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Front cover illustration from item 8
1 AKIYAMA (Ryoji). Narakawa-mura [The Village of Narakawa].
First edition. Numerous photographic plates. Japanese text. 4to.
Original flexible boards in dustwrapper and obi, slight staining to
covers, but very good inside. 117pp. Tokyo, Asahi Shimbunsha, 1991.
Akiyama Ryoji was born in Narakawa (Nagano Pref.) in 1942. After
graduating from the Department of Literature at Waseda University
he joined the AP News Agency, and subsequently became a freelance
worker for Asahi Shimbun. Akiyama was surprised to find a
sensitivity in the village that seemed to have disappeared in
Tokyo. And while many of the images are formal (posed) portraits
they show the warmth and health of village life. Only one copy in
2 ARAKI (Nobuyoshi). Tokyo Natsu Monogatari - Tokyo SummerStory.
First edition. Numerous photographic plates. Japanese text. 8vo.
Original flexible boards in dustwrapper and obi, a very good copy.
398pp. Tokyo, Waizu Shuppan, 2003. An interesting photo-documentary
of Tokyo on a fine summer day. All of the images were taken through
the window of a taxi moving slowly through various neighbourhoods.
The book is ostensibly a homage to the films by the famous director
Ozu Yasujiro (1903-63) whose slow style revealing gentle family
drama has given him enduring appeal. The title of the book refers
to Tokyo Monogatari (1953), Ozus most famous work. Needless to say,
Arakis take on Tokyo and its citizens couldnt be more different
from that of Ozu - even if the pace and the famous low angle of
Ozus vision (tatami-shot) is similar. Only two copies in OCLC.
First edition. Numerous photographic illustrations. Japanese text.
Small 8vo. Original decorated boards in dustwrapper and obi, a very
good copy. 180pp. Tokyo, Sanseido, 1984. Many photographers rate
this book amongst Arakis best work. Street scenes of Tokyo taken in
1972 and 1973 just after he left Dentsu. The images are combined
with a dialogue between Araki and his wife Yoko. This seemingly
innocuous book conveys the essence of Arakis technique and the
raison detre of his work. The first three images are of Golden Gai,
showing the disused tram-line behind the bars. It is a location
filled with nostalgia, the nondescript high-rise in the centre
serving to provide a contrast to the decaying traditional two-story
buildings in the foreground. The camera swings to the right to show
the back facade, then goes a little closer to focus on the garbage
cans. This is truly post-modern photography. By focussing on the
banal and profane Araki dispenses with the beauty of the object and
by doing so arrives where he wants to be, namely in photography.
But Arakis images are certainly not random. As he walks around his
favourite neighbourhoods he is keenly aware of the smallest
details, the nature and content of billboards, stickers in a
car-window, of the old, the new, and the decaying. As such this is
a truly remarkable book. Only three copies in OCLC.
4 ASAHISHIMBUN-SHA. NAKAYAMA (Iwata).AsahiCamera
-TheJapaneseJournalofPhotography. Vol. 13, no. 5. Numerous
photographic plates and illustrations. Japanese text. Captions to
plates in English and Japanese. Large 8vo. Original printed
wrappers, minor wear to spine, but overall still a good copy.
Tokyo, Asahi Shimbun, May 1932. Asahi Camera was founded by
Narusawa Reisen in April 1926. It was not constrained by any
particular photographic genre but rather focused on practical and
educational issues relating to any given tendency, be it amateur or
commercial. The present issue is important for featuring the
modernist work by Nakayama Iwata (1895-1949) both on the cover and
inside. The featured essay relates the experiences of Asahi Press
photographers who covered the Sino-Japanese conflicts in Manchuria
5 ASAHISHIMBUN-SHA.NARUSAWA(Kimbei), editor.NihonShashinNenkan
-The JapanPhotographicAnnual1925-1926. First edition. Numerous
photographic plates (5 tipped in). Japanese and English text. 8vo.
Original flexible boards (frayed edges), light browning, overall a
good copy. 41,112, 101, 26pp. Tokyo/Osaka, Asahi Shimbunsha, dated
Taisho 15, [i.e. 1926]. Asahi Shimbunsha started publishing the
Japan Photographic Annual in July 1925. The present is the second
issue of this important yearbook. Great pride is being taken in the
progress made by Japanese photography both in terms of content and
reproduction. Compare this volume to that of last years. No one, we
believe, will glance through this issue without being struck by the
great strides that we have made during the past year. (Narusawa
Kimbei). Much of this annual is devoted to pictorialist photography
with contributions by Fukuhara Shinzo, Minami Minoru, Kakefuda
Isao, Nishiyama Kiyoshi, Fuchikami Hakuyo, Kometani Koro, Fukuhara
Roso, Umesaka Ori, and many others. The text gives an overview of
photographic events during the year with a list of exhibitions and
winning entries, as well as a list of photography clubs, studios,
and supply stores together with their addresses. No copy in
6 ASAHISHIMBUNSHA.NARUSAWA(Kimbei), editor.NihonShashinNenkan
-The JapanPhotographicAnnual1928-1929. First edition. 104
photographic plates (5 tipped in). Japanese text with English
abstract. Large 8vo. Original flexible boards, overall a very good
copy. 39,117, [iv], 14(text)pp. Tokyo/Osaka, Asahi Shimbunsha,
dated: Showa 4, [i.e. 1929]. Volume five of the annual publication
and one can clearly feel that new trends are challenging the
predominance of pictorialism. With contributions by Fukuhara
Shinzo, Ezaki Kiyoshi, Umesaka Ori, Yasui Nakaji, Kometani Koro,
Ito Sokai, Nishiyama Kiyoshi, Fukuhara Roso, Shiotani Teiko, and
many others. The text gives an overview of photographic events
during the year with a list of exhibitions and winning entries, as
well as a list of photography clubs, studios, and supply stores
together with their addresses. 2 copies in OCLC.
7 ASAHI SHIMBUN-SHA. Nihon Shashin Nenkan - The
JapanPhotographicAnnual1929-1930. First edition. 80 photographic
plates (6 tipped in). Japanese text with English abstract. Large
8vo. Original flexible boards, light spotting to text, overall
still a very good copy. 32, 110, 15(text)pp. Tokyo/Osaka, Asahi
Shimbunsha, dated Showa 5, [i.e. 1930]. This is volume six of the
annual publication with 111 images selected from 890 contributions.
1930 clearly marks the beginning of the Shinko Shashin movement.
The present issue includes work by Nakayama Iwata, Umesaka Ori,
Yasui Nakaji, Kakefuda Isao, Fuchikami Hakuyo, Ishiyama Yasuhisa,
Kurata Kenji, Tabata Eizo and Okubo Koroku. A small section of
images is devoted to advertising photography. 2 copies in OCLC.
8 ASAHISHIMBUN-SHA.NARUSAWA(Kimbei), editor.NihonShashinNenkan
-The JapanPhotographicAnnual1935-1936. First edition. 120
photographic plates. Japanese text with English abstract. 8vo.
Original decorated wrappers (minor wear to spine) in slipcase, a
very good copy. [iv], 47, [vi](ads.)pp. Tokyo/Osaka, Asahi
Shimbunsha, dated: Showa 10, [i.e. 1935]. The format of the
publication was changed in 1934 with glossy covers taking account
of the change in taste. Each issue is divided into a section of
plates followed by a detailed technical and artistic commentary on
each photograph as well as a review of events of the year. The long
list of addresses of clubs, studios, and photographers is dispensed
with. The present issue includes work by Kimura Ihei, Nakayama
Iwata, Nojima Yasuzo, Fukuda Katsuji, as well as a fascinating
photo-montage by Matsubara Juzo (see cover). No copy in OCLC.
9 ASAHI SHIMBUN-SHA. Nihon Shashin Nenkan - The
JapanPhotographic Annual 1938. First edition. 161 photographic
plates. Japanese text with English abstract. 8vo. Original
decorated wrappers (wear to spine) in slipcase, but still a very
good copy. 4, 30, [vi](text)pp. Tokyo/Osaka, Asahi Shimbunsha,
dated: Showa 13, [i.e. 1938]. The photographs on the cover are by
Yasumoto Koyo and Shibuya Ryukichi. This issue contains some
remarkable modernist images by Yasui Nakaji, Nakayama Iwata, Koishi
Kiyoshi, Nojima Yasuzo, Fuchikami Hakuyo, Kimura Ihei, Hanaya
Kambei, and Matsubara Juzo. No copy in OCLC.
10 ASAHI SHIMBUN-SHA. Nihon Shashin Nenkan - The
JapanPhotographic Annual 1941. First edition. 144 photographic
plates. Japanese text. Large 8vo. Original decorated wrappers in
dustwrapper. Overall a very good copy. 5, 28(text)pp. Tokyo, Asahi
Shimbunsha, dated: Showa 16 [i.e. 1941]. The first image in this
annual is a hazy image of a marching soldier by Ueda Shuntaro. It
is the only image that hints at the outbreak of full-scale war with
America and the allies, but maybe this conflict was still not
discernable by May 41. However, upon closed inspection one finds
that most of the big names of the avant-garde have disappeared,
while photographers like Nishiyama Kiyoshi, Kakefuda Isao, Minami
Minoru, Nojima Yasuzo, and Yasui Nakaji are represented with fairly
innocuous work. Furthermore, the English abstract has been
11 CAMERA MAGAZINE SUPPLEMENT. Arusu Shashin
Nenkan;2601nenban-ArsPhotographicAnnual2601. First edition. Two
colour plates as well as 98 b.-w. plates. Japanese text. 8vo.
Original flexible boards in (damaged) dustwrapper, slightly worn,
just a good copy. Tokyo, Ars, dated: Showa 16, [i.e. 1941]. Ars
Shashin Nenkan was a supplement to Camera magazine, dedicated to
out-standing examples of contemporary photography. The present
issue contains work by Nojima Yasuzo, Ueda Shoji, Nakayama Iwata,
Nishiyama Kiyoshi, Kuwahara Kineo, Yasui Nakaji, Hamaya Hiroshi and
Kimura Ihei. At the back there is small appendix of patriotic
images relating to the war in China as well as the political
situation at home. An index at the back provides addresses,
occupations, and photo-club membership for all the photographers.
The abstract composition on the cover is by Domon Ken. Only one
copy in OCLC.
