Rarely can the origins of an art movement be as precisely dated as that of the Creative Print Movement in Japan. Ishii Hakutei, in 1904 the editor of Myôjô magazine, published a little print titled the "Fisherman", done by Yamamoto Kanae in the magazine.

 
Within a few years, the idea of a self-carved, self-printed individual expression of an artist's vision became a movement in the printmaking world. It stood in contrast to the traditional craft of print-making, which consisted of the cooperation of the artist-designer of the image, the block-cutter and the printer. Those artists and artisans would coordinate the block separations necessary to create a finished print. In many cases those traditional prints were an effort to reproduce the "feel" and "brushstrokes" of the original design. The block carvers and printers had enormous skill and, though not considered as such, were artists in their own right.
 
We do not have room to explore the proliferation of the "Creative" ideal of artistic self-expression, except to mention that it was remarkably durable and lasted through most of the 20th century in Japan. Prints, albums, livre d'artiste - privately printed, as books or dôjin art group magazines and sometimes commercially produced by small presses dedicated to the genre, presses like Gohachi in Tokyo or Riichi Books in Osaka.
 
In addition to the Creative Print items, we are also including a section of so-called Shin Hanga and Sketchtour books and albums, which employed a more cooperative and traditional approach to production, using professional block cutters, printers, etc. In that regard, we can mention the print and album production of Watanabe Shôzaburô and, especially, Kanao Bun'endô, the latter of whom created a long list of wonderfully illustrated journeys in Japan and throughout the Empire.
 
But the boundaries between the two movements was never ironclad and the artists involved frequently move from one side of the divide to the other.
 
May you enjoy them all as much as we have.
 
Charles Vilnis
 
 
 

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89603. [BOOKPLATES - CREATIVE PRINT MOVEMENT] YAMAUCHI Kinsaburô. ÔTSU- E ZÔHYÔSHÛ. Tôkyô, Gohachi, Shôwa 62 [1987]. String-bound, Japanese-style, with 12 color woodblock printed bookplates. 18.1 x 15.6 cm Enclosed in a washi paper wraparound with printed paper title label. This is #36 of 50 copies, done as a reprint of the original edition done in 20 copies in Shôwa 35 [1960]. Fine condition.

$285.00

 

 

 

 

 

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90202. [CREATIVE PRINT MOVEMENT] HIRATSUKA Un'ichi, editor. KITSUTSUKI Hangashû Sango Shizumono. This "Dôjin" magazine was limited to a maximum of 500 copies, though, as it ceased production that year of 1931, it would be hard to credit such a large production of it. Edited by Hiratsuka Un'ichi, as well as other famous Creative Print artists such as Kawakami and Onchi, the ten prints included of "still life" scenes are quite lovely and skillfully printed. As mentioned, the original KITSUTSUKI magazine here presented, died in 1931, though two issues of a totally different magazine with the same name, also organized by Un'ichi, appeared briefly some 11 years later, during the Pacific War. This early work is extremely unusual and the artists very important, including such masters as Munakata Shiko, Kawakami Sumio, Hiratsuka Un'ichi and Tokuriki Tomikichirô, among others. Complete, as issued, the cover spine is starting, else, very good inside and out.

$950.00

 

 

 

 

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89663. [CREATIVE PRINT MOVEMENT] Hiratsuka Un'ichi. KÔYÔ KUYÔ Hiratsuka Un'ichi Shôgashû. Signed by Un'ichi, numbered 12 of 300 copies. Published by the important NIHON AISHOKAI group. Shôwa 17 [1942] Small 8vo., Bound western-style in paper-covered boards. There are 12 wood-engraved illustrations and other devices within, as well as wood-engraved illustrations on the cover and dustwrapper. In near perfect condition, unusual for such an ephemeral item published during the Pacific War. Un'ichi is one of the seminal members of the Creative Print Movement. The amount of artistic activity conducted by individuals and artist groups during the war is quite remarkable.

$675.00

 

 

 

 

 

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89243. [CREATIVE PRINT MOVEMENT] KAWAKAMI Sumio, artist. SHINDERERA SHUSSE EBANASHI' Tôkyô, Shôwa 18 [1943]. Small, 21.2 x 15 cm., brightly colored and charming version of Cinderella, printed privately for Kawakami in color woodblock as number 88 of an edition of 200 copies. String-bound Japanese-style, fukuro-toji, enclosed in the original printed wraparound cover. A perfect copy of this rare item, produced during the war, signed by Kawakami, one of the most important and popular of the creative print artists. As issued.

