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JAPANESE PHOTOBOOKS FROM 1904 TO 2009 MAGGS BROS. LTD. Bank Account: Allied Irish (GB), 10 Berkeley Square London W1J 6AA Sort code: 23-83-97 Account Number: 47777070 Access/Mastercard and Visa: supply card number, expiry date, name and invoice number by mail, fax or telephone. EU members: please quote your VAT/TVA number when ordering. The goods shall legally remain the property of the seller until the price has been discharged in full. Maggs Bros Ltd 50 Berkeley Square London W1J 5BA tel: 00 44 207 4937160 fax: 00 44 207 4992007 email: [email protected] IBAN: GB94AIBK23839747777070 BIC: AIBKGB2L VAT number: GB239381347 © MAGGS BROS. LTD. 2012

JAPANESE PHOTOBOOKS FROM 1904 TO 2009

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JAPANESE PHOTOBOOKS FROM 1904 TO 2009

Text of JAPANESE PHOTOBOOKS FROM 1904 TO 2009

  • JAPANESE PHOTOBOOKS FROM 1904 TO 2009

    MAGGS BROS. LTD.

    Bank Account: Allied Irish (GB),10 Berkeley Square London W1J 6AASort code: 23-83-97Account Number: 47777070

    Access/Mastercard and Visa: supply card number, expiry date, name and invoice number by mail, fax or telephone.EU members: please quote your VAT/TVA number when ordering.The goods shall legally remain the property of the seller until the price has been discharged in full.

    Maggs Bros Ltd50 Berkeley SquareLondon W1J 5BA

    tel: 00 44 207 4937160fax: 00 44 207 4992007

    email: [email protected]

    IBAN: GB94AIBK23839747777070BIC: AIBKGB2L

    VAT number: GB239381347

    MAGGS BROS. LTD. 2012

  • 01From 1903 onwards Fujita Tokutaro produced a number of booklets with the Kyoto publisher Ishigando under the title Nature. Subjects included Cranes (vol. 1) Tigers (vol. 2), Wild Geese and Herons (vol. 3) Deer (vol. 4) - all of them taken in Kyoto Zoo - and the present one on Clouds. They were meant to help nihonga painters in their quest for realism and the series eventually ran to 35 volumes. The introduction was written by the Master of Hakusenan (Abode of the White Immortal), who explains that these visions of clouds come close to how the God Apollon would perceive them. The table of content gives details of the atmospheric conditions and the exact time when the image was taken. This is an extraordinary example of how photography came to influence perceptions of reality in general and the arts in particular. Rare. No copy in OCLC.

    SOLD

    Vol. 5. First edition. 18 collotype plates (2 folding). Oblong 8vo. Original decorated wrappers, minor wear, some light staining, overall a good copy. Unpaginated. Kyoto, Ishigando, Meiji 37 [i.e. 1904].

    FUJITA (Tokutaro). Shizen - Kumo no bu [Nature - Clouds].

  • 1200

    Dai 1-kan. Numerous photographic plates with Japa-nese captions on facing tissue guards. Large oblong 8vo. Original decorated flexible wrappers, minor dam-age to spine, but overall a very good copy. Matsumo-to, Misuzu Shokai Shashinbu, dated: Taisho 11, [i.e. 1922].

    TOKYO SHASHIN KENKYUKAI. AKIYAMA (Tetsuzuke). Misuzu Shashin Gashu [Misuzu Album of Photographs].

    02Misuzu Shokai was a photo supply store in Matsumoto City (Nagano Pref.) who sponsored a competition and exhibition as well as the present publication. 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. They invited contributions from the whole country and while there are interesting contributions from Osaka, Kobe, Yokohama, and Tokyo, this catalogue is also a tribute to the enthusiasm and skills of Nagano amateur photographers. Unrecorded. No copy in OCLC. No copy in ALC.

  • The portrait frontispiece shows the three members of the Japan Pigment Club, Ogawa Gesshu (1891-1967), Yamazaki Masuzo (1886-1967) and Morita Sunao (dates unknown). The book shows outstanding examples of their works which were shown at the Clubs third exhibition. Each of the photographers records their respective observations and makes comments on all of the images. This book was published as part of Hakuyo although it is in a different format to the magazine. It was edited by Fuchikami Hakuyo who also contributes a short essay. The exhibition was funded by Osaka Asahi News and Konishiroku Osaka Branch. Very rare. Unrecorded. Not in OCLC, not in ALC, not in NACSIS.

    SOLD

    Hakuyo vol. 5, no. 4. First edition. Portrait frontis-piece & 18 photographic plates (3 tipped in). Japa-nese text. Square 8vo. Original cloth-backed boards, a close to fine copy. [viii], [24](text)pp. Osaka, Hakuyo Gashu-sha, dated: Taisho 15 [i.e.1926].

    OGAWA (Gesshu), YAMAZAKI (Masuzo). Nihon Pigumento Kyokai dai san kai tenrankai sakuhinshu. [Works of the Japan Pigment Club shown at their third Exhibition].