TOGETHER WITH ORIGINAL PHOTOGRAPHS
12 DAI-HONEI KAIGUNHODOBU. ONCHI (Koshiro) design.
theNavalOperations]. First edition. 2 vols. Numerous photographic
plates, several folding. Japanese text. Small folio. Original
cloth-backed boards in dustwrapper (minor staining and marginal
tears). Overall still a very good copy. Decorated endpapers. 144,
[viii]; 144, [viii]pp. Tokyo, Asahi Shimbunsha, dated: Showa 18
[i.e. 1943]. A selection of photographs of the Japanese Navy in
World War II covering the period from the attack on Pearl Harbour
on December 1941 to May 15th 1943. Includes photographs of
operations in China, Java, Borneo, Philippines, New Guinea, and
other areas in South-east Asia. Unfortunately none of the images
are credited to individual photographers. The work was edited by
the Naval Headquarters News Section and the introduction states
that the images were collected from a variety of military sources
including the Army Information Bureau. Rare. Only one copy of OCLC.
Original Prints by Various Photgraphers; item 12.
13 DODO (Shunji). ShinSekai -Mukashimo imamo[NewWorld- Yesterday
and Now]. First edition. Numerous photographic plates. Japanese
text. Small folio. Original flexible boards in slipcase, a very
good copy. Unpaginated. Osaka, Chosei-sha, 1986. Shinsekai was one
of Osakas oldest and most colourful downtown neighbourhoods. Until
major redevelopment in the late 1990s the areas claim to fame was
rooted in its mix of cheap bars, theatres, and gambling halls. It
had a reputation for poverty mixed with petty crime due to the
large concentration of homeless and prostitutes, in particularly
transvestites. Dodo Shunji records the narrow street and its
characters with deep affection. No copy in OCLC, no copy in
14 DOISNEAU(Robert). KodomonoJokei-ScenesDEnfants. First
edition. Numerous photographic illustrations, several in colour.
Text in French and Japanese. 8vo. Original printed boards, a very
good copy. [iv], 48, [viii]pp. Tokyo, Heibonsha, dated: Showa 32
[i.e. 1957]. Robert Doisneau (1912-1994) achieved fame as one of
Frances most popular and prolific reportage photographers. His
images show a warm vision of human frailty. The present book on
children was only published in Japan. Book-design by Hara Hiromu.
Rare. Only one copy in OCLC.
15 DOMON(Ken) and
First and only edition. One of a limited edition of 1000 copies.
Numerous photographic plates, two large folding maps. Japanese
text. 8vo. Original decorated wrappers, a fine copy. 97(text)pp.
Tokyo, Nihon Mingei Kyokai, dated: Showa 15, [i.e. 1940]. This is a
very early and rare publication with work by Domon Ken. In 1940 he
and two other photographers (Sakamoto Manshichi, and Koshi Misuo)
were sent to Okinawa to record local architecture and customs in
the capital of Naha. Most of the photographs show Shuri castle, the
royal palace of the Ryukyu kingdom, and other early examples of
architecture and sculpture. A section at the end deals with local
arts and crafts, the markets, and local festivals. Rare. No copy in
16 DOMON(Ken).HAMAYA(Hiroshi) and others.Japan. First edition.
65 photographic plates. English text. Small folio. Original cloth
in dustwrapper, a very good copy. [xii], [iv]pp. Tokyo, Ministry of
Transportation, 1956. Travel abroad is one of the great pleasures
of life. It is also a means of widening ones horizons, of seeing
and understanding the life and environment of other peoples, and of
creating friendships among peoples based on such understanding.
(Introduction) In spite of the innocuous title this is possibly one
of the best illustrated tourist publications ever published about
Japan. The printing quality is superb. Includes images by Domon
Ken, Hamaya Hiroshi, Watanabe Yoshio, Yoshida Jun, Higuchi Susumu,
and Matsugi Fujio. The dustwrapper shows a flower arrangement by
Teshigahara Sofu. Rare.
17 DOMON (Ken).NihonMeishoden-[FamousArtisansofJapan]. First
edition. Numerous photographic plates (many in colour). Japanese
text. Folio. Original cloth in dustwrapper, lacking cardboard case,
still a very good copy. Unpaginated. Kyoto, Shinshindo Shuppan,
dated: Showa 49 [i.e. 1974]. Superb portraits of sixteen major
figures from the world of literature (Kawabata Yasunari), woodcut
art (Munakata Shiko), acting (Mizutani Yaeko), pottery (Hamada
Shoji), go (Sakata Eio), as well as the heart-surgeon Sagakibara
Shigeru - to name just a few. All of them were survivors, the old
guard of Japan - in a positive sense. The characters are full of a
sense of their own achievement and they were clearly comfortable
with Domons presence. Book-design by Tanaka Ikko. Only 2 copies in
First and only edition. 39 photographic plates. Japanese text.
Large 8vo. Original red cloth (lacking dustwrapper and/or
slipcase?), slightly soiled, but very good inside. Decorated
endpapers, a.e.g. 78pp. Dalian, Minami Manchu Tetsudo Kabushiki
Gaisha/Chunichi Bunka Kyokai, dated: Showa 5, 1930. Fuchikami
Hakuyo (1889-1960) moved to Manchuria in 1928, where he worked for
the public-relations department of the South-Manchuria Railway
Company. It took two years before he could devote himself to the
subject he really loved. This yearbook is in fact the only one that
was issued. It is very much rooted in the pictorialist phase of the
Hakuyo period. Each plated is faced by a page of text with remarks
by the artists followed by an appraisal by Fuchikami. It includes
works by Date Yoshio, Mizuno Masatoshi, Sakakibara Masaichi, Kato
Seiichi, Shiwa Yoson, and Fuchikami himself. Two years later he
founded the Manchuria Photographic Artists Association. Very rare.
No copy in OCLC. Five copies in NACSIS (all in Japan).
19 FUKUHARA (Shinzo). Kikuoka Tatsujiro Shashin
Isaku-shu[PosthumousPhotographsbyKikuokaTatsujiro]. First and only
edition. No. 67 of a limited edition of 300 copies. 24 plates. 8vo.
Original flexible boards (marginal browning), light foxing, but
overall a very good copy. [x], iv, 4(text)pp. Tokyo, Nihon
Shashinkai, dated: Taisho 15 [i.e. 1926]. Kikuoka Tatsujiro (dates
unknown) was a member of the Japan Photographic Society and a
regular contributor to Shashin Geijutsu and Shashin Shimpo
magazines. He was a close friend of Fukuhara Shinzo who wrote a
short appreciation of his work without giving away much personal
details about the man. Very rare. No copy in OCLC. No copy in ALC.
Only one copy in NACSIS.
20 FUKUHARA (Shinzo). MatsueFukei -TheOldTownofMatsue. First
edition. Frontispiece and 30 photographic plates. Small folio.
Original boards with printed label (minor foxing) and decorated
slipcase (rubbed edges, minor wear to bottom corners), but very
good inside. [x]pp. Tokyo, Japan Photographic Society, 1935. Matsue
carries the distinction of being both one of the oldest as well as
the most beautiful 17th century castle-towns in Japan. The capital
of Shimane prefecture it is situated on Shijinko lake close to the
Japan Sea in Western Japan. Due to its location and its numerous
canals it was thought to have scenic qualities very similar to
those of the West Lake in China, in fact its name is said to be
based on Chinas old Songjiang province. In the 19th century
Lafcadio Hearn took up residence here and married one of the towns
daughters. The present publication is a superb example of Fukuhara
Shinzos pictorialist style. Both the focus and the selection of
subjects are highly unusual and even avant-garde. His sepia
photographs have a soft and dreamy quality while at the same time
being devoid of sentimentality. Fukuhara Shinzo gave pictorialism a
new expression. While the aesthetics are clearly Japanese the
composition has a very abstract and even modern feel. A gem.
Hikaritosonokaichou.[TheLightanditsHarmony]. 11th edition. 48
photographic plates. Japanese text. Small 8vo. Original decorated,
cloth-backed boards in slipcase, a very good copy. 18,
[vi](ads.)pp. Tokyo, Shashin Geijutsusha, dated: Taisho 12 [i.e.
1923]. Separating from the physical connection that would simply
photograph the thing as it is, and moving towards the birth of a
spiritual connection that would hold the spirit or the meaning held
by nature - this is the second element of importance... We can also
think of this as the revelation of the spirit of nature as seen in
the photograph through the spirit of man, or the revelation of man
through nature.... And later on the theory of haiku photography:
Grasping the harmonious instant through impression, the calm of
each separate ray of light, that affect each and every sheet, this
feels like the consecutive reading of short poems. It is as if you
can read a haiku in the photograph. (Translated in: The World of
Shinzo Fukuhara - Poetics of Light. Tokyo, Shiseido 1994, p.
120-121). This book caused a sensation when it was published. Often
described as the first theoretical treatise of Modern Japanese
photography, it is also a very attractively illustrated plate-book
in its own right. Only one copy in OCLC.
22 GOCHO(Shigeo).OTSUJI(Kiyoshi) introduction.SelfandOthers.
First edition. One of a limited edition of 300 copies. Numerous
photographic plates. Small 4to. Original cloth in dustwrapper,
overall a very good presentation copy signed and stamped (hanko) by
the photographer on back free end-paper. Unpaginated. Tokyo,
Privately Printed, 1977. Gocho Shigeo was born in Niigata in 1946.
From a young age he was afflicted by a number of illnesses that
resulted in him being physically handicapped. Yet, he was
determined to make the most of his abilities and in 1965 he entered
the Kuwasawa design school in Tokyo where he took up photography.
After graduating in 1968 he worked both as a graphic designer and a
photographer. The present is Gochos second and rarest publication,
one of only three photo-books published during his life-time.
Almost all of the images are staged portraits, the subject being
well aware that he is being photographed. Self and Others is
nothing short of a visual record of the emotions that exist between
people. It is also an account of life and death: The first image is
of a new-born child, the one-but-last is a self-portrait of a man
who is aware of his impending death. The images in-between show the
confrontation with and the reaction of others to self. Gocho is
always present in the expressions of his subjects even when they
try to ignore him. It is a very humane work. The preface was
written by his teacher Otsuji Kiyoshi. Only one copy in OCLC.
First edition. Numerous photographic plates. Japanese text. Folio.
Original flexible boards in dustwrapper, decorated cardboard
slipcase and obi, a very good copy. 129pp. Kyoto, Shishindo
Shuppan, 1976. An illustrated work describing the Tendai sects
practice of Circumambulation on the Buddhist mountain Hieizan. The
purpose of kaihogyo is to achieve a closer union with Buddha by
praying and walking in the harsh conditions of the mountain.