$1,250.00

 

 

 

 

 

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89049. [CREATIVE PRINT MOVEMENT] Kuriyama Shigeru, editor. HIHAKU Dai-ikkan, Dai-ichigo. Shizuoka, Shôwa 9 [1934]. Bound Western style in block printed wrappers. 28.7 x 21.5 cm. Contains 12 hand- printed images by such masters of the modern Japanese print as Maekawa Sempan, Hiratsuka Un'ichi, Fujimori Shizuo, Yamaguchi Susumu, Kawakami Sumio, etc., etc. Very scarce dôjin magazine, printed in but 80 copies. Pre-war privately printed magazines like these are quite scarce. In near perfect condition.

$1,100.00

 

 

 

 

 

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89297. [CREATIVE PRINT MOVEMENT] SARASHINA Genzô, poet & KAWAKAMI Sumio, printmaker. KAPPA-DÔ. Tôkyô, Sancha-shobô. Shôwa 53 [1978]. #188 of 200 copies. Bound western-style, printed on Japanese paper, 25.3 x 17.3 cm., with printed washi paper dustwrapper and the original printed box. Lovely poetry book, illustrated with 12 color woodblock prints by Kawakami. Signed by Sarashina. About fine condition throughout, with the original announcement postcard laid- in.

                                                                                                                                                                                                                                      $475.00

 

 

 

 

 

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89807. [Creative Prints] SHINOHARA Cao, artist. HISHÔ NO SHINTAN. Shôwa 45 [1970] A small (7.5 x 7.5 cm) western style square book bound in white leather. Illustrated throughout in tiny engravings, some colored, signed by Shinohara, numbered 83 of 100 copies. In a lovely little leather slipcase and wraparound paper, like new. A very unusual work from the heyday of Japanese artist books after the War.

                                                                                                                                                                                                                                             $375.00

 

 

 

 

 

 

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89806. [CREATIVE PRINTS] WATARAI Jun'suke, artist. KOROPOKKURU NO SHI. a little (9.8 x 7.4 cm) leather wraparound box, gold embossed with 13 copper engravings inside, illustrating a text of [POEMS OF THE LITTLE PEOPLE], the little people being humanculi of Ainu legend who "take their ease under the trees" of the great northern forests. Though undated, this copy is #9 of 50 copies, and was produced by Sawamura Gallery, probably in the 1970s. In perfect condition throughout, with the original wraparounds, the text pamphlet and the outer shipping box, as well.

$385.00

 

 

 

 

  

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89596. [Ehon] Hashimoto Okiie, artist. NIPPON NO SHIRO. Tokyo: Katô Hanga Kenkyûsho, Shôwa 19 [1944]. 29.2 x 21.1 cm. String-bound Japanese style, fukuro-toji in a printed dustwrapper, in a clasped chitsu case. 13pp. text + 12 woodcuts. This study in words and woodblock prints of twelve of the most famous feudal era castles in Japan is a remarkable testament to the resiliency of the Japanese creative impulse, even in the midst of the Pacific War. The scholarly text is by Kishida Hideto and the twelve double-page color woodblock prints were designed by Hashimoto, here reveling in the subject he knew and loved best. Depicted are Chiyoda Castle in Tokyo, Osaka Castle, Hirosaki Castle, Okayama Castle, Matsuyama Castle, along with Himeji, Kôchi, Ogaki, Oyama, Nagoya, Komoro and Hikone Castles, many of which would be in ashes within a year. This is a lavish and very well-printed production on good paper. The prints are very fresh. [See Hillier 1044,5]

$1,250.00

 

 

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90474. Furutani Sadaji, author and Hōga Toshiko 宝賀寿子, artist.  Hokkai no Sakana ほっかいのさかな. 古谷貞治. Fukuoka. [1989]. Self-published. An artist’s proof of a limited edition of 40 copies. 20 original woodblock prints loose in a 12 x 12.5cm green envelope with silver woodblock print on cover. Each is done on a single sheet 11 x 23.5cm, folded once to approx 11 x 12cm, with monochrome woodcut on front and woodcut text on back. An additional red and black woodcut serving as the cover includes the company name and telephone number. Each print has “Ap” handwritten as well as the signature of Toshiko Hōga in English. Housed in a 13 x 13.5cm cardboard slipcase with a woodcut laid down on cover. Both cases initialed “Ap.” Colphon on single sheet folded twice with monochrome woodcut Japanese text. Photocopy of an index to the prints in handwritten Japanese text is laid in.

Prints were designed in December of 1983 to advertise the Hokkaido-based Hokkai fish company. This revised edition, with the addition of text, was done in 1989 and self published utilizing a series of designs by Hōga Toshiko 宝賀寿子. It was published on Furuya’s birthday, when he was 80 years old and his wife Yukiko 古谷雪子 was 72 years old, also commemorating their 50th wedding anniversary.

Hōga is a longtime resident of Sapporo, Hokkaido, and has published many works since the start of her career in 1984.