    03

  • SOLD

    First edition. Vol. I, No 1&2; vol. II, no 10, vol. III, no. 5, 6, 7, vol. IV, No. 1&2, vol. 5, no. 6&7. 10 is-sues. Numerous tipped-in collotype plates. Japanese text. Various sizes, but folio. Original decorated wrap-pers, slightly worn edges, minor wear and tear (espe-cially vol. I, no. 1), but overall still a very good set. Kobe, Hakuyo Gashu-sha, dated: Taisho 11-15 [i.e. 1922-1926].

    A superb monthly publication edited by the founder Fuchikami Hakuyo (1889-1960), one of the key figures in early art photography standing between (or bridging) pictorialism and Modernist Photography. Having studied photography in Saga and Nagasaki, he opened a photographic studio in 1919. In June 1922 he launched the important magazine Hakuyo which became famous for its beautifully collotype plates by key figures in the Modernist movement. In the same year he founded the Japan Photographic Art Association which embraced a national membership, although many contributors were based in the Kansai Region. Each issue contains between six and twelve fine collotype prints. From issue 4 onwards this became the official journal of the Japan Photographic Art Association (Nihon Koga Geijutsu Kyokai). Based in Kobe this was the first national association that focussed on art photography. The Journal represents the best printed examples of pictorialist photography and includes works by Nojima Yasuzo, Fukuda Katsuji, Tsusaka Jun, Akiyama Tetsuzuke, and of course Fuchikami Hakuyo. Hakuyo is extraordinary in terms of size, and quality of reproduction. It is a miracle that it was published at all and it can never have been profitable. In the latter half

    FUCHIKAMI (Hakuyo). Hakuyo [White Sun].04

    of the 1920s Hakuyo was instrumental in the formation of the more abstract constructivist school (kosei-ha). Many of the issues in 1925 and 26 have one or two plates taken by foreign photographers (Abott, Walters, McDowell, Demachy) showing the keen awareness of developments in the West. Very rare.

  • 4200

    Nos. 1, 2, 3, 6. 4 volumes. Numerous tipped-in pho-tographic plates (some in collotype), with tissue guards. Japanese text. Small folio. Original decorated flexible boards, minor wear, occasional light foxing, but overall in very good condition. Unpaginated. Osa-ka, Naniwa Shashin Club, dated: Taisho 12-Showa 3 [i.e. 1923-1928].

    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, Mori Ippei, Yokoyama Kinkei, Yamazaki Masuzo, Okugawa Chozan, Umesaki Ori, and Fukumori Hakuyo, all of whom are represented in the present issues. Images were selected from the 82 submissions to the annual Namiten exhibition in the Osaka Mitsukoshi Department Store. Unrecorded. No copy in OCLC, no copy in ALC, no copy in NACSIS.

    NANIWA SHASHIN KURABU. Koga-shu.05

  • 3200

    First editions. 13 volumes (lacking vol. 6, 7, 9, & 10 be- tween 1929 and 1935). Numerous photographic plates, several tipped in. Japanese and English text. Large 8vo. Original flexible boards (issues from 1925-1930 with some wear and light browning), but overall a very good set. Osaka/Tokyo, Asahi Shimbunsha, dated Taisho 14-Showa 17, [i.e. 1925-1942].

    Rising from the rubble of the Great Kanto Earthquake this publication is regarded as the first true yearbook of photography in Japan. The Japan Photographic Annual covers the crucial years of the development from pictorialist to modernist photography. They are an important record of some of the most innovative photography in Japan at the time. It includes work from a wide range of amateurs and professionals (incl. Fukuhara Shinzo, his brother Roso, Yasui Nakaji, Nakayama Iwata, Kakefuda Isao, Fuchikami Hakuyo, Nishiyama Kiyoshi, Kimura Ihei), as well as other members of the Naniwa Club in Osaka, and the Aiyu Shashin Club in Nagoya. The Japanese 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. Issues from 1925 to 1938 also include a short English abstract cataloguing the achievements of the year. The 1937 issue is headed: Photo Boom Continues and it goes on to say: The movement

    TOKYO ASAHI SHINBUNSHA. NARUSAWA (Kimbei), editor. Nihon Shashin Nenkan - The Japan Photographic Annual. Taisho 13-Showa 12.

    06

    for enlightenment in photography, as witnessed by 1936, was quite phenomenal. More photographing parties than ever before were held with success under the auspices of newspapers and other organizations.

  • 550

    First edition. 72 photographic plates. Japanese text with English abstract. 8vo. Original boards in slipcase, a very good copy. 85(text), [vi](ads.)pp. Tokyo, Ars, dated: Taisho 15, [i.e.1926].

    A beautifully produced yearbook published at the end of the Taisho period with contributions by Abe Shin-ichi, Hirao Keiji, Kakefuda Isao, Nishiyama Kiyoshi, Suzuki Hachiro, Takayama Masataka, and many others. It is a superb example of the transition from geijutsu shashin to shashin geijutsu, asserting the artificiality of Camera. The latter part of the yearbook provides information for all the photography clubs throughout Japan together with addresses, founding dates, membership numbers, as well as the names of the founders/leaders/chairmen. This is followed by a list of photographic supply stores in Japan. Only one copy in OCLC.