Wearing nothing but white linen clothes and straw sandals the
practitioner aims to become a living Fudomyoo (god of fire). He
sets off into the mountains just after midnight returning to the
temple the following evening. Throughout the walks he is prepared
for death. Initially this practice takes place over 100 days, but
having achieved this the monk can apply for a 1000 day course
involving 700 marathons and at the highest level seven and a half
days without sleep and food. Book-design by Tanaka Ikko. Only one
copy in OCLC. Works 115.
24 HAGA (Hideo). TanoKami-TheRitualsofRiceProduction inJapan.
First edition. Numerous photographic illustrations. Japanese text
with English abstract. Large 8vo. Original cloth in slipcase, a
very good copy. 106pp. Tokyo, Heibonsha, dated: Showa 34, 1959.
Haga Hideo (born in Dalian, China in 1921) spent most of his life
documenting customs and rituals in farming communities throughout
Japan and it is only recently that his work is being appreciated
for its aesthetic qualities. The present work deals with the area
around Iwaki City in Fukushima prefecture. Haga describes the rites
of the New Year, the rituals of rice planting and transplanting,
the rites of Warding off Insects (mushi-okuri) as well as the
rituals of harvest and post-harvest. Includes a commentary (in
English) by Ishino Iwao, Professor of Sociology and Anthropology at
Michigan State University. Seven copies in OCLC.
25 HAMAYA (Hiroshi). Henkyo no machi [The Remote City] -Urumchi.
First edition. 24 plates. Text in English and Japanese. Large 8vo.
Original decorated boards, together with a loosely inserted sheet
providing technical information on each image. A very good copy.
[iv], 48, 11pp. Tokyo, Heibonsha, dated: Showa 32, 1957. For many
centuries Urumchi in Xinjiang Province has been a meeting point for
cultures of the East and West. An area where Uigurs, Hui, Tartars,
Mongols, Uzbeks, Russians, Kazaks, and Han Chinese live together
under the adverse conditions of the desert. Throughout the 1950s
Hamaya was fascinated by the effects of harsh natural environment
on human beings. He visited Urumchi in October 1956: Passing the
mud houses, mud walls, poplar-lined streets and coming into the
main thoroughfare, I saw the city stirring into life in the
dust-whirling wind... The old man slowly washes his face. Scooping
up water in both hands, he curiously rinses or rather jerks his
face - not the hands - up and down in his cupped hand - its the way
the people wash. Only two copies in OCLC.
26 HANABUSA (Shinzo) photographer. HASEGAWA (Setsuko) text.Mizu
[Water]. First edition. Kagaku no tomo no. 159. Numerous colour
photographic plates. Japanese text. Square 8vo. Original decorated
flexible boards, a very good copy. pp. Tokyo, Fukuinkan, 1982.
Hanabusa Shinzo was born in 1936 in Chiba city. Having graduated
from the Tokyo College of Photography he became a member of the
Japan Photographers Association. He won several prizes during the
60s when he was focused on social issues. The present is some light
relief with a childrens book illustrating the importance and joy of
water. Uncommon. Only one record in OCLC.
27 HARA(Hiromu) book-design.
SekaiShashinNenkan-PhotographyoftheWorld. First editions. 14 vols.
Numerous photographic plates (several in colour). Folio. Original
cloth-backed boards in dust-wrappers (minor wear) and cardboard
slipcases. Some very minor spotting to prelims, but overall a very
good set. Tokyo, Heibonsha, 1958- 1972. This yearbook of world
photography covers the most exciting period of black-and-white
photography throughout the world all of them printed in superb
photo-gravure. Naturally there is a slight dominance of Japanese
photographers there is some very solid representation of Eastern
and Western European, as well as American, Korean, and Indian
photographers. Each issue contains essays on various subjects as
well as a section giving background information for each images as
well as biographical details for the photographer. Superb
book-design by Hara Hiromu. The series was started in 1958 and ran
28 HARA(Hiromu) book-design. SekaiShashinZenshu-Photographyof
theWorld. First editions. 7 vols. (complete). Numerous photographic
plates (several in colour). Folio. Original cloth-backed boards in
cardboard slipcases. Some very minor spotting to prelims, but
overall a very good set. Tokyo, Heibonsha, 1955- 1957. This survey
of world photography was a predecessor of Heibonshas yearbook of
photography. Each volume is devoted to one or several countries
while volume 7 (bessatsu) gives an illustrated history of
photography compiled by Ina Nobuo (and others). The images are
printed in photo-gravure. Each issue contains biographical details
of the photographers. Superb book-design by Hara Hiromu.
29 HARA (Hiromu) designer. OKADA (Sozo) editor. Dai
First edition. Numerous photographic illustrations including one
double fold-out plate (measuring 112x42,3cm). Japanese text. Large
folio, measuring 29,8x42,3cm. Original decorated wrappers, minor
staining to covers, a very good copy. Unpaginated. Tokyo, Nippon
Dempo Tsushin-sha, dated: Showa 17, August 19th, [i.e. 1942]. This
is a separate Japanese language issue identical content to FRONT
no. 1-2, a tour-de-force of propaganda, design and photography:
Front was intended for foreign audiences and apparently distributed
in fifteen languages throughout the Greater East-Asia Co-Prosperity
Sphere. Kimura Ihei was the head of the photography section which
included Kazano Haruo, Watanabe Tsutomu, Katsura Koshiro, Oki
Minoru, Sekiguchi Mitsumori, Hamaya Hiroshi, Kikuchi Junkichi,
Nishino Kazuo, Sakaguchi Tadahiro, and Tsuji Yunnosuke. Hara Hiromu
was in charge of design working with art directors Ogawa Toraji,
Imaizumi Takeshi, and Hasuike Juntaro. The layout and use of
montage was inspired by the Soviet Propaganda magazine USSR in
Construction, clearly reflected in the title of the present issue,
which is devoted to the Navy. Only one copy in OCLC.
30 HARA(Hiromu), designer.OKADA(Sozo)
-Manchuria]. First edition. Numerous photographic illustrations
including two large fold-out posters (one measuring 83x59cm, the
other 55x42cm). Japanese text. Large folio, measuring 29,4x42cm.
Original decorated wrappers, a close to fine copy. Unpaginated.
Shinkyo/Tokyo, Manshu Shoseki/Toho-sha, dated: Showa 18, August 8th
[i.e. 1943]. This is a separately issued Japanese language issue of
FRONT no. 5-6 was to be distributed in Manchuria. Again the title
retains the term kensetsu (construction), a homage to the Soviet
magazine USSR in Construction. The images show industrial
development, happy workers and farmers, as well as a ceremony at
the court of Shinkyo involving the Last Emperor Pu-yi. Altogether
ten issues of Font magazine were published but almost the entire
issue of the last volume was destroyed in an air raid in 1945. Very
rare. Only one copy in OCLC.
31 HASEGAWA (Denjiro). Manshu Kiko, Shashin to Zuiso
edition. Numerous photographic plates. Japanese text with caption
in Japanese and English. Folio. Original cloth in dustwrapper (top
flap detached, marginal tears), still a very good copy. 186pp.
Tokyo, Meguro Shoten, dated: Showa 16, 1941. Hasegawa Denjiro
(1894-1976) was born in Tokyo. His father was a craftsman of
household goods whose shop was destroyed in the Great Kanto
Earthquake. As a result he went to Hokkaido to work on a dairy
farm. This being not much to his liking he decided to go to India
to study arts at the Visva Bharati University which had been
founded by Tagore. From there he undertook several trips to the
Himalayas where he photographed extensively. Upon his return to
Japan his first book of Himalayan photographs was published in
1932. The images in the present book were taken during a
three-month trip in autumn of 1939. His remarkable portraits of
Chinese and Russians show an ease in dealing with foreigners that
he must have learned in India. Only one copy in OCLC.
editor.Goze[BlindItinerantFemale Musicians]. First edition.
Numerous photographic plates. 8vo. Original decorated flexible
boards in slipcase and obi (slightly worn). Together with a loose
8pp. leaflet containing an appraisal of the work by Hayashi
Tadahiko. A very good copy. 239pp. Tokyo, Nora-sha, dated: Showa 49
[i.e. 1974]. An excellent documentary showing the life of a several
Goze throughout the four seasons of one year. The term goze (lit.
just blind woman) refers to blind female itinerant musicians going
from one village to the next in small groups or alone - hoping to
be put up for the night with some food in return for an old
folk-song or two, sometimes accompanied by a shamisen. Only a
handful of these musicians surv ive today. Hashimotos images have a
grainy quality that is particularly well suited to his subjects.
This is documentary photography at its best - un-intrusive and yet
powerful. No copy in OCLC.
33 HATAKEYAMA (Naoya). Under Construction. First edition.
Numerous colour photographic plates. Text in English and Japanese.
Large 8vo. Original boards in dustwrapper and obi, a fine copy.
147pp. Tokyo, Kenchiku Shiryo Kenkyusha, 2001. This is a
photographic record of the construction of the Sendai Mediatheque,
a library built by the architect Ito Toyo between November 1998 and
March 2000. The work is one of the most beautifully crafted
publications relating to contemporary architecture. It oozes with
the professionalism of everybody involved. There is a fresh
approach, there is a fresh look at detail and colour, and there is
fresh design. Ito suspended the entire seven-floor structure from
13 strangely twisted, expanding and contracting tubes. Hatakeyama
compares the architecture to a ship and was surprised to find that
the workmen involved in the construction actually came from a
shipyard in his hometown. This is a book that is full of a sense of
achievement, progress, and optimism. In a sense it is similar to
Kimuras In a shipyard. The design of the book by Matsuda Yukimasa
is superb. The front board is reinforced with strong cardboard,
allowing for a beautiful handling of the book.
34 HAYASHI(Tadahiko). KasutoriJidai[Theperiodofcheapliquor].
Showa 21nen, Tokyo, Nihon. First edition. Numerous photographic
plates. Text in Japanese. 4to. Original cloth in decorated slipcase
(slightly rubbed), decorated endpapers. A very good copy. 126,
[ii], 14, [ii]pp. Tokyo, Asahi Sonorama, 1980. This is Hayashis
most famous work. Kasutori was a type of smelly, cheap liquor that
was available (and affordable) at the time. Hayashi documents the
decade after the end of the war when Tokyo lay in ruins:
Demobilized soldiers returning, street kids smoking discarded
cigarette butts, shoe-cleaners below the school-age, G.I.s, cheap
bars and prostitutes show the ability of Tokyoites to adapt and
cope with the dire conditions. The over-riding impression is one of
being glad to be alive. When Hayashi looked through the images
prior to this publication he was himself surprised to find that he
had captured history. Only two copies in OCLC.