$325.00

 

 

 

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51716. (HAMAGUCHI Yôzô) HAMAGUCHI YOZO HANGA SAKUHINSHU. Tokyo: Nantenshi Gallery, 1973. Small oblong folio, 201pp+ #712 of 1,111cc of the "regular edition". A catalogue raisonne (as of the time) of the graphic work of this internationally acclaimed artist. Dimensions, edition sizes, media are laid out in both English and Japanese. Illustrated in color and monochrome throughout. Useful and interesting. Very fine, in the glassine, slipcase and shipping box.

SOLD

 

 

 

 

 

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89314. KAWAKAMI Sumio, artist JIMBUTSU IROHA EGERESU Tokyo: Ryûseikaku, Shôwa 26 [1951]. 18.5 x 13.2 cm. Reduced offset version of the original edition done in woodcut in 1935. Printed boards in a printed clamshell publisher's box. One of 1000 copies, signed by Kawakami. Western bound. The title of this book could roughly be translated as "an illustrated alphabet of personalities." 26 full page b+w woodcut vignettes, from Admiral to Zeus, accompany a short English and Japanese description on each facing page. A fascinating slice of the Meiji life of Japan in pictures, an era Kawakami returned to again and again in his art. Very clean. An enjoyable work with Kawakami's usual verve.

$285.00

 

 

 

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89325. KAWAKAMI Sumio, artist. PAN TO NINFU. Privately printed #3 of 40 copies. Ribbon-bound in printed covers, 18.1 x 13.6 cm. Wonderful images printed on black paper, enclosed in a gold wraparound with printed paper label. One of Kawakami's scarcest and most desirable works, here in excellent original condition.

$1,450.00

 

  

 

 

  

 

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89320. KAWAKAMI Sumio, artist. RIREKISHO, Gohachi (Seiensô), Shôwa 45 [1970]. Oblong western-bound book, 16.7 x 20.0 cm. #28 of 100 copies, signed by Kawakami, with many hand-colored illustrations in this, his "RESUME". A charming book in Kawakami's distinctive style. Fine in the original shipping box and inner clamshell. Uncommon.

$1,250.00

 

 

 

 

 

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87793. [LITTLE MAGAZINE] FUJITA Erosu, author, artist. PRINT AND POETRY PAMPHLETS. Shôwa 7 to 12 [1932-37] 51 assorted issues of this little series of poetry and print pamphlets by Fujita published in Tôkyô by one Tomita Hikaru under the publishing house name of SHIN MYÔJÔ. It would seem that Fujita was the only contributor. The front and rear covers are "kikai-zuri" machine printed woodcuts, the contents have some intext illustrations. The sizes range from 19.9 x 14.7 cm to 22 x 15 cm. There are 2 issues from 1932, 6 from 1933, 11 from 1934, 11 from 1935, 11 from 1936, and 10 from 1937. Brooding, gloomy aesthetic. Very interesting example of the sort of creative effort even amateurs were capable of in the 30s and how conversant they were with trends in world art. The pamphlets are in Japanese, but often subtitled in German. As one might expect, this ephemeral production is vanishingly rare. I can find no trace of it in any institution. In very good condition throughout.

$575.00

 

 

 

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85893. [LIVRE D'ARTISTE] MORIMOTO Kiyôko, artist. SANJU-SAN BUTSU. Osaka, Riichi. Shôwa 49 [1974]. 22 x 23.5 cm. Hand-bound western style in ostrich leather by Hirooka Riichi. Morimoto was an Osaka printmaker who handcut and handprinted the blocks for the "33 Buddhas" of the title. Designed for an edition of 10 copies, this copy is out of series. There is a small (tanning?) blemish on the ostrich leather, else fine in the original publisher's clasped case. Very Good.

$985.00

 

 

 

 

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88370. (Maki Haku, Artist) Brannan, Noah, & William Elliott, translators. FESTIVE WINE. ANCIENT JAPANESE POEMS FROM THE KINKAFU. New York & Tokyo: Weatherhill, 1969. #60 of 150 deluxe copies, signed and sealed by the artist Maki Haku and including 21 signed color woodblock prints by him, with ancient Japanese haikus on the facing pages. This deluxe edition is folio in size, 31.5 x 24.6 cm, and the prints have an image size of approx. 19.5 x 14 cm. It is printed on kyokushi handmade paper and bound in hemp and goatskin with a washi dustwrapper which has had a window cut in the area covering the title. This has been covered with a transparent plastic slip, producing light offsetting to the portion of the spine which has come into contact with this plastic film. It is housed in a cedar wood slipcase. Truly a deluxe production, this represents one of the finest books of its kind issued in the postwar period in Japan. It is about fine.