    TAKAKUWA (Katsuo) editor. Arusu Shashin Nenkan - The ARS Annual for Photographers 1926.07

  • First edition. Numerous photographic plates. Japa-nese text. Large 8vo. Original decorated cloth, a very good copy. 1; 61ff. Dairen, Minami Manshu Tetsudo Kabushiki Kaisha, 1927.

    SOLD

    08 SOUTH MANCHURIA RAILWAY COMPANY. Manchu Shashincho - The Photographic Album of Manchuria. An interesting photographic album produced for the South Manchuria Railway (SMR) Company which had been founded in 1906 after the Russo-Japanese War, and operated in the Japanese-controlled South Manchuria Railway Zone. The company played a major role in the economic development of Manchuria as well as the colonization efforts which were sponsored by the Japanese government. In a curious mix of artistic as well as straight documentary photographs, the images in this issue are of high quality. They are beautifully printed on thick paper. Only one copy in OCLC.

  • 750

    First and only edition. 40 photographic plates (one colour plate tipped in on front cover). Japanese text. Large 8vo. Original red cloth (lacking dustwrapper and/or slipcase?), slightly soiled, but very good in-side. Decorated endpapers, a.e.g. 78pp. Dalian, Mina-mi 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).

    FUCHIKAMI (Hakuyo). SOUTH MANCHURIA RAILWAY COMPANY. Manshu Shashin Nenkan - Manchuria Photographic Annual 1930.

    09

  • SOLD

    Reprint edition. Numerous photographic illustrations. Japanese text. 8vo. Original flexible boards, a very good copy. Unpaginated. Tokyo, Metropolitan Museum of Photography,1996.

    Watanabe Yoshio (1907-2000) was born in Niigata Pref. the fifth son of a kimono shop owner. In 1925 he moved to Tokyo to study photography at the Konishi Shashin Senmon Gakko (a private school for photography affiliated to Konishi Honten, a photographic supply store, later Konica). In 1931 Watanabe joined the editorial staff of the monthly Oriental News and Photo Times. Watanabe produced six features for Photo Times magazine entitled Camera Work. Step into the Ball Room Florida in 1933 and the good times were there. Ladies, cross your legs and show a bit of ankle! The floor is polished and the seats have steel frames. Nothing like this had been seen in Tokyo before, and not much of it in other places, come to think of it. Watanabe shows it all with angles so sharp that one feels like being on a cruise-liner. And there is rhythm here and lots of footwork. This is modernist documentation at its best, the subject

    10 WATANABE (Yoshio). Camera Work.

    harmonizing perfectly with the technique. The present reprint was issued to coincide with a retrospective of Watanabes work held in 1996. It appears that it was published in a very small edition and is a rarity in its own right.

  • 250

    First edition. 15 photographic plates. Japanese text. Small 8vo. Original boards in slipcase (minor wear), but overall a very good copy. 111, [ii](ads.)pp. Tokyo, Asahi Shimbunsha, dated: Showa 9 [i.e. 1934].

    Okubo Koroku (1900-1936) came to Tokyo aged fifteen and after working for several small photographic studios he joined Asahi News in 1921. From 1923 onwards he served as staff photographer for Asahi Graph, a weekly illustrated magazine. A keen observer of light and shadow, Okubo was a pioneer with a unique photographic language, a professional, whose images often had a political message. This is the only book that Okubo published during his life-time. It is a photographic manual, a classic how-to-book explaining his techniques for deformation and collages. Very rare. No copy in OCLC.

    OKUBO (Koroku). Torikku shashin no tsukurigata [The method of producing Trick photographs].11

  • 750

    First edition. 18 photographic plates. Folio. Origi-nal decorated wrappers (small defect to front, minor staining). Overall a very good copy. Unpaginated. Bureau of Information, General Affairs Board State Council, 1937.

    RAREA very rare piece of propaganda. The General Affairs State Council was the de facto executive administrative branch of the government of the Japanese-controlled Empire of Manchukuo from 1934-1945. It shows scenes from the capital Hsinking (Changchun) and Mukden (Shenyang) as well as Chengde. Much is made of the harmonious multi-racial society. Curiously enough it also includes a colour lithograph plate showing the official postage stamps of Manchuko as well as special issue stamps.

    12 STATE COUNCIL OF THE MANCHOUKUO GOVERNMENT. Manchoukuo - A Pictorial Sketch.

  • 1800

    Album containing 44 original photographs with man-uscript captions. Small oblong folio. Original silk-covered decorated boards (minor wear, some fray-ing along the edges), but very good inside. Ozuki, Yamamoto Bisetsu Shashinkan, 1939.

    A beautiful example showing the activities of a professional photographer far removed from the fashionable centres of Osaka, Kobe and Tokyo: In 1924 Yamamoto Bisetsu decided to build a new photo-studio in front of the train station of Ozuki (Yamaguchi Pref.), a small town near Shimonoseki on the Western tip of Honshu. The new building would have his business in the front part together with a reception, studio, and darkroom facilities, while the back part was his family home. The present photo-album was produced on the fifteenth anniversary of the new studio: It was clearly intended for friends and family only. The first image shows a large portrait of three generations of the Yamamoto family. This is followed by three photographs of architects drawings showing the floor plan and the exterior, as well as six images showing the progress of the construction. The building is a marvellous example of the (somewhat incongruous) ingenuity in which traditional Japanese features are combined with fashionable Western ones: The front of the shop comes with an imposing entrance, double swing doors, a shop window, and decorative crenellations on the roof that were popular at

    YAMAMOTO (Bisetsu). Shinchiku kinen sogyo jugonen shunen [Fifteenth Anniversary of the New Construction of the Business].

