throughout in color and black and white; a few minor short tears, minor occasional worming, but generally fine. A famous Japanese story of the "Japanese Robin Hood," illustrated by Baido Kunimasa Gimei No Takashima, i.e. Kunisada II Utagawa (1823-1880), a pupil of Kunisada (Toyokuni III). A movie, starring the Japanese film great Toshiro Mifune, was made of it in 1960 (also known as "The Gambling Samurai") in which "Chuji Kunisada returns to his home village to find that Jubei Matsui, the corrupt magistrate, has been responsible for virtually destroying Kunisada's family. A final tragedy leads Kunisada to join with a band of rogues living in the forest in robbing from the rich and giving to the poor, always with an eye toward avenging himself on Magistrate Matsui." Folk stories such as this "competed with official history, and the protagonists that filled this history were outlaws such as gamblers, chivalrous men, masterless samurai, itinerant priests, and entertainers. Of all the periods of Japanese history, it was at the end of the Tokugawa Shogunate and beginning of the Meiji Restoration (1868) that the roles played by these legendary heroes reached their peak. They were written about in books, depicted in colored woodblock prints, portrayed in Kabuki, and appeared in stories and narrative ballads, becoming popular heroes deeply ingrained in the people's consciousness."
Yokohama: published by the author, 1910. First edition, 2 vols., small 8vo, pp. xxvii, 391, ; vi, 453, ; 70 plates including color frontispieces, folding map; light stains in margins of last few leaves of vol. II, copyright notices inked out in both vols., otherwise near fine in dust-jackets with wear at spines and very small chips at edges. "The story of the lives and adventures of Iyo-no-Kami Minamoto Kuro Yoshitsune and Saito Musashi-bo Benkei the warrior monk."
n.p., n.d. [but Japan: after 1859. An interesting and instructive look at how the Japanese learned English in the generation following Admiral Perry's opening of Japan. 2 volumes in 1, oblong 8vo, approx. 198 french-fold pages sewn in the Japanese manner in contemporary and almost certainly original brown paper wrappers; minor working and wear, but in all a very good and striking example of a Japanese student's workbook for the attainment of English. The book has apparently been copied from American primers published by A. S. Barnes in New York in 1857, and Sargent's School Primer, Boston, 1859; both contain a variety of reading and spelling lessons "especially adapted to the capacity and taste of young children. It is hoped that it will proved [sic] valuable introduction to the national series of school readers prepared by Richard G. Parker." Both Parker's and Sargent's primers were available in bi-lingual editions in the Japanese market. Might this be the manuscript from which a printer might have used to publish the Japanese editions? Throughout, the English text, which has been carefully written in ink, is often translated interlinearly in red ink with Japanese characters creating an attractive visual appearance on the page. Included are 3 pages of alphabets, simple sentences, often in rhyme ("A cart for me / to ride and see / A ship at sea / with you and me." An interesting and instructive look at how the Japanese learned English in the generation following Admiral Perry's opening of Japan.