$3,600.00

 

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90175. SARASHINA Genzô ; KAWAKAMI Sumio, artist. HOKKAIDÔ EHON. Sapporo: Sarorun Shobô, Shôwa 30 (1955). 21.2 x 15.2 cm. Western-style binding. Sarashina Genzô (1904-1985) was a Japanese anarchist, activist, and poet active in the Shôwa period. Born in Hokkaidô to first-generation settlers, he attended school in Tôkyô but dropped out to return home. He was critical from a young age of the Japanese government's policy on the assimilation of the Ainu people, and was fired from a job as a school teacher when he refused to teach the prescribed history syllabus. He started the publication of poetry magazines 'Riri' ('Lily') and 'Gasu', and, inspired by poets like Ozaki Kihachi and Takamura Kôtarô, started to write poetry himself. In 1930 he published 'Taneimo', a collection of poems on the plight of poor migrant farmers and the Ainu people. He advanced the study of Ainu culture while working as a substitute teacher, and, after the war, continued his work as a poet and researcher of Ainu fables, songs, and language. Awarded many prizes for his dedication to Ainu studies (over 35 books by Sarashina are recorded on the subject), he eventually became a professor at Hokkai Gakuen University.

On the culture, landscapes, and people of Hokkaidô, this book by Sarashina is highly illustrated with black and white kikai- zuri vignettes by famous so^saku hanga artist Kawakami Sumio. It appears to be a second edition copy, as a first edition of the same book was released in Shôwa 24 (1949) under a different publisher's name. Original wrappers, lightly foxed and edgeworn, minor creases to lower. Mild to moderate foxing to text, occasionally affecting illustration extremities. It appears that colour added to a few images has leaked through to the verso. Ex-bookseller's sticker to front free endpaper, very light creasing to last few pages. Comes with original dust jacket, lightly foxed and edgeworn, slightly chipped, large stain to lower wrapper. Overall very good. A fascinating book of insights into Hokkaidô and Ainu culture, skilfully illustrated in a folk-art style by Kawakami.

$125.00

 

 

 

 
 

 

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88956. [SOSAKU HANGA] KAWAKAMI Sumio. RANPU [LAMP]. Tôkyô, Aoi Shobô, Shôwa 15 [1940]. #152 of 250 copies, brush-signed by Kawakami (1895-1972). 28.2 x 20.0 cm String-bound Japanese-style, fukuro-toji. Illustrated throughout in color woodblock, the covers and wraparound are also color printed woodblock prints. With the original printed title label. About fine condition throughout. Perhaps the most iconic of all the many ehon produced by Kawakami, who, along with Onchi and Taninaka, is probably among the most important of all the "Creative Print Movement" artists (apologies to Hiratsuka, Ishii, Munakata, Kawanishi, etc., etc.). A very nice copy of a very delightful book. The fanciful scenes of a vividly remembered late Meiji childhood are wonderful.

$2,850.00

 

 

 

 

 

 

 

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89804. [SOSAKU HANGA] SEKINO Jun'ichirô, artist. Saitô Shôzô, author. MOMOTARÔ NO HANASHI, The original version of this work was privately printed in 1921 in an edition of 111 copies. This version would appear to have been done after the War, with 5 original prints by the important Creative Print Movement artist, Sekino, who had been born in 1914. Signed by the original author, Saitô Shôzô, with his penname Chijin. In very nice condition. A bit of a mystery but a fun book in Sekino's distinctive idiom.

$375.00

 

 

 

 

 

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87613. [SÔSAKU HANGA] Shiro to Kuro-sha.  HAN GEIJUTSU  Sôkango. Tôkyô: Shôwa 7 [1932].  28.3 x 20.0 cm. Vol 1, #1. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement.  This is volume one, number one of this important monthly journal.  Most of the prints were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri].  However this issue also has two tipped-in color woodblock prints, one by Onchi Kôshiro and one by Maekawa Sempan, handprinted by Takahashi Harumasa of the Takahashi Kôbô (founded during Ansei, it still exists in Tôkyô).  There is waterstaining to the front cover, else very good condition.    

$850.00

 

 

  

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87614. [SÔSAKU HANGA] Shiro to Kuro-sha.  HAN GEIJUTSU  Sango. Tôkyô: Shôwa 7 [1932]. 28.2 x 20.0 cm. Vol 1, #3. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement.  This is volume one, number three of this important monthly journal.  Most of the prints were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri].  However this issue also has two tipped-in color woodblock prints, one by Kawakami Sumio and one by Azechi Umetaro. There is waterstaining to the back cover, the woodblocks are a bit browned else very good
condition.    