    13

    the time. The shop was clearly successful with 12 employees, some wearing official Yamamoto happi coats and white fedora hats. Inside there are shots of the studio, darkroom, as well as private living quarters with kitchen, bathroom, and the traditional living quarters complete with a view of a Japanese garden. Eight images at the end show samples of the studio work including some in the geijutsu shashin style. The album radiates with an aura of peace, happiness, and prosperity.

  • SOLD

    First edition. 100 photographic plates. Japanese text. Small 4to. Original decorated cloth in dustwrapper (minor damage to rear) and (slightly stained) slip-case, overall still a very good copy. 271pp. Tokyo, Genkosha, dated: Showa 14 [i.e. 1939].

    An interesting photographic manual by Okamoto Morimasa (dates unknown). This book is another example of how the photographic publishing industry was dominated by technical handbooks during the late 1930s and early 1940s. Beautiful book-design by Onchi Koshiro. Only one copy in OCLC.

    14 OKAMOTO (Morimasa). ONCHI (Koshiro) book-design. Rorai Tekuniku - Rollei Technik.

  • 250

    First edition, second printing. 101 photographic plates. Japanese text. Small 4to. Original decorated cloth in dustwrapper and (slightly worn) slipcase, still a very good copy. [viii], Unnumbered text, [xvi](ads.)pp. Tokyo, ARS, dated: Showa 14 [i.e.1939].

    Fukuda Katsuji (1899-1991) was born in Yamaguchi Prefecture in Western Japan. He moved to Tokyo in 1920 where he worked for the forerunner of Olympus (Takachiho seisakujo). The Great Kanto earthquake (1923) forced him to move to Kansai where he held various positions including that of editorial assistant at Fuchikami Hakuyos famous magazine Hakuyo. He returned to Tokyo in 1933 where he turned to advertising photography and increasingly specialised in photographing women. Haru is a delicately designed book of photographs featuring chapters on flowers, dance, interiors, children, animals, street-scenes, and portraits of women. The text is presented as a series of dialogues between Fukuda and various friends about each of the images in the book. This makes for an informal and even relaxed atmosphere that compliments the subject of the book beautifully.

    FUKUDA (Katsuji). Haru no shashinshu - Spring Photography.15

  • SOLD

    First edition. Numerous photographic plates. Japa-nese text. Large 8vo. Original boards in dustwrapper and obi, a fine copy. 127pp. Tokyo, Kawade Shobo Shinsha,2009.

    Together with Kimura Ihei and Domon Ken, Hamaya is one of the grand masters of Japanese photography. This is an important book of his work during the late 1930s, published on the 10th anniversary of his death. Hamaya met the banker and folklore scholar (a rare combination!) Shibusawa Keizo (1896-1963) in 1939 who inspired him to concentrate his efforts on aspects of folklore studies, in particular customs relating to pre-industrial methods of production and traditional ways of selling such merchandise. Hamaya went to the temple fairs of Asakusa, Setagaya, and Hachimangu to observe traders in metal tools, ropes, baskets and other hand-made objects. There is also a section on itinerant tradesmen and street vendors. Hamaya thus became part of the folklore studies movement that would lead him to Yanagita Kunio, Ichikawa Shinji, and ultimately to Snow Country.

    HAMAYA (Hiroshi). Ichi no oto [Sounds of Selling].16

  • SOLD

    First and only edition. Vol. 1-12 (lacking issue 10, i.e. 11 issues). Japanese text with some English cap-tions. Large 8vo. Original decorated flexible wrappers, minor wear. Overall a very good set. Tokyo, Heibon-sha, dated: April Showa 13-14 [i.e. 1938-1939].

    In the wake of the Japanese invasion of Northern China in 1937, the North China Railway Company was founded in 1938 as a subsidiary of the South Manchuria Railway Company. The company officially operated railway lines and bus services in the occupied areas. At the same time they systematically exploited Chinese resources for the Japanese war effort. North China Graph is an extraordinary exercise in propaganda: It was printed in Tokyo and sold in Japan with the aim of encouraging Japanese immigration to China. There is an obvious pro-Japanese slant, but the magazine manages to focus on details of daily life in China that had hitherto escaped the notice of photographers. It includes articles on such diverse subjects as crafts, Chinese shop-signs, temple fairs, festivals, police training, Muslims, charitable institutions, Chinese girls, bridge construction, storing ice, bird-keeping, etc... Rare.

    KAHOKU KOTSU KABUSHIKI KAISHA. NORTH CHINA RAILWAY COMPANY. Hokushi gakan [North China Graph].17

  • SOLD

    First and only edition. 50 (of 51) issues, lacking the first issue. Japanese text with some English captions. Large 8vo. Original decorated flexible wrappers, mi-nor wear, light browning to text pages. Partly bound in cloth, overall a good set. Tokyo, Dai-ichi Shobo, dated: June Showa 14 [1939] to July Showa 18 1943].