35 HIBIKIPHOTOSTUDIO. IDE (Denjiro).Nagasaki-SouvenirduNagasaki.
First edition thus. 114 photographic plates (several tipped in and
fold-out) and numerous illustrations with facing tissue guards.
Folio. Japanese text, ca. Original decorated velvet binding
(slightly stained) in original cardboard box, a very good copy.
[viii], 53; 114ff. Nagasaki, Hibiki Photo Studio, dated: Showa 3
[i.e. 1928]. This book is not identical to a work of the same title
published in the previous year. The first part of the present work
is a commemorative album for graduates of the Medical School of
Nagasaki University. While being a wide-ranging introduction to the
University with its departments, clubs and societies, as well as an
illustrated history of Nagasaki, many of the images bear the
hallmarks of the geijutsu shashin movement. The style of this book
is reminiscent of the work by Iida Kosaburo entitled Kohoku Ingashu
(Privately published, 1914) which is regarded amongst the first
artistic photobook to have been published in Japan: Both use a
variety of papers in different colours and textures to produce an
interesting artistic effect - more of a record of memories in the
form of an album than a documentary depiction of the city. Little
is known about the Hibiki Shashinkan, apart from the fact that it
was a commercial studio run by Ide Denjiro in Nagasaki during the
20s and 30s. He experimented with the various printing techniques
to produce the soft, hazy, and emotionally laden images that the
pictorialists aspired to. No copy in OCLC.
36 HODOSHASHIN-NEWSPHOTOGRAPHY. DaiToasensohodoshashin-roku
[APhotographicNewsRecordof theGreatEastAsiaWar]. First edition. 40
photographs mounted on cardboard with Japanese tipped-in
letterpress on verso. Large 8vo. Preserved in original cloth box
with cardboard slipcase, a very good copy. [ii](text)pp. Tokyo,
Yomiuri Shimbunsha, dated: Showa 17 [i.e. 1942]. I appears that
every newspaper was expected to publish a photographic account of
unfolding events in the Pacific War. The present collection of
photographs was includes images of Pearl Harbour, the advance on
the Malayan peninsula, the fall of Singapore, the Philippines, the
island of Corregidor, etc. The loose sheet of printed text reprints
the Declaration of War released in the name of the Emperor. This
text was reprinted in newspapers throughout the war on the eighth
day of each month to re-affirm Japanese resolve.
SIGNED PRESENTATION COPY TO HENRY MILLER
37 HOSOE (Eikoh). TAKIGUCHI (Shuzo), text. Kamaitachi
[WeaselsSlash]. First edition. No. 458 of a limited edition of 1000
copies. 34 double-page photographic plates. Text in English and
Japanese. Folio. Original decorated cloth in acetate dustwrapper
(partly damaged) and slipcase (lacking outer cardboard box), but
overall a very good copy, signed by the dancer Hijikata Tatsumi on
the front free endpapers. [x](text)pp. Tokyo, Gendai Shichosha,
1969. Photographs of the Butoh dancer Hijikata Tatsumi (1928-1886)
returning to his home-town in Akita Prefecture. It will be almost
impossible to define Tatsumi Hijikata, between the terrestrial or
the aerial as one of his own attributions, but, before speaking of
that, the significant fact is that our dancer has rushed like a
gust of wind to the farm village, especially to the district of
rice crops, where the most contradictory and irrational facts of
social reality in Japan today still remain. He appears there
abruptly, just like an eagle flying down to earth, or a sudden
kidnapper from heaven. (Introduction). This book captures the
meeting of tradition and modernity with superb book-design by
Tanaka Ikko. Each of the plates folds out from the gutter. This
copy was presented by Hijikata Tatsumi to the famous American
writer Henry Miller (1891-1980) and his fifth wife Hoki Tokuda, who
he had married in 1967. Hijikata Tatsumi signed very few books, and
this is an important association copy.
38 INAKOSHI (Koichi). HASEGAWA (Kei) text. Maybe,maybe. First
edition. Numerous photographic plates. Text in Japanese and
English. 4to. Original boards in dustwrapper and (slightly worn)
slipcase, a very good presentation copy signed by the photographer
on front free endpaper. Unpaginated. Tokyo, Kyuryudo, 1971.
Inakoshi Koichi was born in 1941. He became a freelance
photographer in 1970 and the present is his first work, a
collection of images of New York. The text by Hasegawa Kei seems to
be a short play in four acts entitled The Window, The Road, The
chair, & The Sea, slightly reminiscent of Becketts work. The
high-contrast photographs have a feeling of profound loneliness.
Only seven copies in OCLC.
theNewYorkExpo]. First edition. 94 photographic plates. Japanese
text. Folio. Original boards (lacking dustwrapper). Overall a very
good copy. 37(text)pp. Tokyo, Bancho Shobo, dated: Showa 15 [i.e.
1940]. A superb photographic record of the New York World Fair held
in 1939 at Flushing Meadows under the modernist theme of World of
Tomorrow. It was one of the largest worlds fairs of all time and
over 44 million people came to visit. Many countries participated
including the USSR and Japan. It was initially organised by a group
of retired NYC policemen to help the city overcome the Great
Depression of 1935. This Japanese record of the fair is very rare.
No copy in OCLC. Only 2 copies in NACSIS.
40 ISHIDA (Hirokazu). Beijing Biyori - Beijing Weather. First
edition. Numerous photographic plates. Japanese text. 4to. Original
boards in dustwrapper and obi, a fine copy signed by the
photographer. Unpaginated. Tokyo, Sokyu-sha, 2006. Ishida was born
in Beijing in 1943, so in some ways this could be called a
homecoming. Most of the images show what the Chinese call
laobaixing (lit. old 100 names, i.e. the common man) . For somebody
who has visited the country in the last twenty years there is a
certain amount of nostalgia in these images.
41 ISHIDA (Hirokazu). NAGANO (Shigeichi), introduction. Baramon
toJanta:Indo[BrahmanandthePeople:India]. First edition. Numerous
photographic plates. 4to. Original flexible boards (light
dust-staining), still a very good copy. Unpaginated. Tokyo, Shashin
Hyoronsha, 1971. Ishida Hirokazu was born in 1943 in Beijing. In
1964 he graduated from the Tokyo Photography College, followed by
an apprenticeship with Nagano Shigeichi. The present is his first
book-publication: Ishida visited India several times between 1967
and 1970 and the present is a strong, sombre, (and painful) record
of life and death in India. Much of the book focuses on the abject
poverty. The style of the images is reminiscent of Tomatsus work in
Afghanistan (Saramu Areikomu, Shaken 1968). Rare. Only two copies
42 ISHIGAME (Yasuro). Kokoni Kodomotachi ga iru, koe ga
suru[Therearechildrenhereandtheymakenoise]. First edition. Numerous
photographic plates. Text in English and Japanese. Small folio.
Original cloth in dustwrapper (minor defect to lower spine) and
(slightly scuffed) slipcase, still a very good copy. Unpaginated.
Tokyo, Mihara Shobo, 1971. This is a superb study of children
living in the old neighbourhoods of Naples. The title refers to a
previous publication entitled So there were no children [Soshite
kodomotachi wa inai] published in 1968. Ishigame has published over
a dozen books on children. No copy in OCLC.
43 ITAGAKI (Takao). Geijutsuteki Gendai no Shoso [Aspects
ofArtisticModernity]. First edition. 12 photographic plates.
Japanese text. Original cloth in (damaged) slipcase, overall a very
good copy. Decorated endpapers. 400pp. Tokyo, Rokubunkan, dated:
Showa 6 [i.e. 1931]. An important collection of essays by the art
critic and theorist Itagaki Takao (1894-1966) advocating modernist
trends in general and the aesthetics of the machine in particular.
Itagaki had spent time in Europe and was influenced by the visual
language of the German New Objectivity (Neue Sachlichkeit, the name
of an exhibition in Mannheim in 1925) movement represented by the
likes of Dix, Schad, and Grosz. This movement had a strong
political content and often identified with socialist aims. The
cover of Aspects of Artistic Modernity shows a collage of European
Communist publications photographed by Horino Masao who was
strongly influenced by Itagaki and worked with him on several
projects. Only one copy in OCLC.
44 JAPAN PHOTO LIBRARY. HARA (Hiromu). Japan Today -Education.
First edition. 3 vols. Numerous photographic illustrations. Text in
English, Indonesian, and Malay. Folio. Original decorated wrappers,
minor staining to covers, but overall still a fine set.
Unpaginated. Tokyo, Board of Tourist Industry, dated: Showa 17
[i.e. 1942]. ... Japan never for a moment lost sight of the
intrinsic value of her own traditional culture. She now considers
that her period of learning from the West has ended, and that the
task cut out for her is to create an ideal state of civilization
(Introduction). This is a rare example of three identical issues of
a propaganda magazine published in English, Indonesian, and Malay.
Includes contributions by Kimura Ihei. No copy in OCLC.
45 KANSAISHASHINKAI. KansaiShashinKaishiTokugo[SpecialNumber of
the Kansai Photography Club Journal]. First edition. 19 collotype
plates. Japanese text. 8vo. Original printed wrappers (minor wear
to spine) minor fingerstaining, but overall a very good copy.
18(text)pp. Osaka, Kansai Shashinkai, dated Meiji 36 [i.e. 1903].
An exceedingly rare collection of work by the Kansai Photography
Club which was based in Osaka. The collotype plates show examples
of early pictorialism in Japan. Unrecorded. No copy in OCLC or
46 KARAFUTO-CHO. KarafutoShashin-cho[AphotographicAlbumof
Sachalin]. First edition. 198 photographic plates. Folio. Original
silk-covered boards in dustwrapper, a very good copy. 186pp. Tokyo,
Karafuto-cho, dated: Showa 11, [i.e. 1936]. A very rare title
published by the Sakhalin Public Office, presumably to encourage
immigration. Colonization of Sakhalin (Kita-Ezo) go back to the
late 17th century. After the Russo-Japanese War the southern part
of the island below 50 N was ceded to Japan. The book commences
with images of a newly constructed Shinto Shrine near the capital
of Toyohara (now Yuzhno-Sakhalinsk) followed by images of
government buildings, as well as farming, logging, fishing, mining,
and other industries. The last part of the album shows natural
scenery and past-times, like skiing, sledging, fishing etc. No copy
in OCLC. Three records in NACSIS.