                          $575.00

 

 

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38283. [SÔSAKU HANGA] KATÔ Tetsunosuke, artist. HOKKAIDÔ FÛKEI TEZURI HANGA SHÛ. Published by the Sapporo Kankô Kyôkai. [Sapporo Tourism Association). A folder, bound in grass cloth containing 5 handprinted color woodcuts (image size: approx. 10 x 14.5 cm) of landscapes around Sapporo, done in an elegiac and realistic style of sôsaku hanga. This folder was probably published in the 1930's, when Katô was most active. (He is best known in this country for the lovely landscape watercolors he did, signed "T. Kato") Though little is known of him, Merritt, in her most recent survey, does mention his participation in sôsaku hanga groups at the time.

This work is in very good condition, and the prints themselves are quite skillful. Appears to be complete, as the only other copy I've found reference to also had five prints:

$650.00

 

 

 

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89282. [SÔSAKU HANGA] KAWAKAMI Sumio. HIRADO CHIKUSHI. Kawakami Sumio, Shôwa 41 [1966]. Bound Western-style, 23.3 x 18.2 cm. Text and illustrations printed in silver ink on black glossy paper. In unusually good condition as this production usually suffers from flaking of the ink, but this copy does not. This is #31 of a run of 50 copies, signed by Kawakami. In the original tissue and publisher's box. Very fine.

$975.00

 

 

 

 

 

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89276. [SÔSAKU HANGA] Kawakami Sumio. KAWAKAMI'S HENNA READER. Tôkyô, Shôwa 9 [1934]. Hangasô. 19.5 x 12.9 cm. String-bound. 15 delightful illustrated English lessons in Kawakami's inimitable visual and textural idiom. Machine printed by Hangasô. Very unusual pre-War Kawakami item in fine condition.

$685.00

 

 

 

 

  

 

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89278. [SÔSAKU HANGA] SEKINO Jun'ichirô. GAIYÛ DÔBUTSU HYÔ. Tôkyô 1962., Oblong western-style binding in boards, 18.7 x 26.2 cm. Illustrated with color woodblock prints after Sekino designs throughout. #12 of 250 copies, signed by Sekino. Fine in the original publisher's box with printed paper title label.

$450.00

 

 

 

 

 

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59959. [WOODBLOCK PRINT] ONCHI Kôshiro. "UENO DÔBUTSU-EN [UENO ZOO]" Image 24.4 x 18.2 cm. This image, created by Onchi for the Nihon Hanga Kyôkai, originally appeared in Sept. 1929 in an edition of 50cc., signed and sealed by Onchi, as part of the series SHIN TOKYO HYAKKEI. This impression, however, appears to have been that included in the TOKYO KAIKO ZUE series, which was published by Fugaku for the Nihon Hanga Kyôkai in 1946, in this case using the original Onchi blocks. It would seem that no signature was called for in the TOKYO KAIKO ZUE series, but this print is signed by Onchi (in Kanji) in pencil on the lower right margin. An interesting example of Onchi's representational style. Refs: Austin, SHINTOKYO HYAKKEI - THE EASTERN CAPITAL REVISITED BY THE MODERN PRINT ARTISTS in "Ukiyo-e Art" #14, 1966.; Merritt & Yamada, pp.268 & 277. Good impression with some slight browning on the reverse.

$850.00

 

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57932. ASAI Chû. MOKUGO NIHONGA SHÛ. Kyoto: Unsôdô, (1909) 1927. Printed paper covers, tassle bound. This tall 4to sized volume (37 x 25.5 cm) which is an epitome of Asai Chû's "Japanese-style" painting is a companion to the MOKUGO ZUAN-SHÛ, which focussed on his design work.

Asai is famous as one of the most important Japanese Western- style painters of the the late 19th and early 20th centuries. He was also an accomplished tradition painter aswell, as this study shows.

In the early years of this century after his return from several years in France and before his premature death in 1907, Asai taught design and painting in Kyoto and influenced some of the most important Japanese artists of the later 20th century. This work, published posthumously by his friends, is masterfully printed by Unsôdô and includes 8 pages of color woodblock prints after his paintings and 37 pages of collotypes. This copy has been well loved - the covers are quite worn and there is a bit of thumbing and soiling internally. Nonetheless, a very scarce and important work on a neglected aspect of Asai Chu's work. This is the second printing of this work, but Unsôdô printing runs were notoriously small.

$975.00

 

 

89702. [SHIN HANGA] Kosugi Hôan & Nakazawa Hiromitsu. MANSHÛ ZU-E. Dairen, Shôwa 9 [1934] Japan Tourist Bureau. Printed by the important woodblock artisans, Takamizawa of Ôsaka. There are 5 ôban size prints of views and genre scenes in Manchuria. Kosugi (1881-1962) was one of the most important artists of the "Nihonga" genre and Nakazawa (1874-1964) was also famous, known for his light touch with watercolor and the many print sets he designed for Kanao Bun'endô. The three prints by Kosugi and two by Nakazawa render the set complete with the 5 prints called for. Each print is mounted on the original backing sheet with typeset explanatory text. Includes the colophon, all in the original folding covers with printed title labels. The covers are a bit worn, but the prints are lovely, well- printed, in very good condition. A very unusual group of images from the days of empire.