    The North China Magazine is an extraordinary exercise in propaganda: It was printed in Tokyo and sold in Japan with the aim of encouraging Japanese immigration to China. Each issue has a section of 33pp. of photographs followed by 16pp. of text showing the activities of the company, the apparent peace in the occupied zone, but while there is an obvious pro-Japanese slant, the overall impression of the images is one that comes close to sympathy for the Chinese and their condition. The further one delves into the issues the more one becomes amazed by the almost anthropological range of topics that unflinchingly report on virtually every aspect of Chinese high and low life (the 2nd issue ranges from Goldfish breeding in Peking, the hard life of Kulis, rural life in North China, Peking Opera, as well as sheep farming in Mongolia) with high quality images showing a level of reality in China that is unmatched

    KAHOKU KOTSU KABUSHIKI KAISHA. N. CHINA RAILWAY COMPANY. Hokushi - The North China.18

    in any publication that I am aware of. Complete sets are very rare. Only five sets in OCLC.

  • SOLD

    First edition. 6 volumes (complete). Numerous pho-tographic illustrations. Japanese text. Folio. Original cloth in original decorated slipcases. Vols. 1-5 with decorated endpapers. Some wear to vol. 6, but overall a very good set. Tokyo, Asahi Shimbunsha, Showa 12-15, [i.e. 1937- 1940].

    Six deluxe volumes in a large format chart the progress of Japanese occupation of China from 1937-1939: 1. Hokushi sensen (North China) -- 2. Shanhai sensen (Shanghai) -- 3. Koga, Joshu sakusen (Yellow River & Xuzhou) 4. Bukan, Kanton koryakusen (Wuhan, Canton) -- 5. Kainanto, Nansho sakusen (Hainan Island & Nanchang) -- 6. Arawashi butai (Flying Eagle Squad air-force). Many of the images are full-page bleeds adding to the drama of this elaborate propaganda item. The slipcases and bindings were designed by the famous Nihonga artist Kawabata Ryushi (1885-1966). Interestingly vol. 5 was issued several months before Germany invaded Poland. The last volume appears to have been afterthought in that it focuses on the achievements of one particular unit in the war machinery rather than a geographic location. It was published on March 20th 1940, over a year and a half before the infamous pearl harbour attack.

    HOSHINO (Tatsuo), editor. Shina jihen shashin zenshu [Complete Edition of Photographs of the China Affair].19

  • SOLD

    First edition, 12th printing. 100 photographic plates. Japanese text. 4to. Original decorated cloth in dust-wrapper and slipcase, a very good copy. Unpaginated. Tokyo, Ars, dated: Showa 15 [i.e. 1940].

    FUKUDA (Katsuji). Onna no utsushigata. [How to photograph women] - Photokunst von Frauen.20This is an extraordinary volume of female portraits full of the spirit of Neue Sachlichkeit an influence that is hinted at in the German title on the slipcase and the cover: Modern angles combined with a certain soft focus that is particularly well suited to the subject. Every plate is accompanied by a page of text discussing the technical and aesthetic aspects of the photograph. This book was first published in 1937 and appears to have been very popular going through 12 printings in three years. However, it was quite common in the 30s for publishers to exaggerate the popularity of their books.

    HOSHINO (Tatsuo), editor. Shina jihen shashin zenshu [Complete Edition of Photographs of the China Affair].

  • 550

    First edition. Numerous photographic illustrations. Japanese text. Small 8vo. Original printed wrappers (minor wear to spine), but overall a very good copy. 68, [vi](ads.)pp. Tokyo, ARS, dated: Showa 15 [i.e. 1940].

    UEDAS FIRST BOOKThis is Ueda Shojis first book, volume 42 of the ARS shashin bunko series, which was essentially a photographic manual. ARS asked the best-know photographers at the time (amateur & professional) to share their secrets with their readership. For photographers it was a welcome opportunity to showcase their work under the increasingly difficult circumstances of censorship and tough commercial conditions. Very rare.

    UEDA (Shoji). Denen no utsushigata [Method of Shooting in the Fields].21

  • SOLD

    First edition. Numerous photographic plates and il-lustrations. Japanese text. Small 8vo. Original printed wrappers, slightly rubbed edges, overall a very good copy. 70, [vi](ads.)pp. Tokyo, ARS, dated: Showa 16 [i.e. 1941].

    22 HAMAYA (Hiroshi). Senko shashinjutsu [The Art of Flash Photography].This is the second book Hamaya published in the Ars shashin bunko series (no. 52) and his only book published during the war. It includes a number of images taken in Northern China (Harbin) a soldier recovering in hospital, a group of slightly shell-shocked soldiers singing together, but most of the photos were taken in Tokyo.

  • SOLD

    First edition. Two maps, numerous photographic plates (including one large folding panorama). Text in Japanese. Small folio. Original cloth in dustwrapper and original cardboard box. A very good copy. [4], 64, 4pp. Tokyo, Sanseido, dated: Showa 16, [i.e. 1941].