47 KATO (Kyohei). Choukai Boraku - Kato Kyohei
First edition. Numerous photographic plates (incl. several colour
plates). Japanese text. 4to. Original cloth in cloth slipcase, a
fine presentation copy signed by his wife. 144pp. Tokyo, Privately
Printed, 1987. Kato Kyohei (1909-1983) was one of the pioneers of
the hodo shashin (photo reportage) movement. He was a founding
member of the Keio Camera Club and was a member of the Research
Associations of Young Photojournalists which had been founded in
1938 by Domon Ken, Hamaya Hiroshi, and Tamura Shigeru. Later he
worked for Shashin Shuho, and during the war he was based in
Peking. The present isaku-shu is the only monograph of his work and
it is very rare. It was edited by his friend Hayashi Tadahiko. No
copy in OCLC.
48 KIMURA(Ihei). JapaneseSchoolLifeThroughtheCamera. First
edition, a very rare variant issue with 50 tipped-in loose
photographic plates. Text and printed captions in English, French,
and German. Folio. Original printed folding case (slightly worn),
overall still a very good copy. 6 loose sheets with introduction
and table of content. Tokyo, Kokusai Bunka Shinkokai, 1937. Kimuras
third publication and the very rare issue with loose plates in a
folding envelope. The photographs contained between the covers of
this album are intended to illustrate by means of the camera the
road to learning and culture as it passes through the schools in
49 KIMURA (Ihei). KAN (Itsuo). Jugosei Ichimura Uzaemon
Ichimura]. First edition. Numerous photographic plates. Japanese
text. Large 8vo. Original printed boards in dust-wrappers (minor
dust-staining), but overall a very good copy. , [xxii]pp.
Kyoto, Wakei Shoten, dated: Showa 26 [i.e. 1951]. Photograph
collection of the fifteenth-generation Uzaemon Ichimura
(1874-1945). All of the images were taken before the war. This is
the last in a three volume photobook series on noted Kabuki
performers published by Wakei Shoten in Kyoto. It is also one of
the rarest Kimura items from the 1950s. Only two copies in
50 KIMURA (Shohachi). SUZUKI (Yoshikazu) photographer.
GinzaKaiwai & Ginza Hacho [Ginza Neighbourhoods & Ginza
8-chome]. First edition. Text volume with folding colour woodblock
frontispiece, one further woodblock print, three photographic
plates, and numerous maps and illustrations. Japanese text. Square
8vo. Original decorated boards in glassine wrapper and decorated
slipcase. Bessatsu (orihon) containing large foldout panorama
(measuring 395x18cm) both preserved in original cardboard box with
title-slip. Minor spotting, but overall in very good condition.
334pp. Tokyo, Toho Shobo, dated Showa 29 [i.e. 1954]. An
extraordinary and charming production: The work is ostensibly an
illustrated history of the Ginza, one of the most upmarket shopping
districts of Tokyo. The name is derived from a silver-coin mint
which was located here during the Edo period. In the Meiji era it
was developed as a shopping and entertainment district with a
Western flair and became famous for its department stores, bars,
and coffeehouses during the early 20th century. Large parts were
destroyed during the firebombing in 1945. However, Tokyoites
retained their affection for the place and it was soon rebuilt. Of
particular interest is the panorama which accompanies the book
recording every building on Ginza 8-chome from Shinbashi bridge to
Kyobashi bridge. The photographer Suzuki Yoshikazu (dates unknown)
worked from November 1953 until spring of the following year to
take over 200 images having to make sure that weather and light
conditions would be more or less the same in order not to affect
the overall homogeneity of the panorama. Interestingly, Suzuki
added an element of photomontage, placing extra cars (and possibly
pedestrians) at intersections to heighten the sense of drama. In
1966 Edward Ruscha undertook a similar project in Every building on
the Sunset Strip. Rare. None of the 4 records in OCLC appear to
have the separate panorama.
51 KOISHI(Kiyoshi). Satsuei-Sakuganoshingiho.[ANewMethodof
Photography]. First edition. Numerous photographic illustrations.
Japanese text. 8vo. Original decorated cloth in (slightly worn)
slipcase, but overall still a very good copy. [ii], 294,
[xiv](ads.)pp. Tokyo, Genkosha, dated: Showa 13 [i.e. 1936].
Published three years after Shoka Shinkei the present photographic
manual explains his theories and techniques, incl. multiple
exposure, camera movement, solarisation, infrared photography, and
montages. Koishi had been criticised for indulging in the grotesque
imagery and the nature of this manual is of course more commercial
and less avant-garde than his previous book. But it shows him to be
constantly pushing the frontiers of new techniques. Particularly
famous is the composite image entitled: Feeling of Fatigue which
shows three clocks staggering across a night sky over a modern city
has a surrealist feel (p. 240), as well as an image of Mt. Fuji
with a cloud formation seemingly mirroring its shape (p. 183). A
wonderful photomontage of a girl with a cocktail and the Grand
Palace neon lights is an iconic modernist image of the 30s. Very
rare. No copy in OCLC.
First edition, second printing. Numerous photographic illustrations
as well as 17 colour lithograph plates. Japanese text. 8vo.
Original cloth in slipcase, a very good copy. 193pp. Tokyo,
Seibundo Shinkosha, dated: Showa 13, [i.e. 1938]. A charming
publication about design and manufacture of shop-signs, including
neon-light signs. This book is full of modernist sensibilities
showing night-time images of clubs and shops in Tokyo as well as
numerous examples of illuminated free-standing advertising signs.
Also includes images from Paris, Berlin and London. Unrecorded in
any edition. No copy in OCLC. No copy in NACSIS.
edition. Japanese and English text. Various sizes, and binding
techniques, all in publishers cardboard box, a fine copies. Each
volume comes with a leaflet by Izawa Kotaro and Kaneko Ryuichi
providing scholarly background information. Tokyo, Kokusho
Kankokai, 2005- 2007. 1. Yasui Nakaji shashin sakuhin-shu .
One of a limited edition of 500 copies. 2005
2. Koishi Kiyoshi: Shoka Shinkei . One of a limited
edition of 600 copies. 2005
3. Horino Masao: Kamera me x tetsu kosei . One of a
limited edition of 480 copies. 2005
4. Kimura Ihei: Japan through a Leica . One of a limited
edition of 400 copies. 2006
5. Tampei shashin Club: Hikari . One of a limited edition
of 400 copies. 2006
6. Fukuhara Shinzo: Paris and the Seine . One of a limited
edition of 300 copies. 2007
7. Bessatsu - Koga kessaku-shu. Supplement - Masterpieces from
Koga magazine [1932-33]. 2006
54 KONO(Toru). Wadachi-KonoToruShashin-shu-[Tracks]TheWorks of
Tetsu Kono. Second revised edition. Numerous photographic plates.
Japanese text. Large 4to. Original cloth in decorated slipcase,
occasional minor foxing, overall still a very good copy. Together
with a separate list of plates, as well as a printed letter by Kono
Toru, stamped with Konos name and his new address. 124pp. [Kobe],
Privately Printed, dated: Showa 52 [i.e. 1977]. Kono Toru
(1907-1984) was born in Osaka. He started photographing as a hobby
in 1927 and became a member of the famous Tampei photography club
in 1931. He was influenced by Yasui Nakaji and accompanied him on
the Wandering Jew project in Kobe in 1941. After the war he
continued to photograph in an avant-garde tradition and was a
founding member of the Spiegel Photographers Association, a
subsidiary of the Tampei Club. It is most curious that Kono should
have republished a privately printed book just one year after the
first edition: The difference between the two is very slight: One
image on page 41 Erosion on a Rock (shinshoku sareta iwa) has been
replaced with another one of the same title. Furthermore the
bibliographical notes on the last page have been cut by half. In
the letter Kono apologises to the reader for the mistakes of the
first edition but does not explain the circumstances. We can only
speculate that another member of the Tampei Club complained about
the inclusion of this image and forced Kono to make amends, a very
costly exercise for a book of this size. No copy in OCLC.
55 MATSUGI (Fujio). Hodo Shashinshu - Kaijun Heigakko [AnAlbum
of News Photography - The Naval Academy]. First edition. Numerous
photographic plates. Japanese text. Large 8vo. Original cloth in
dustwrapper (Minor damage to top corner). A very good copy. 134pp.
Tokyo, Bancho Shobo, dated: Showa 18 [i.e. 1943]. Matsugi Fujio was
born in 1903 in Kyoto. During the early Showa period he won various
prizes in photographic magazines and from 1935 onwards he became a
freelance photographer. His main strength was in the field of
portraits and human studies. The present book is his first
documenting the training of Naval cadets during the early 40s and
represents one of the best examples of so-called news-photography
(hodo shashin) in the patriotic vein. There is something shockingly
beautiful in these polished images of men brimming with illusions
of grandeur. Only one copy in OCLC.
56 MATSUGI (Fujio). Gakuto Shutsujin - kaigun yobi gakusei
nokiroku[DepartureofStudents for theFront
-ARecordofStudentMarineReservists]. First edition. Numerous
photographic plates. Japanese text. Large 8vo. Original cloth in
dustwrapper, and obi (lacking plastic wrapper). A very good copy.
153pp. Tokyo, Asahi Shimbunsha, dated: Showa 41 [i.e. 1966]. The
present book published some twenty years after the war shows the
training of Naval cadets during the early 40s and represents one of
the best examples of patriotic photography. No copy in OCLC.
First edition. Numerous photographic plates. Japanese text. Large
8vo. Original cloth in dustwrapper, obi, and plastic wrapper. A
very good copy. 127pp. Tokyo, Asahi Shimbunsha, dated: Showa 41
[i.e. 1967]. This is Matsugis second volume of patriotic
photography about the training of Naval cadets during the 40s. No
copy in OCLC.
58 MIDORIKAWA (Yoichi). Yoroppa no fukei - Sketching Tour
inEurope. First edition. Numerous photographic plates (several in
colour, 4 folding). Japanese text. Folio. Original cloth in
cardboard slipcase. A very good copy. Unpaginated. Tokyo, Geibi
Shuppansha, dated: Showa 35 [i.e. 1960]. This publication was
supported by Shigemori Koen as well as Canon. The tour project
covers Egypt, Greece, Switzerland, France, Holland, Denmark, and
Norway. Book Design by Awazu Kiyoshi.
59 MIKI (Shigeru). YANAGITA (Kunio), text. Yukiguni no
Minzoku[PeopleoftheSnowCountry]. First edition. 367 photographic
illustrations and one colour lithograph map. Japanese text. Large
8vo. Original boards in dustwrapper (minor damage), overall still a
very good copy. Decorated endpapers. 64(text)pp. Tokyo, Yotoku-sha,
dated: Showa 19 [i.e. 1944]. An important photographic item
illustrative of the strong interest during the war-years in
folklore studies. The book is a comprehensive overview of the
types, dress, customs, housing, and products of Akita Prefecture.
