5212 - 5421 FINE ARTS - JAPANESE PRINTS, DRAWINGS and ILLUSTRATED BOOKS, ORIENTAL ARTS
- Fine.
- Slightly foxed.
- Trifle foxed. Binding sl. worn; new threads.
- Bindings sl. rubbed; backwr. landscape vol. waterst. (not affecting contents).
AND 2 other e-hon, i.a. SHINZOKU-KIBUN, vol. 1 (of 13), on the manners and customs of Qing Dynasty China.
- Both w. a few worn/ dam. lvs.
= One vol. w. the outlines of the tangrams, and the other vol. w. the solutions.
- Trifle browned. Portfolio sl. dam.
= Tanka poems by the famous author Tanizaki, reflecting his experiences during WWII and the societal and cultural changes that took place. The poems were calligraphed by Tanizaki's third wife Matsuko. With a loosely inserted booklet with Japanese transcriptions of the calligraphy, printed on thin Japanese.
- Trifle soiled near lower edge; nevertheless in good condition.
- Partly trifle wormholed, mostly in blank margin; some crossed out black ink scribbles on lower pastedown, otherwise contents fine. Binding trifle rubbed and w. new strings. Very good copy.
= Bound erratically, with three copies of part 8. Rare work depicting many popular Japanese ghost stories.
- Two white stains at upper edge and a few sm. soiled spots; good/ fine impression.
Kunisada (1786-1865). (Actor portraits). Two col. woodcut ôban, both signed nanajûhassai Toyokuni-hitsu in toshidama cartouche, publisher Hiro-okaya Kôsuke, both w. censor seal, 1859-1862.
- Both w. a few sm. closed wormholes/ dam. spots.
= SEE ILLUSTRATION PLATE LIII.
- Belly w. vertical crack; right foot formerly broken (repaired w. crack visible).
= Provenance: Blandin collection (information supplied by the owner).
= The yam root is part of the basic diet throughout most of Oceania. On the occasion of religious harvest festivals, the largest yam roots from the last harvest are decorated with small, plaited masks, such as the present one, called Baba mini. According to the belief of the Abelam and Wosera tribes, this ceremonial outfit ritually and temporarily transforms the roots into benevolent ancestors or spirits.
- All with pinholes and sm. rust stains in corners from pushpins.
= Comprises no 4 (Pheasant with chicks), no 8 (Kingfisher looking at another bird) and no 12 (Two peafowl).
Keibun (1779-1843) (after). Keibun kachô gafu (Keibun's picture album of flowers and birds). Two col. woodcuts (of 12?), 23x17,5 cm., signed Keibun w. red seal, publisher Fukui Kinjirô, 1894.
= Comprises no 1 (Blue bird on a snowy branch) and no 6 (Bird flying with the moon in the background).
AND 1 other by TSUNENOBU from the same album as the first 3 prints (lacks upper part of print).
- Three vols. partly (sl.) wormholed. One vol. wr. worn and lacking title-strip; one vol. wr. partly nibbled.
= Japanese geography school books with information about and images of a variety of countries, i.a. China, Mongolia, Iran, Turkey, Indonesia, England and Germany.
AND 1 other Japanese geography schoolbook about various Western European cities.
- Slightly wrinkled; trifle browned; w. a few stains and one sm. closed unobtrusive hole.
= Probably part of a diptych or triptych. The kusarigama (weapon) is a sickle on a chain with a weight on the other end.
- Sl. creased along edges; a few holes in corners, chip in lower edge.
= With a partial collector's mark(?) or publisher's seal in lower right corner.
- With a closed tear in centre of upper margin (and 5 mm. in the portrayed's hair) and three tiny tears in blank margins; w. some very light creases in the woman's face. A good impression.
= One of four prints from the series Fujô yondai (Women in Four Settings). On Shûhô: The New Wave, p. 179: "Born in Kyoto, Yamakawa Yoshio studied the techniques of Nihonga with Ikegami Shûhô (1874-1944) (from whom he received his name) and subsequently with Kaburagi Kiyokata. Together with Itô Shinsui, Kobayakawa Kiyoshi and Torii Kotondo, he is counted among Kiyokata's outstanding students in the bijinga genre, [...]."
- Agetoned; yellow stain in upper left corner.