    Iiyama Tatsuos (1904-1993) travelogue through Inner Mongolia, which became part of the Puppet state Manchukuo in 1933 as well as Small Wutaishan, and Datong. This is one of a number of expensively produced photo-books in 1941 to give the impression at home that things were going well abroad, possibly in order to encourage emigration. The images show a mixture of landscapes, ancient architecture and ethnographic observations. The overall atmosphere is one of peace in the provinces. Hazama Otohiko contributed a travel account.

    IIYAMA (Tatsuo). Mokyo no tabi [Travels in Mongolia].23

  • SOLD

    First edition. Numerous photographic plates. Japa-nese text. 4to. Original cloth in (damaged) dust-wrapper, only a 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.

    24 NORTH CHINA PHOTOGRAPHERS ASSOCIATION. YOSHIDA (Jun), editor. Tairiku no Fubo - Genchi Sakka Shashinshu [The Face of a Continent - A Photobook by Local Photographers].

  • SOLD

    First edition. Numerous photographic plates. Japa-nese text with caption in Japanese and English. Fo-lio. Original cloth in dustwrapper and original case, a fine 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.

    HASEGAWA (Denjiro). Manshu Kiko, Shashin to Zuiso - Picturesque Manchoukuo & Mongolia seen by Artist & Camera.

    25

  • 26

    3500

    First edition. Numerous photographic plates. Japa-nese text. Small folio. Original cloth in dustwrapper and slipcase, a fine copy. 141pp. Tokyo, Genkosha, dated: Showa 17 [i.e. 1942].

    Onchi Koshiro (1891-1955) was born into an aristocratic family with artistic leanings. In 1910 he entered the Tokyo School of Fine Arts to study oil painting but never finished his degree. A keen modernist, he founded the print and poetry magazine Tsukubae. Four years later Onchi published his first collection of abstract prints and in 1919 participated in the first Nihon Sosaku-Hanga Kyokai exhibition. He established a great reputation as a book designer, as well as a printmaker, personally designing over 1000 books for publication. The present work is just showing his ability to see abstract and surreal beauty in the natural environment. Only one copy in OCLC.

    ONCHI (Koshiro). Hakubutsushi: zuihitsu shashin [Records of Nature: Essay & photographs].

  • SOLD

    First edition. One of a limited edition of 150 copies. 38 photographic plates (including a self-portrait). Text in Japanese. 4to. Original flexible washi boards in slipcase (minor wear). Still a close to fine copy. Unpaginated. Tokyo, Privately Printed, dated Showa 18 [i.e. 1943].

    PRIVATELY PRINTEDAkiyama Shotaro (1920-2003) was born in Kanda, Tokyo. From 1938 he studied business at Waseda University and became active in the Universitys photography club. Shortly after graduation in 1943 he sold all his photographic equipment in order to published the present book in a limited edition of 150 copies. The printing costs amounted to Yen 1000 - the price of a cheap house in Tokyo at the time - and although the imprint states that it was not for sale (possibly for tax reasons) Akiyama priced it at Yen 7.5. The war loomed large and he was afraid that he might die without leaving a trace. He was drafted into the army and spent the war years in China. Throughout his military service he carried a copy of this book with him. It includes the famous image entitled Abandoning a Cat an extraordinary photo that Akiyama had submitted to a competition by the Japan Photographic Society. The title of the book Shadow refers to the famous work by Tanizaki Junichiro entitled: In Praise of Shadows. The work is a gem in terms of design and

    AKIYAMA (Shotaro). Sakuhinshu Kage [Shadow Works] 1940-1943.27

    photography. Akiyama is clearly influenced by pictorialists like Fukuhara Shinzo, and many regard the present work as his greatest achievement. The book is dedicated to his Mother and it includes introductions by Inamura Takamasa, Yokoi Eitaro, and Murai Toru. Unrecorded. No copy in OCLC.

  • 550

    First edition. Numerous photographic plates. Japa-nese text. Folio. Original flexible boards, a fine copy. 127pp. Together with a separately printed sheet of Japanese text. Tokyo, Horino Yoko Kinen Shinywokai Jimukyoku [Privately Printed], 1993.

    Horino Masao (1907-2000) was possibly the most important proponent of shinko shashin , the modernist photography movement in Japan. Influenced by European photographers like Moholy-Nagy and the Bauhaus group, Horino became famous for exploring the functional aesthetic of machines and architecture and made his reputation with his famous book Kamara Eye X Steel Composition (1932). However, in the late 30s he began to embrace photo-journalism and became a freelance photographer. During the war he moved to Shanghai where he was working for an Army Propaganda unit. After his return to Japan he retired from photography and founded Minicam, a business that produced strobe lights and flash equipment. The present book contains an extraordinary series of photo-essays showing the process of colonization in Manchuria, daily life in Japanese schools, farms, hospitals, and shops. It also shows White Russian settlements as well as native Mongol life in the

    HORINO (Masao). Man-Mo kaitakudan no kaiso: Sono shuhen 50-nenmae no kiseki = First photo essay, 28Masao Horino [Reminiscenses of the Manchuria-Mongolia

    Development Agency - Traces of about 50 years ago].

    yurts. The Man-Mo Development Agency in effect carried out a program of organised immigration to Manchuria. The book was privately published by Horino in memory of his wife Yoko and was not for sale. Only three copies in OCLC.