$1,250.00

 

 

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89664. [Shin Hanga Portfolio] Nakazawa Hiromitsu, artist. NIHON TAIKAN. [Views of Japan] Tokyo: Bun'endô, 1922. 38 x 27 cm, oblong folio in size. 50 single sheet color woodblock prints of views, primarily in the Kyoto/Osaka area, with prefatory descriptions, in a tied portfolio with a woodblock cover, in the original printed box, all in a clasped modern folding box. This massive work was undertaken by Kanao Tanejirô of the Bun'endô as a challenge to the primacy of Watanabe in the field of shin hanga. For this effort, he assembled some of the best printers and engravers of the day, Nishimura Kumakichi and Okada Seijirô, and combined their talents with those of Nakazawa Hiromitsu. Hiromitsu's work is at its best, here. Less stiff than that of Hasui or even Yoshida, it carries the re-creation in woodcut of the "feel" of watercolor to new heights. (See Scott Johnson on the `Sketchtour' genre for more on Bunendô and Hiromitsu.)

In any case, this most ambitious of landscape productions is also among the rarest. Completed the year before the great Earthquake and fire of 1923, all the unsold sets of NIHON TAIKAN and the blocks themselves were lost.

This set of prints is very clean, though the original box is worn and rather broken and the introductory material is quite foxed. Rare.

SOLD

 

 

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89484. [Sketch Tour Book] Starr, Frederick. SANYÔ ANGYA. TÔKAIDÔ ANGYA. Tokyo: Bunen'dô, Taishô 8 [1919] 6th printing (the first printing appeared in 1917). Small 8vo., 18 x 10.5 cm, woodblock printed paper over flexible boards. Includes 27 b+w full page woodcuts, many textual ills, 7 photo plates and a total of 11 full page color woodblock plates by Akamatsu Rinsaku, Noda Kyûhô, Hata Tsuneharu, Mizushima Nihofu and Nagai Hyôsai. Those 5 artists had earlier in 1917 collaborated on Bunen'dô's ambitious HANSHIN MEISHÔ ZUE. Nakazawa Hiromitsu and others were also involved with Starr's work, which is a compilation of travel articles on Central Japan originally done for the Osaka Asahi newspaper. [For more information, refer to Scott Johnson's article in ANDON 37, p. 30]

This copy is very good in a rubbed original slipcase, which is illustrated with color woodcut. Unusual in any event, particularly so in such nice condition.

$385.00

 

 

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83430. [SKETCH TOUR GENRE] NAKAZAWA Hiromitsu, artist. SAIGOKU SAN-JÛ-SAN-SHO JUNREI EMAKI. Kyoto, Kanao Bun'endô, publisher. Shôwa 21 [1946]. Oblong folio of ôban size woodblock prints after designs by Hiromitsu, detailing the famous pilgrimage sites (and sights) in western Japan. The blocks were cut by Okada Seijirô and the printers were Nishimura Kumakichi and Takagi Kiyomitsu. This portfolio project was initially completed and printed in 1925. This edition, printed from the same blocks at the very end of Kanao's life, was obviously issued as a companion piece to the THIRTY-SIX VIEWS OF OSAKA, which Kanao also published in 1946. The colors of the original 1925 edition were quite a bit more light and "crumbly" than the bolder colors used in this printing, which accord with that used in the Osaka series. (I personally like this bolder approach to Hiromitsu's work.)

There are eleven color woodblock printed preliminary pages, a table of contents page, 37 pilgrimage views, a final portrait of Hiromitsu by an artist friend, and eleven typeset caption pages, explaining the pilgrimage sites, (in Japanese).

A lovely and very important series of images, produced by the most important publisher of the "sketchtour" genre.

A set in very nice condition, bound into the original printed covers (approx. 25 x 36.7 cm). Complete, in a tied chemise case.

$2,850.00

 

 

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89667. [SKETCHTOUR ALBUM] Ôtani Sonyû. GOZAN SOSUI. [Kanao Bun'endô, Tokyo, 1921] Oblong 4to in size, 22.3 x 30.7 cm, green brocade over board covers, printed paper title label. Prefatory printed calligraphy by Tomioka Tessai and 41 prints designed by Sonyû, a recognised artist and priest at Nishi Honganji Temple in Kyoto. Sonyu collaborated with Kashû on the greatest of all sketchtour works - the 8 scroll set on the Tokaido, done in mid-Taisho. In this work, Sonyû worked alone, his paintings on the road form the basis for the exquisite woodblocks in this album. The table of contents only calls for 40 prints, our copy (as do all others we have seen) has two versions of the same scene with the same printed title, in very different styles at Pages 16 and 17.