Yanagita Kunio (1865-1972) is widely regarded as the father of
ethnology. After graduating from Tokyo University he became an
official in the Ministry of Agriculture. His work allowed him to
travel widely and he became fascinated with different village
customs in various parts of Japan. The film-maker Miki Shigeru
(1905-1978) selected the images from over 2000 photos taken as part
of a documentary film entitled Living of the land (tsuchi ni ikiru,
1940). 2 records in ALC.
60 MINAMI (Minoru) editor. Geijutsu Shashin Kenkyu
[ArtPhotographicStudies]. First edition. Vol. I, no. 1. Numerous
photographic plates. Japanese text. Large 8vo. Original decorated
flexible boards, overall in very good condition. 40(text)pp. Tokyo,
ARS, dated: May, Taisho 11 [i.e. 1922]. During the first half of
the 1920s this magazine represented the most important trends in
Geijutsu photography. Having published the successful Geijutsu
Shashin no Kenkyu Minami Minoru (1887-1948) launched the present
monthly magazine, promoting a new artistic approach to
pictorialism. Many of the images were taken with a popular Vest
Pocket Camera that lent itself to production of popular hazy
images. However, one can clearly detect a shift in the subject
matter, often away from landscape photography. And even the
landscapes began to be seen in a different context, with abstract
shapes of light and shadow playing an increasingly important role.
This rare first issue includes works by Takeda Baitei, Murai
Tominosuke, Shindo Seinosuke, Minami Minoru, and the German
photographer Alfred Enke. Very rare. No copy on OCLC, one record in
61 MORATH (Inge). Panpurona no matsuri - Fiesta in Panplona.
First edition. Numerous photographic illustrations, several in
colour. Text in English and Japanese. 8vo. Original printed boards
(minor wear to spine), still a very good copy. [iv], 40, [viii]pp.
Tokyo, Heibonsha, dated: Showa 32 [i.e. 1957]. Inge Morath
(1923-2002) was a member of the Magnum photo agency. During the 50s
she lived in Paris and worked with Ernst Haas and Erich Lessing.
This work was first published in Zurich in 1955. Only one copy in
62 MORIYAMA(Daido). Kiroku-RecordNo.1-11. Facsimile edition of
1-5. First editions of 6-11. 11 volumes. Numerous photographic
plates. Japanese text. Small folio. Original flexible boards in
original cardboard portfolio. A fine set signed by the
photographer. Unpaginated. Tokyo, Akio Nagasawa, 2006-09. Kiroku
was originally published between 1972-73. It was privately
published by Moriyama who thought of it as a personal selection of
favourite images. The project came to a halt in 1973 when the
oil-crisis resulted in a doubling of printing costs in Japan. After
a break of over 30 years Akio Nagasawa persuaded Moriyama to bring
Kiroku back to life. It is difficult to detect any change in the
scenery or the objects that were the hallmark of Moriyamas work in
the early 1970s. The main difference is in our reaction to the
work. We have grown used to them, they dont shock any more, on the
contrary, they seem to be infused with a sense of nostalgia.
Particularly impressive are the night-scenes. Each issue of Kiroku
contains a short personal postscript by Moriyama.
63 NAGANO (Shigeichi). TANIKAWA (Shuntaro), text. Yoru no byoin-
The Hospital at Night. First edition. Numerous photographic plates.
Japanese text. Large oblong 8vo. Original decorated flexible
boards, a very good copy. pp. Tokyo, Fukuinkan, 1979. Little
Yutaka has come down with an inflamed appendix. He is rushed to
hospital and operated on in the same evening. This fabulous
reportage realistically captures the drama of the occasion. Pain
and worry of the parents is contrasted with the calm
professionalism of the doctors and nurses. The image of the scalpel
about to make the incision into the stomach is followed by a
beautiful shot of a pair of pliers holding two threads at the end
of the successful operation. There is a cinematic quality to the
sequence of images and it all couldnt be more poignant. Published
as vol. 9 in the childrens book series Kodomo no tomo by
Fukuin-kan, one of the leading publishers of childrens books. A
hardcover version was issued in 1983. No copy in OCLC.
64 NAGANO(Shigeichi). ToiShisen-AStrangePerspectiveinTokyo.
1980-1989. First edition. 42 double-page plates. Japanese text.
Large folio. Original decorated cloth in slipcase, a fine copy
signed by the photographer. [xii](text)pp. Tokyo, Inter Press
Corporation, 1989. A strange perspective indeed: Office workers
taking a mid-day nap on artificial grass in the Ikebukuro Sunshine
building, somebody sunbathing in the bushes, a used car sales-show
in Shinjuku, a policeman watching from a bridge, drunken day
workers sleeping on the pavement in front of Takadanobaba station,
a boy sitting inside a coin locker, the ruins of a public bath, a
chicken on a banister in a school yard, all of the scenes become
significant through the angle, the moment, and the size. While
being slightly absurd, there is a palpable sense of the security,
confidence, and contentedness of the late 80s. Only one copy in
65 NAKAFUJI (Takehiko). Enter theMirror. First edition. Numerous
photographic plates. Large folding poster measuring ca. 69x102cm.
Japanese text. Small folio. Original flexible boards, together with
a folded sheet of text (8pp.), in slipcase. A very good copy.
Unpaginated. Tokyo, Mole, 1997. A moriyama-esque record of New
York, Amsterdam, Paris, London, Hong Kong and Tokyo, with an
introduction by... Moriyama Daido: ... a ceaseless unyielding
challenge to his own self as well as oncoming imaginary foe. The
title itself may be a reference to the close relationship between
Nakafuji and Moriyama. Only one copy in OCLC.
66 NAKAMURA (Yoshinobu). Setouchi no hitobito [People ofSeto].
First edition. Numerous photographic plates. Japanese text. Small
folio. Original decorated flexible boards in dustwrapper and
(slightly rubbed) slipcase, a very good copy. 195pp. Tokyo, Shakai
Shiso Shaken, dated: Showa 40, [i.e. 1965. Nakamura Yoshinobu was
born in 1925 on Naoshima, one of the islands of the famously
picturesque Japan Inland Sea (Seto Naikai). He became a
professional photographer in 1955 and in 1958 won the Japan
Photography Associations newcomer prize. Throughout the 50s he
travelled around the islands of photographing villages that seemed
to be lost in the past. He focuses on colourful individuals, a
midwife, a postman, a doctor, a policeman, a primary school
teacher, he lovingly portrays their life in the local community. In
its focus on individual characters this charming book is strongly
reminiscent of Kinoshita Keisukes popular film Twenty-four Eyes
(Nijushi no hitomi, 1954) that was also filmed on one of the
islands. It is in the best tradition of documentary photography. No
copy in OCLC.
67 NANIWA SHASHIN KURABU. Koga-shu. No. 6. Containing 28
tipped-in collotype plates, captioned on tissue guards. Japanese
text. 8vo. Original flexible boards (some wear, occasional light
foxing), but overall in good condition. 20(text)pp. Osaka, Naniwa
Shashin Club, dated Showa 3 [i.e. 1928]. In January 1904 Kuwata
Shozaburo and Ishii Kichinosuke founded the Naniwa Photography Club
whose membership was essentially composed of serious amateur
photographers who determined the theme of pictorialism in the
Meiji, Taisho, and early Showa era. Prominent members included
Kometani Koro, Yokoyama Kinkei, Koishi Kiyoshi, Hanawa Gingo, Yasui
Nakaji, Umesaki Ori, and Fukumori Hakuyo. Unrecorded. No copy in
OCLC, no copy in ALC, no copy in NACSIS.
68 NARAHARA (Ikko). Tokyo, the 50s. First edition. Numerous
photographic plates. Text in English and Japanese. Folio. Original
boards, a fine copy. 50pp. Tokyo, Mole, 1996. This book documents
the extraordinary first steps that Narahara Ikko took with a
camera. I breathed photographs on Tokyo street corners the way I
breathed air. In my viewfinder those street corners changed into
streets in my photographs. Whenever I released the shutter, I
seemed to hear the beat of modern jazz, which I loved so much
69 NARAHARA (Ikko). Shometsushita Jikan - Where Time
hasVanished. First edition. 101 photographic plates (one in
colour). Text in English and Japanese. Square folio. Original
decorated cloth in slipcase and outer cardboard box, a very good
copy. [xx](text)pp. Tokyo, Asahi Shimbun-sha, 1975. In 1972
Narahara drove across the U.S. in a Chevrolet and came up with an
extraordinary series of iconic images in the best Narahara
tradition. One of the most famous is Two garbage cans, Indian
village - New Mexico in an Acoma Indian reservation called Sky
City. The garbage cans were suspended in order to prevent coyotes
from getting to the waste. Sky through twin windows, Colorado, is
an artificial image with a crucifix and the wing of a bird. Many of
the images show reflections or manipulation of perspective to
strange effect. In the accompanying essay entitled A Sea without
Water Narahara compares this effect to a negative energy holding
electrons in a vacuum. Book-design by Katsui Mitsuo. Five copies in
edition. 2 vols. Numerous photographic plates. Folio. Original
decorated boards in decorated slipcase and outer cardboard box, a
close to fine copy. Together with a folio booklet of Japanese &
English text. Decorated endpapers. 239; pp. Tokyo, Kyuryudo,
1969. It must have been an act of serendipity that brought Narahara
to Spain in the early half of the 1960s. As he explains in the
preface, he felt drawn to Europe on account of being born in
Nagasaki, the city to first open its doors to the Southern
barbarians (nanbanjin) from Spain and Portugal. Narahara spent two
long summers driving around Spain with his wife and he got to know
the country well. The present record, produced - as he insists -
unintentionally, is the best book of photographs on Spain. This is
a book full of Spanish passion, Spanish sensibilities, and of
course the Spanish dance to the cult of the smell of blood
[bullfighting] features prominently in the first chapter. As death,
which every one must meet ultimately in his life, is not in itself
the purpose of life, the death of the bull is never the purpose of
this drama of bullfighting. The final chapter of the book is
entitled Vaya con Dios. Here Narahara finds the void of
timelessness. One can feel the heat, one can smell the ham, and the
deep humanity in spite of - if not because of - the poverty. Five
copies in OCLC.