  • 120

    Second enlarged edition. Numerous photographic plates. Japanese text with English abstract. 8vo. Orig-inal decorated cloth (rather spotted) in dustwrapper, but very good inside. 107pp. Tokyo, Toppan, dated: Showa 23 [i.e. 1948].

    In December 1945 Yamahata Shogyoku (1887-1963) and his son Yamahata Yosuke (1917-1966) photographed the Emperor and his family in order to show their human side. The request for the informal photo sessions had come from Life magazine who published selected images on February 4th, 1946 under the snappy title of Sunday at Hirohitos. The Emperor of Japan got what is now called a makeover presenting him as a family man, a biologist, a listener, while at the same time emphasizing the mutual love and respect between emperor and his people. There must have been an enormous poignancy to the occasion as Yamahata Yosuke had witnessed and photographed the horror in the aftermath of the Nagasaki bombing. The dustwrapper of the second edition (designed by Kamekura Yusaku) is in a different colour to the first.

    [YAMAHATA (Shogyoku)]. KAMEKURA (Yusaku) designer. Tenno - Emperor.29

  • SOLD

    First edition. Numerous photographic plates, 4 tipped in. Japanese text. Small folio. Original boards in dust-wrapper. A very good copy. 71pp. Tokyo, Ooizumi Sho-ten, dated: Showa 23 [i.e. 1948].

    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. During the war he published several works of military propaganda photography (mostly on the Naval Academy in Tokyo) that were so polished they almost hurt the eyes. Who would have thought that he would turn his attention to nude studies after the war? This book explores the beauty of the female (both dressed and in the nude) and curiously enough almost all of the nude studies show the body without the head... Rare. Only one copy in OCLC.

    MATSUGI (Fujio). Bi no Seitai [The Biology of Beauty].30

  • 350

    First edition. 132 photographic illustrations. List of plates in English and Japanese. Text in Japanese only. 4to. Original cloth in dustwrapper (slightly rubbed, closed tear) and original slipcase, overall just a good copy. [vi], [128], 28, [viii](ads.)pp. Tokyo, Asahi Shimbunsha, dated: Showa 29 [i.e. 1954].

    This work represents the first comprehensive collection of his work spanning from 1935 to 1953. Kimura has never tried to awe the public with his art. His art is devoid of cold austerity or harsh cynicism... Kimura is one of the editorial associates of the magazine Asahi Camera. We owed much to his untiring efforts in building up this magazine to the worlds largest camera magazine in a brief period since was restarted in 1949 after the wartime suspension. (Preface). It includes previously unpublished images from Okinawa, China, Manchuria, and Akita as well as a selection from the Onoe Kikugoro series. The book-binding is designed by Hara Hiromu.

    KIMURA (Ihei). Kimura Ihei Kessaku Shashinshu - Select Pictures by Kimura Ihei.31

  • 750

    First editions. 2 volumes. 203 & 100 photographic numbered images (many in colour). List of plates in English and Japanese. Text in Japanese only. Small folio. Original cloth in dustwrappers (lacking slip-cases), but overall a good set. [xvi], 37(text); [xii], 23(text)pp. Tokyo, Asahi Shimbunsha, 1955 & 1956.

    Vol. 1: The pictures contained in this book were taken during my six-month trip to Europe in 1954. They are pictorial impressions of a Japanese tourist making a whirlwind trip... If there are pictures in this book which suggest known compositions or approaches by European masters, it is an unwitting tribute to their impression their work made upon me. He travelled to Cairo, Athens, Paris, Germany, England, and Italy.

    Vol. 2: I received an unexpected offer to serve as one of the Japanese delegates to the peace festival at Helsinki in June 1955. The offer was to include a free trip to the Soviet Union and the Peoples Republic of China on the way home. I have been and am a photographer who takes interest only in my subjects, not in politics. I knew implications would follow my acceptance of the offer. After long wavering, I decided to accept it, for I thought it worthy to report honestly things done by some people opposed to the

    KIMURA (Ihei). Kimura Ihei gaiyu shashinshu - Impressions of Europe. & Yoroppa no insho - Kimura Ihei32dai 2 kai gaiyu shashinshu - Impressions of Europe, part 2.

    Western idea of peace and also things taking place inside Communist nations. I also hoped to have a chance to discuss photography with colleagues from other nations. (Authors note). In the end he was unable to obtain a visa for Russia. Book design of both volumes by Hara Hiromu.

  • 450

    First edition. Numerous photographic plates. Japa-nese text with English summary and list of plates. Small folio. Original cloth in dustwrapper in slipcase. A very good copy, signed by the photographer on front free endpaper. Separate list of plates. 138pp. Tokyo, Iwanami Shoten,1957.

    SIGNED COPY The Maijishan Grottoes are a series of 194 caves cut in the side of the hill of Majishan in Tianshui, Gansu Province, northwest China. This example of rock cut architecture contains over 7,200 Buddhist sculptures and over 1,000 square meters of murals. Construction began in the Later Qin era (384-417 CE) and continued into the 12th century.

    NATORI (Yonosuke). Bakusekizan sekkutsu - Mai-chi-shan Caves.33

  • First edition. Numerous photographic plates (sever-al in colour). Text in Japanese, summary in English. Large folio. Original cloth in dustwrapper and slipcase (rather worn edges), occasional very minor foxing. Overall still a very good copy. Loosely inserted sheet providing technical information for each photograph. [xii], 79, 13pp. Tokyo, Shinchosha,1957.