A beautiful set of views of China - accompanied by a facsimile of the travel diary that Sonyû's brother, the Abbott of Nishi Honganji, kept on their joint journey through China.

Very scarce, particularly complete with the diary and outer box. The outer box has been restored. Wonderfully well printed, as was everything done by Bun'endô, the images are clean and lovely.

SOLD

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82595. [SKETCHTOUR BOOK]. JÛNIN SHASEI RYOKÔ Tokyo: Kashima Chôjirô [Kôbunsha], Meiji 44 [1911]. 5th printing of 1912. Printed paper over boards, cloth spine, gilt. Small 8vo., 19.3 x 12.8 cm. See Johnson's article in ANDON p. 15 for an extensive description of this book's importance. With 10 zincographs, 2 lithographs, 18 photo-lithographs and 4 color woodcuts, along with many halftones, both b+w and color. An important and interesting book, which centers on verbal and pictorial representations of the Inland Sea area. The artists (and authors) were Kawai Shinzô, Ôshita Tôjirô, Mitsutani Kunishirô, Yoshida Hiroshi, Nakagawa Hachirô, Kosugi Misei, Nakamura Fusetsu, Kanokogi Takeshirô, Takamura Shimpu and Ishii Hakutei.

The contents are slightly foxed. But overall this is a very good copy of this hard-to-find work.

$385.00

 

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82624. [SKETCHTOUR BOOK] KANAO Tanejirô, publisher. KINAI KEMBUTSU. 3 volumes: YAMATO, KYOTO, and OSAKA. 22.8 x 15.4. (Larger than most examples of the genre.) Bound western style in printed paper covered boards (without the printed slipcases). T.E.G. For details on the importance of this work, see Scott Johnson's article in "ANDON 37", pp.21-25. Aside from one foldout color woodcut and a few reproductions of paintings by Asai Chû, the illustrations are by Nakazawa Hiromitsu (1874-1964), probably the most important single artist of the "sketch-tour" genre. There are a grand total of 57 hand-printed woodcuts in the three volumes, as well as many collotypes and half-tones. Nakazawa, himself, as well as such literary lights as Yosano Akiko, the famous poetess, provided the text. This set consists of a first printing of the Osaka (1912) volume and second printings of the Kyoto and the Yamato volumes. The printing runs were very small and the book never sold particularly well (the third volume cost three yen, a considerable sum in 1912!). Complete sets are unusual. Our set is very lovely, save that there is a bit of fading, rubbing and skinning to the covers. Enclosed in a contemporary clasped chitsu.

$975.00

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83311. [SKETCHTOUR BOOK] KINAI ANGYA. Kanao Bun'endô, Taishô 8 [1919] Thick 8vo., flexible printed pictorial covers, 35; 959 + colophon & ads. (The extensive ads make up a useful bibliographical resource on Bun'endô.) First printing of this interesting work - the artists include Nakazawa Hiromitsu, Mizushima Nihou, Nabei Katsuyuki, Katô Seiji, Shima Seien and Yamaguchi Sohei. The writers are an eminent group: Yosano Akiko, Kambara Ariake, Takahama Kyoshi, Katô Hekigotô and Aoki Gettô. The book resenbles the SANYÔ ANGYA and the OFUDA ANGYA. With the usual Bun'endô eclectic mix of color woodcut, lithography, halftone, zincograph, collotype, etc.

This copy is very slightly foxed, with the original slipcase. Overall, a lovely copy of this important and scarce work.

$650.00

 

 

 

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87897. [SKETCHTOUR BOOK] Mizushima Nihô, artist and author. TOKAIDO GO- JUSAN TSUGI SETONAIKAI KIKO. Tokyo: Kanao Bun'endô, Taishô 9 [1920]. First Printing. 8vo. Printed paper over boards, cloth spine, gilt. With many color and b&w illustrations done in several media [for details see Scott Johnson's article in ANDON]. Very nice condition in the worn original printed slipcase. Complete as issued.

$650.00

 

 

 

 

 

 

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90037. [SKETCHTOUR GENRE] Kanao Bun'endô, publisher. HANSHIN MEISHO-ZUE 阪神名勝図絵.  A folding album of 30 ôban-size color woodcut prints, printed by Nishimura Kumakichi and published by Kanao Bun'endô in 1916-17.