NihonShashinkaiKaiho[JournaloftheJapanPhotographicSociety]. Vol. 1,
no. 1. 4 collotype plates, 1 colour plate and several illustrations
in the text. Japanese text with English table of content. Large
8vo. Original printed wrappers, minor wear and spotting, but
overall a very good copy. 90pp. Tokyo, Japan Photographic Society,
dated: Meiji 40 [i.e. 1907]. A very rare issue (possibly the only
one) of an early incarnation of the Japan Photographic Society. Two
of the collotype plates show small portraits of 21 members of the
Society including the foreign minister Count Hayashi, Asanuma
Tokichi, Konishi Rokuemon, Nakashima Matsuchi, Maruki Riyo, Ogawa
Isshin, and Tamamura Kozaburo. Unrecorded. No copy in OCLC, ALC, or
72 NISHIYAMA (Kiyoshi).
First edition. No. 46 of a limited edition of 1000 copies. 119
photographic plates. Japanese text. 4to. Original cloth in plastic
dustwrapper and slipcase, slightly warped, but overall a very good
copy. 24(text)pp. Tokyo, Privately Printed, 1961. The Pleasant Club
was founded in Tokyo in October 1921. It was headed by Nishiyama
Kiyoshi (1893-1983) and held its first exhibition in May 1923.
Kubokawa Tokusaburo was a prominent member. The club was dedicated
to amateur photography but it did not restrict itself to a
particular style. The present is a very rare retrospective of the
activities and achievements of its club members. Printed in
photogravure the book includes articles by Inagaki Koichi, Ichiba
Tokutaro, Oki Igusa, and Shimada Kiichiro as well a chronology of
the clubs activities. Unrecorded. No copy in OCLC or NACSIS.
73 NORTH CHINA PHOTOGRAPHERS ASSOCIATION. YOSHIDA(Jun), editor.
First edition. Numerous photographic plates. Japanese text. 4to.
Original cloth in slipcase (lacking dustwrapper), minor wear,
slightly shaken, but overall a very good copy. 150pp. Peking,
Hokushi Shashin Sakka Shudan, dated: Showa 16 [i.e. 1941]. Local
should here be interpreted in the broadest sense, as all of the
photographers are Japanese... The North China Photographers
Association was established to control photographic output in the
areas under Japanese control. As usual, there is very little in
these images to hint at a bitterly fought war. China, the beautiful
could be the subtitle of this book. Yoshida Jun (1908-2003)
features prominently amongst the contributors. Rare. Only one copy
in OCLC. No copy in NACSIS.
designer.Kaminoforumu1&2[TheFormofPaper]. First edition. 2
vols. Numerous photographic plates and illustrations. Japanese
text. Large 8vo. Original boards in dustwrapper (damage to vol. 1)
and slipcases, overall a good set. 166, [vi]; 186, [vi]pp. Tokyo,
Kyuryu-do, 1967-76. This book inquires into the quintessence of
forms which paper can be given (Introduction by Hara Hiromu). It is
divided into two parts the first being black and white photographs
by Kurihara Minoru showing examples of Ogawas paper art. The second
part gives examples of various cutting and folding techniques.
Works 041.The very rare first edition of this work. Works 041. The
second volume of paper sculptures follows the pattern of the first.
Black and white photographs - mostly by the artist himself - are
arranged under three chapters, namely face, band, and volume. Rare.
Only one copy in OCLC. Works 106.
75 OSAKA ASAHI SHINBUNSHA. Shashin Shuho - Semi AnnualPictorial.
First edition. One folding frontispiece and 200 photographic
plates. Japanese text. Oblong folio. Original decorated flexible
boards, minor wear throughout, but overall still a good copy.
Unpaginated. Osaka, Asahi Shimbunsha, dated: Taisho 11, 11-gatsu,
[i.e. November 1922]. Osaka Asahi Shimbunsha was at the forefront
of sponsoring amateur photographers in the Kansai area. To
celebrate the acquisition of a photogravure printing press in 1919
and the subsequent publication of weekly photographic magazine
Asahi Graphic the newspaper organised an open photography
competition that would be judged by members of its staff. Shashin
Shuho presents the results of the 3rd All-Kansai Photography
Competition that was held on October 31st. 200 works were selected
from contributions throughout the Kansai area. It includes work by
Kometani Koro (1889-1947), Umesaka Ori (1900-1965), and Fukumori
Hakuyo (1887-1942). Rare. No copy in OCLC.
76 SAKATA (Minoru). Zoukei Shashin 1934-1941. - Structure
inPhotography;MinoruSakatasAnthology. First edition. 22
photographic plates and several illustrations in the text. Japanese
text. Small folio. Original cloth in dustwrapper and obi, a fine
copy. 166pp. Nagoya, Arumu, 1988. Sakata Minoru (1902-1974) was one
of the most important proponents of the surrealist school of
constructivist photography. Born in Aichi Prefecture, Sakata worked
for the Mainichi Newspaper in Osaka before opening a photographic
supply store in Nagoya in 1934. He became a founding member of the
Nagoya Avant-garde Club, a federation of poets, painters, and
photographers. The present booklet is his first and only pre-war
publication. Sakata advocated going close to natural objects and
while showing their innate beauty he at the same time tinges the
structure of the object with a surrealist meaning. The present is a
re-edited version of the booklet that was originally published in
1941, containing additional material. Published in a small edition
in Nagoya, this work is hard to find. No copy in OCLC.
77 SHINOYAMA(Kisshin). ShinoramaNewYork. First edition. 25 loose
triple-page colour plates each measuring 105x23cm, as well as 2
composite posters measuring 105x67cm. Japanese text. Oblong folio.
Loose in decorated folding case and original plastic cover, minor
spotting, a very good copy signed by the photographer on the title.
Tokyo, Bungei Shunju, 1983. Very much a product of the 80s this is
Shinoyama Kisshins take on New York. Brooklyn Bridge, Wall Street,
Staten Island Ferry, Broadway, Coney Island, the Subway, China
Town, the Yankee Stadium, the Village Vanguard Jazz Club, all
iconic images, and yet Shinoyamas images have a special feel to
them. This is the first book publication to show his invention of
Shinorama, using three cameras to produce a composite panoramic
image. No copy in OCLC.
78 SHIOTANI(Teikoh). ShiotaniTeikohMeisaku-shu.Album1923-1973.
First edition. 128 photographic plates. Japanese text. 4to.
Original boards in dustwrapper, with remnants of obi, occasional
light dust-staining, but overall still a good copy. Unpaginated.
Tokyo, Nihon Shashin Shuppan, dated: Showa 50 [i.e. 1975]. Shiotani
Teikoh (1899-1988) grew up in the small town of Akasaki (Tottori
Pref.) located between Tottori (Ueda Shojis hometown) and Matsue on
the western coast of southern Honshu. Like Ueda he found ample
inspiration in his local environment. Under the guidance of
Nakajima Kenkichi he developed an instantly recognisable individual
style using the popular the popular Kodak Vest-Pocket (besutan)
Camera and practicing the techniques of deformation and rag-wipe
(zokin-gake) for printing. At the age of twenty he even founded the
Akasaki Vest Club in his hometown and had his photographs published
regularly by Camera, Asahi Camera, and Photo Times, where it became
noted for his highly individual and yet artistic approach. Much of
his best work focuses on the particular characteristics of the
windy and sparse seashore of Akasaki taken during extreme weather
conditions. Shiotani also practiced still lives as well as portrait
photography. His portraits are often taken against a plain
background highlighting the individuality of his subjects. His work
is sensitive and sometimes moody. Shiotani was a member of the
constructivist Japan Photography Association (Nihon Koga Kyokai).
Rare. No copy in OCLC. Only one copy in NACSIS.
COMPLETE SET OF HIS WORKS
First editions. 8 vols. Numerous photographic plates. Japanese
text. 8vo. Original bindings, complete in all respects.
Tokyo/Yokohama, Privately Printed, 1972- 1994. Suzuki Kiyoshi was
born in 1943 in Iwaki city (Fukushima Prefecture). In 1969 he
graduated from the Tokyo School of Photography. But shortly after
his debut in Camera Mainichi he changed jobs to become a
shop-sign/advertising painter and henceforth pursued photographic
activities as an amateur. He died of cancer in 2000. Of the eight
books that he published in the course of his life seven were
privately printed. A superb set of fine copies charting the
achievements of a lifetime together with a catalogue of recent
retrospective of Suzukis work (Suzuki Kiyoshi Soul and Soul).
Detailed descriptions of each title available on request.
SuzukiKenjiShashinshu-ThePhotographyofKenjiSuzuki. First edition.
Numerous photographic plates. Text in English and Japanese. Small
folio. Original cloth in dustwrapper (slightly rubbed). Still a
very good copy signed by the photographer on front free endpaper.
150pp. Tokyo, Nihon Kamera-sha, dated Showa 48 [i.e. 1973]. Art is
the attempt to communicate ones psychological reactions to
components of the physical world. It is through making the attempt
that the means of creation is discovered. This is an outstanding
work by a little known photographer. Suzuki Kenji (1916) was a
medical doctor who operated his own paediatrics clinic in Hiroshima
City after the war. He was a keen amateur photographer and a member
of the Nikakai Photography Club. The present is his only
publication. His work is clearly inspired by the experiences
relating to the Atomic bomb, hovering somewhere between the
abstract and the subjective mold. He may have been influenced by
Tomatsu and Kawada and yet he has clearly developed his own
language. The images are printed in superb photogravure and the
photographer provides a running commentary giving valuable insight
for his work. Only 4 copies in OCLC.
81 TAKANASHI (Yutaka). Machi [Town]. First edition. Numerous
(mostly double-page) colour plates. Large folio. Original cloth in
plastic dustwrapper, cardboard slipcase, and obi. A fine copy.
pp, together with 12pp. supplement explaining the locations.
Tokyo, Asahi Shimbunsha, 1977. The definitive photographic work on
Tokyos shitamachi (old down-town areas). Although not intended as a
documentary this book captures the charm and humanity of the last
vestiges of Edo-life in the increasingly concrete jungle of the
sprawling metropolis. Takanashi concentrates on the exterior and
interior of old houses, showing the jumble and the order of
accumulated bits and pieces of daily life resonating warmly in the
glow of the afternoon sun. Only three copies in OCLC.