Japan: ca. 1796. Large 8vo, pp. ; old Japanese "grass" script with Chinese elements, 18 extraordinary double-page watercolor illustrations; sewn and bound in the oriental style (fukurotoji) in original speckled beige wrappers; very slightly worn, preserving the original manuscript label label; a very good, attractive example, beautifully illustrated. An account of a voyage through the Izu Islands, a chain of islands south of Tokyo Bay, including Hachijojima, Hidojima, Arajima, Ooshima, and Miyakejima. Apparently one of three volumes, but this trip is complete unto itself. Apparently this voyage came as the result of an order from the Kansei Shogunate. During this period there were a number of people who traveled at the government's request to record geographical and cultural observations all over Japan, including Ino Tadataka who is known for completing the first map of Japan. Among these travelers was a local magistrate by the name of "Ochu" ("Taichu") who lead an expedition in 1796 to the Izu Islands. With him was the artist Kodera Osai, and it is his art work that graces this spectacular manuscript. The textual account of the voyage, dated April to December, 1796, is also likely his. In it he records excursions to temples (on the island of Hachijo he used the Soufukuji Temple as lodging), recounts his experiences with the local cuisines (he's a fan of sake), takes note of the silk and weaving industry, and records incidents of family life (in one particular household he notes that there were 14 to 15 children, all of whom were hungry). He describes the flora and fauna (but not in scientific terms) and tells of fish, sea turtles, frogs, etc., as well as the local agriculture, mountains, and bamboo forests. He also has an interesting account of a family trying to fix their roof, and mentions that he can see Mt. Fuji in the distance across the sea. He also tells of the costume of the island inhabitants, how they fix their hair, how the women occupy themselves during the day and how they take care of their husbands at night. On the return voyage a storm was encountered and Kodera recounts the rough trip back. The illustrations include a wonderful cartographic illustration of Hachijo, the first island he visited, showing the topography, the villages, trees, a path, etc.; 2 botanical illustrations; 3 illustrations of fish; 3 illustrations of villages showing inhabitants at work and play; a rock lobster; a sea turtle being pulled and prodded ashore by nearly naked natives; two native women (one bare-breasted) before a mirror, as well as other general scenes of the islands and the inhabitants.
Newtown: Bird & Bull Press, 2001. Edition limited 170 copies, this the bookbinder Greg Campbell's copy, Campbell-Logan Bindery, and out-of-series; pp. 197, ; illustrations, facsimiles, photos, and samples tipped in; original quarter morocco, leather spine label, Japanese cloth over boards, cover stamped in gilt; prospectus laid in. In a cloth covered clamshell box with leather spine label. Fine. The gilt Japanese titling on the upper cover has been stamped upside down. Sid Berger called us a day or two after we'd catalogued this book and gave us the story. The entire edition was bound with the Japanese text on the cover upside down. When Morris received the book he was, shall we say, disturbed, and sent the entire edition back to Campbell-Logan where the book was stripped of its cloth cover and the error corrected. Berger tells me that only 3 of the edition still have the original binding with the upside down text: his, Henry Morris's, and this copy from the chastened binder. The first 4-volume set of Tindale's Handmade Papers of Japan is one of the finest books on Japanese papermaking published. This edition expands the text and includes a number of full page illustrations, color photographs, and 7 paper samples tipped in. Forty-Four A66.
Kochi-shi: Kochi-ken Tesuki Washi Kyodo Kumiai, 1990. Edition limited to 500 copies; 2 volumes, small folio, pp. , 106, xiv, ; , 5, , followed by 150 leaves with tipped-in paper samples, each with descriptive text in English and Japanese, ; all on double leaves and bound in original brown wrappers in the Oriental style, printed paper labels on upper covers; volume I contains 8 pages of color photographs, and additional black & white photographs throughout the text depicting the papermaking process, as well as a summary of the text in English; contained in a dark blue folding case with thongs and a printed paper label on the upper cover, and the whole in a black cloth clamshell box with paper label on spine. Published by the Japanese Handmade Paper Association.
North Hills: Bird & Bull Press, 1981. Edition limited to 250 copies (this, no. 112), 8vo, pp. 87, , 12, ; 33 colorful chiyogami samples tipped in, 18 leaves of "screen paper" samples; the text is comprised of a review of a few English language books on Japanese paper (and a facsimile reprint of Henry Munroe's The Manufacture of Japanese Paper); original quarter black oasis over Japanese block-printed Kyo Katazomegami paper by Gray Parrot , teal morocco label on spine; fine. Thirty A32.