There are two prefatory pages: a map of the trip around western Japan depicted herein, and a table of contents, plus the prints. The artists who designed the prints were Akamatsu Rinsaku (1878- 1953), Noda Kyuhô (1879-1971), Hata Tsuneharu(1883-? ), Mizushima Nihou (or Nihofu) (1884-1958) and Nagai Hyosai (1882-1945). Our copy has little to none of the foxing to which this work is often subject, with just a bit of mild toning to one or two of the prints. The finest of all of Bun'endô's remarkable portfolio productions, The HANSHIN MEISHO ZUE is very scarce, even individual prints from the series are by no means common. For more on this remarkable work, see Charles Mitchell's article in ESSAYS ON JAPANESE ART PRESENTED TO JACK HILLIER. This is the orihon folding album version of the series, issued by Bun'endô. As such, it does not have the fascicle covers of the subscription series, but is complete as issued. The old brocade album covers are a bit dusty, but the prints themselves are in good state and colors and are free of the foxing often associated with this production. All in a clasped chitsu case.

$8,500.00`

 

 

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87695. [SKETCHTOUR GENRE] Otani Sonyû & Iguchi Kashû, artists. TOKAIDÔ GOJÛSAN-TSUGI EMAKI Kyoto Taisho 11 [1922]. Eight handscrolls with woodcut coloring over collotype, complete. The scrolls have bone jiku with brocade covers and sumi over gold title labels.

It goes without saying that the price of 500 yen (at the time worth about $200), a shocking amount at the time, was reflective of the enormous costs associated with the project. The use of collotype as the "shita-e", then over-printing with heavy opaque mineral pigments time and again to derive the rich pallette of the finished scrolls was not a method conducive to economy. The publisher went bankrupt soon after the appearance of the Tokaido set. One can only assume that the Kanto earthquake destroyed most of the sets that had been sold to the main market, Tokyo. Research indicates that there are very few sets in existence. Our copy is enclosed in a black lacquer box, gilt with the title and is complete as such in a protective outer box. The scrolls are in good condition with wrinkling near the end of some scrolls and some minor foxing throughout. Literally hundreds of feet of remarkable images. See Roger Keyes' extensive description of this major discovery in his catalogue of the recent NYPL exhibition of EHON.

$18,500.00

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87792. TAKAHAMA Kyoshi, editor.  SASHIE. Tôkyô, Kôkadô, Meiji 44 [1911]. This is a "saihan" printed a few days after the first impression. Bound Western style in illustrated boards, 8vo., 421+pp. This wonderful book takes its title [ILLUSTRATION] very seriously. It has crammed from beginning to end with illustrations, both color and b+w, printed with machine-based techniques but with a freshness and appealing naivete that the HOTOTOGISU artists were famous for. The full complement of the most important members of the literary and artistic group that first gathered around Masaoka Shiki. After Shiki's premature death the brilliant poet Takahama Kyoshi and academic and author Natsume Sôseki became the leaders of the group. Such wonderful and established artists as Asai Chû and Nakamura Fusetsu, along with younger artists, Hashiguchi Gôyô, Tsuda Seifû, etc., were also allied by sympathy and friendship with the group. Here they have put together a wonderful compilation of their "style" in illustration. The integration of text and image is, of course, traditional and was an essential part of the HOTOTOGISU ethos. There also was an acknowledgement of an adaptation of the traditional bunjin ideal of the educated polymath, who could participate in a cultural continuity by his skill with the brush: be it in painting or calligraphy or poetry or literature. But there was no fustiness involved. Sôseki was a brilliant student of English literature, a poet in classical Chinese, a traditional watercolorist, a noted calligrapher. Iwanami Shigeo, a member of the group, was also the founder of the most important scholarly publishing house in Japan, then and now. Asai Chû was one of the most important Western-style oil painters in Japan in the late 19th century who was also a brilliant designer. The list goes on and on. To page through this book is to discover a circle of friends able to adroitly balance the past and the present to face the future. In a very practical way, these intellectuals were as important to the development of a strong and independent Japan in the 20th century as any general or politician, perhaps more important. This is by no means a common book. There is a bit of foxing throughout and the illustrated slipcase is a bit soiled and worn, but it is still a wonderful artifact of its time.       

   $975.00

 

 

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88459. [WOODBLOCK PRINTING] CLAUDEL, Paul. SAINTEGENEVIEVE Poéme Par Paul Claudel. Tokio, Chinchiocha, A.D. 1923. #610 of 1000cc. Tall folding album, 32.5 x 13.5 cm, bound in paulownia wood [kiri]. An illustration by Tomita Keisen and a page reproducing Claudel's script were cut into woodblocks by the master Igami Bonkotsu, as well as the title design by Noemi Pernessin and a series of text illustrations by Audrey Parr. The rest of the text, which is entirely in French, is typeset. A lovely French-Japanese collaboration, created at the moment that Tôkyô was crushed by earthquake and fire. In the original publisher's clasped chitsu case. Near fine.

$1,250.00