82 TAKANASHI(Yutaka). Chimeiron-GenusLoci,Tokyo. First edition.
Numerous photographic plates. Japanese text. Small folio. Original
boards in dustwrapper and obi, a fine copy. 168pp. Tokyo, Mainichi
Communications, 2000. This book demands a certain amount of effort
from the viewer, as if one eyes have to get used to the darkness
and should be seen as part of a series starting with Machi (1977)
and ending with Nostalghia (2004). All of these books focus on
human traces within architecture, documenting the change in the
skin of the city, actually without showing humans. No copy in
83 TESHIGAHARA (Sofu). KAMEKURA (Yusaku) book-design.
SofuZokei-TheArtofSofu. First edition. Numerous colour photographic
plates. Large folio. Original decorated cloth in drop-back cloth
box and original outer cardboard case (minor wear), overall a fine
copy. 259pp. Tokyo, Shufunotomo-sha, 1978. A superb monograph of
the artistic oeuvre of Teshigahara Sofu (1900-1979) the founder of
the Sogetsu School of Ikebana flower arrangement. The books covers
ikebana, sculpture, calligraphy, and painting. Photographs by Domon
Ken, Ishimoto Yasuhiro, Otsuji Kiyoshi, Kitadai Shozo, and Fujimori
Takeshi. Book-design by Kamekura Yusaku. Only two copies in
84 TOKYO ASAHI SHIMBUN-SHA. Kokusai Kokoku
First edition. Numerous photographic plates and illustrations.
Japanese text. Large 8vo. Original decorated flexible boards, a
close to fine copy. 134, 37(text)pp. Tokyo, Asahi Shimbun-sha,
dated: Showa 5 [i.e. 1930]. In Japan advertising photography turned
out to be the prime medium where modernist tendencies were
successfully explored. The present catalogue documents the enormous
range of visual language as well as the innovative force that swept
through the country. Asahi Newspaper presented the first
International Advertising exhibition in Tokyo in April 1930. The
newspaper had a natural interest in promoting photography in
general and advertising in particular. Although it was called
international most contributions actually came from Japan. The
first prize went to Nakayama Iwata for his famous work Fukusuke
Tabi, a beautifully clean and modern composition advertising one of
the most traditional pieces of clothing, namely Japanese-style
socks. Includes essays by Narusawa Reisen and Koishi Kiyoshi. Very
rare. No copy in OCLC.
85 TOKYOASAHISHINBUN-SHA. KokokuShashintenSakuhinshu- Photo
Publicite 1933. First edition. Numerous photographic plates.
Japanese and French text. Large 8vo. Original spiral-bound flexible
boards (slightly spotted), but overall still a very good copy.
111pp. Tokyo, Seibundo, dated Showa 8, [i.e. 1933]. Catalogue of a
prize-winning exhibition of advertising photography held by Asahi
Newspapers in 1933, the 4th in a series of international
advertising exhibitions. The catalogue is divided into four
sections, namely cosmetics, pharmaceuticals, food & drink, and
various (mostly electronics and socks) and prizes were awarded for
each section. Modernist trends are clearly visible with
photographers employing the latest techniques in photo-montages and
vying with each other for sharp angles and high contrasts. The
appendix gives a list of photographers in the whole of Japan
together with their addresses. No copy in OCLC.
86 TOKYO NICHINICHI SHIMBUNSHA. OSAKA
First edition. Numerous photographic plates. Japanese text. Large
oblong folio. Original decorated cloth in slipcase, a very good
copy. Unpaginated. Tokyo, Tokyo Nichinichi Shimbunsha/Osaka
Mainichi Shimbunsha, dated Showa 17 [i.e. 1942]. An unusually
large-format publication for domestic consumption. The work is
divided into two chapters, namely the basics which is chiefly
concerned with naval training, while the second chapter deals with
the unfolding course of the war, being a record of Japanese
successes from Pearl Harbour, Malaya, New Guinea, and other parts
of South East Asia. The use of a bold typeface combined with the
heavy use of black ink give a menacing aspect to the publication
which (at least in hindsight) somehow undermines the dignity
referred to in the title. None of the images are credited to a
particular photographer but it includes work by Matsugi Fujio and
(possibly) Kimura Ihei. Rare. No copy in OCLC.
87 TOKYO SHASHIN KENKYUKAI - [TOKYO PHOTOGRAPHICRESEARCH
SOCIETY]. Kenten Gashu. [Research ExhibitionCatalogue]. No. 20.
Numerous photographic plates (one in colour). Japanese text. Large
8vo. Original flexible boards in cardboard case (with ownership
inscriptions by Matsui Eiichi), a very good copy. Unpaginated.
Tokyo, Tokyo Shashin Kenkyukai, dated: Showa 4 [i.e. 1929]. The
Tokyo Photographic Research Society grew out of the art photography
group called Yutsuzusha which had been founded in 1904 and was at
the forefront of pictorialist photography. In March 1910 they
organized the first Tokyo Photographic Research Society Exhibition
that subsequently became dubbed Kenten (a short form of Kenkyu
Tenran-kai). This exhibition has been regarded as the first
art-photography exhibition in Japan. It was only on the 20th
anniversary of the societys foundation that they decided to publish
an official annual catalogue. The present issue includes works by
Matsuura Koyo, Kanemaki Akira, Tanaka Kikusui, Nagata Niryu, Suzuki
Rokusanro, Tano Yasuhiro, Nishikawa Sentaro, Nishiyama Kiyoshi,
Very rare. No copy in OCLC.
88 TOKYO SHASHIN KENKYUKAI - [TOKYO PHOTOGRAPHICRESEARCH
SOCIETY]. Kenten Gashu. [Research ExhibitionCatalogue]. No. 29.
Numerous photographic plates. Japanese text. Large 8vo. Original
flexible boards (minor staining, staples broken, lacking folding
case), but overall a good copy. Unpaginated. Tokyo, Tokyo Shashin
Kenkyukai, dated: Showa 13 [i.e. 1938]. By the late 1930s the
Pictorialist movement with its strong emphasis on the beauty of
nature and light was beginning to find it difficult to reinvent
itself. However the present issue includes strong works by Shimada
Itsuzan, Ito Rokuro, Matsuura Koyo, Kobayashi Hidejiro, Matsubara
Seiichi, and Imai Yasumichi. Very rare. No copy in OCLC.
89 TOKYO SHASHIN KENKYUKAI - [TOKYO PHOTOGRAPHICRESEARCH
SOCIETY]. Kenten Gashu. [Research ExhibitionCatalogue]. No. 23.
Numerous photographic plates. Japanese text. Large 8vo. Original
decorated flexible boards (minor dust-staining), lacking slipcase,
but overall still a very good copy. Unpaginated. Tokyo, Tokyo
Shashin Kenkyukai, dated: Showa 7 [i.e. 1932]. Kenten Gashu became
famous for the quality of its reproductions. The present issue
includes work by Matsuura Koyo, Nagata Niryu, Kawano Ryutaro,
Iketani Keitaro, Kaifu Masaya, Teraoka Tukiji, Matsudaira Tadaaki
and many others. No copy in OCLC.
90 TOKYO SHASHIN KENKYUKAI. AKIYAMA (Tetsuzuke).
MisuzuShashinGashu[MisuzuAlbumofPhotographs]. Dai 1-kan. Numerous
photographic plates with Japanese captions on facing tissue guards.
Large oblong 8vo. Original decorated flexible wrappers, minor
damage to spine, but overall a very good copy. Matsumoto, Misuzu
Shokai Shashinbu, dated: Taisho 11, [i.e. 1922]. Misuzu Shokai was
a photo supply store in Matsumoto City (Nagano Pref.) who sponsored
an exhibition as well as the present publication. It is a rare
tribute to the enthusiasm and skills of Nagano amateur
photographers with a wide range of interesting contributions. Works
were selected by Akiyama Tetsuzuke (1880-1944) of the Tokyo Shashin
Kenkyukai which dominated art photography during the Taisho period
with their emphasis on the pigment-printing process. Unrecorded. No
copy in OCLC. No copy in ALC.
91 TOKYO SHASHIN SENMON GAKUIN. TOKYO COLLEGE
OFPHOTOGRAPHY.Kamitsu[Congestion]. First edition. Diagrams, maps,
and numerous photographic plates. Japanese text. 8vo. Original
decorated boards, minor staining, light damage to 8ff. of lower
margin, still a very good copy. 76pp. Tokyo, Privately Printed,
dated: Showa 49, [i.e. 1974]. A fascinating and rare record of a
student assignment to photograph problems of congestion and
overcrowding on Tokyos streets, trains, and in housing. The results
are a tribute to the maturity of the students at the Tokyo College
of Photography. This is no. 6 of the News Photography Campaign
Series, and part two on the Capital. We have not been able to find
records of any previous or subsequent publications of the school.
Unrecorded. No copy in OCLC. Not in NACSIS.
Juichi-jini-funNagasaki[TwoMinutespast11-Nagasaki]. First edition,
second issue. Numerous photographic plates. Japanese text. Small
4to. Original boards, a very good copy preserved in custom-made
cloth slipcase. Unpaginated. Tokyo, Shaken, 1968. About the present
book Tomatsu said that Nagasaki has two times: Aug. 9, 1945, 11:02
(when the bomb exploded) and the time since then during which the
suffering continued. Both times must not be forgotten. His pictures
document the double aspect of misery intertwined with the citys
post-war prosperity. The book includes facts about the bombing,
diary excerpts, as well as essays by a few of the survivors. All of
the images were taken some twenty years after the event: The
wristwatch that stopped exactly at 11:02, broken statues of angels
from Urakami Cathedral, a helmet with skull fragments fused to its
inside, a brazier whose surface was blistered by the heat of the
blast, the blotched arm of Fukuda Sumako as she combs her hair, and
the keloid face of Kataoka Tsuyo (keloid is abnormal growth of scar
tissue). There is a surprising solemnity about the book, yet at the
same time it is less optimistic than Domons Hiroshima published
eight years previously. This book is a re-issue of a work printed
by Shashin Tojinsha in 1966. Tomatsu acquired the remaining stock,
reprinted the title and the final page with the imprint, and pasted
a label on the back of the spine, i.e. this book is the remainder
of and in all other ways identical to the 1966 issue. No copy in
93 UEDA (Shoji). Oto no nai kioku. [Memories without Sound]
-ShojiUedaSketchAlbum. First edition. Numerous photographic plates.
Japanese text. Oblong folio. Original flexible boards in
dustwrapper and slipcase, a very good copy, signed by the
photographer on the first page. 180pp. Tokyo, Nihon Camera-sha,
dated: Showa 49 [i.e. 1974]. A record of travels throughout Europe
between 1972 and 73. London, Rome, Madrid, Paris, Toledo,
Barcelona, Copenhagen, Florence, Pisa, and Milan, it became