Newtown: Bird & Bull Press, 1984. Edition limited to 500 copies (this no. 223), 4to, pp. x, 43, , followed by a facsimile of the Parkes report, 19 facsimile water colors (depicting 20 figures), and facsimile leaves of the papermaking manual Kamisuki chohoki; original maroon morocco-backed decorative paper-covered boards, black morocco label on spine. Accompanied by a separate folio with an extra suite of the 19 watercolors; together in the publisher's slipcase; fine. Henry Parkes was sent to Japan to survey the Japanese paper-making process in 1869. The paintings included were commissioned specifically for this report and were likely copied in part from Kamisuki chohoki. Thirty A38.
[Tokyo: Kinrindo, 1883]. 12mo,  leaves printed and sewn in the Japanese manner; xylographic illustrations in text throughout; original black wrappers, printed and manuscript labels on upper cover (the former partially perished); wrappers a bit worn, string partially perished. Illustrated with two annotated facial diagrams and 8 portraits depicting various facial characteristics. Preface dated Tenpo 11 (1840). National Diet Library only in OCLC as of June, 2014.
[n.p.], [n.d.] (circa 1855). Colored woodblock diptych approx. 35 1/2 x 24 cm; 2 small worm holes on inner margins, otherwise fine and bright. An extrememly unusual and beautifully-colored Ukiyo-e print featuring Japanese men and women grinding spice under the eye of a Westerner. The only other copy located is at the Boston Museum of Fine Arts. Title translates as "We're all in this together" or "Currying favor in this world"
n.p. Meiji 10, . Color woodblock diptych of children playing at Tug o' War, notable for the inclusion of two western children, each part of the dyptich approximately 14½ x 9¾ inches (14½ x 19½ overall), printed in red, yellow, green, blue, gray and black, showing 5 figures on each side of the battle, one waving a Japanese flag, and two western "overseers."
Kyoto: Kyoto Hanga-in Co., Ltd., [n.d.] (circa 1950). 11 1/2'x9'; woodblock prints; 6 leaves of plates in color illustrating Japanese proverbs, without the expalanatory leaf, minor soiling and edgewear, else very good in paper-covered pictorial boards, tied with string. Reproductions of prints by the painter Iwasa Matabei (1578-1650) from the Ohtsu region of Japan, known for his Satirical Paintings.
[Tokyo]: Ryoko Do, 1907. 36 x 24 1/2 cm; Japanese color woodblock print, Meiji 40, Japanese text on upper and side margins; minor chipping along edges, small pearl-sized hole near upper corner, else very good. Omocha-e print of various toys: dolls, rocking horse, animals, ship, trolley, swords, and instruments to name a few.
[Tokyo]: Ryoko Do, 1903. 36 x 24 1/2 cm; Japanese color woodblock print, Meiji 36, Japanese text on upper and side margins; minor chipping along edges, else very good. Omocha-e print of the Japanese folklore tale of Momotaro, features rectos & versos of warrior and ogre dolls, along with their weaponry, designed to be played with, cut out and constructed into three-dimensional dolls.
n.p. n.d. . Color woodblock print, approximately 14½ x 10 inches, of an English couple beneath a running header of Japanese text. Ushitora did a number of prints of foreigners. Sometimes, as in this print, above the image, there is depicted is a list of foreign vocabulary. In top row are Japanese words, below which appears phonetic approximation of (in this case) the English pronunciation of the word.
Osaka: Shiya Chuubei, 1797. Large format fukurotoji, original blue paper covers, 5 volumes in 6, lacking the 2 appendix volumes; 144 illustrations, most double-page spreads, depicting a variety of scenes along the pilgrimage to Ise Shrine. The stitching for each volume is partially perished, except for the second part of vol. 5, which has been restitched; light wear to covers, internally clean. The Ise Grand Shrine is one of the most important sites in Shinto. It is dedicated to the sun goddess Amaterasu and is one of the oldest religious sites in the world. Pilgrimage to the shrine has been heavy and consistent since at least the early 18th century, with many hundreds of thousands of people visiting per year during that time. This illustrated guide records the various scenes of the pilgrimage, which was undertaken by the rich and poor alike, and depicts raucous street scenes, religious rites, court images, battles, and landscapes.