    SOLD

    HAMAYA (Hiroshi). Ura Nihon [Japans Back Coast].34Encouraged by the success of Yukiguni Hamaya chose a similar subject for his next book: A superb documentary of Japans west coast - as opposed to the Pacific Coast. For three years Hamaya had travelled from village to village, through an area that is covered by snow for nearly half the year, where icy winds blow, ancient methods of production had survived and where hard physical labour was the order of the day. The literal translation Back [coast] of Japan hides the fact that the combination of ura and nihon (Japan) was a taboo. Underbelly of Japan comes closer to the implied meaning. This book is published in the hope it will help people to understand other people...To say definitely, this is Japan is to invite the wrong impression. However, I feel I can definitely say, this too is Japan. (Introduction). A masterpiece.

  • 2800

    First edition. Numerous photographic illustrations, several in colour. Text mostly in Japanese. 8vo. Origi-nal printed boards (varying condition, some wear), but overall still a very good set. Tokyo, Heibonsha, dated: Showa 32-33 [i.e. 1957-1958].

    THE COMPLETE SERIESWatanabe Yoshio: Moskow. - Serge Lido: Lidos Ballet. - David Seymour: Little Ones. - Emile Savitry: Nu. - Ylla (Camilla Koffler): Animals Big & Little. - Magnum Photos: Childrens World - Tabuchi Yukio: Mountain. - Gaston Rebuffat: Au Royaume des Neiges Eternelles. - Inge Morath: Fiesta in Pamplona - Robert Doisneau: Scenes DEnfants. - Edouart Boubat: Ode Maritime. - Kimura Ihei: At the Shipyard.- Hamaya Hiroshi: Urumuchi.- Sonobe Hiroshi: River Kitakami. The entire series was designed by Hara Hiromu.

    HEIBONSHA SEKAI SHASHINKA SERIES. 14 VOLUMES.35

  • 380

    First edition. Numerous photographic plates. Text in English and Japanese. Large 8vo. Original flexible decorated boards (minor staining), overall still a very good copy. Unpaginated. Tokyo, Yomiuri Shinbun-sha, dated: Showa 33 [i.e.1958].

    A curious book about an orphanage founded in Oiso (Kanagawa) by Sawada Miki, grand-daughter of Iwasaki Yataro, the founder of the Mitsubishi conglomerate. The book breaks with a number of taboos in Japan: All of the children were fathered by members of the occupation forces, and they were brought up as Christians in a Japanese environment. Kageyama Koyo took a keen interest in the progress of the children, and during the 50s his son Masahide, and his daughter Kazuyo would join in the photography sessions. Everything in this book has the feel of a family photo-album with many personal reminiscences by Sawada. After witnessing many of the horrors of war, this place must have been a source of optimism for Kageyama. Sawada named the orphanage after a British resident Elizabeth Saunders, who was the first person to donate a large amount to the institution. A gem.

    KAGEYAMA (Koyo). SAWADA (Miki). Rekishi no Otoshigo - Orphans of History. 10 Years at the Elizabeth Saunders Home.

    36

  • 37

    250

    First edition. Numerous photographic plates, several in colour. Japanese text. Large folio. Original cloth in dustwrapper and slipcase [rather worn], overall a good copy. [iv], 96, 23pp. Tokyo, Kenkosha,1958.

    Tanahashi Shisui was born in Osaka in 1906. In 1924 he became an apprentice to Ogawa Gesshu. In 1930 he became a member of the Tampei Photography Club. He spent the war years in Manchuria and returned to Japan in 1947 and opened a photo-studio in Osaka. In 1951 he joined Ei-Qs Democratic Artists Association. In 1956 he visited America and Mexico as a result of winning the first prize in the Canon Camera Photo Contest. He spent about three months travelling throughout Mexico resulting in the present, his first book. The style of his photography is part of the documentary movement of the 1940s and 50s.

    TANAHASHI (Shisui). Mexico Shashinshu [A Photobook of Mexico].

  • SOLD

    First edition. 9 volumes. Each issue contains 32pp. of photographic plates (many double-page) and 15pp. of explanatory text in Japanese. Large folio. Origi-nal flexible boards in decorated dust-wrappers and original glassine wrappers (minor damage to spine), overall a very good set. Tokyo, Sogensha, 1958- 1959.

    Nine volumes provide a select survey of the chief players as well as the chief subjects in earlypost-war Japanese photography:1. Kimura Ihei sakuhinshu - [The works of Kimura Ihei]. 2. Domon Ken sakuhinshu - [The works of Domon Ken] 3. Hamaya Hiroshi sakuhinshu - [The works of Hamaya Hiroshi] 4. Riarizumu Sakuhinshu - [Realism] 5. Potoreto sakuhinshu - [Portraits]. 6. Fukei sakuhinshu - [Scenery]. 7. Nudo sakuhinshu - [Nudes] 8. Dobutsu sakuhinshu - [Animals] 9. Sangaku sakuhinshu - [Mountaineering]. What is most surprising is the quality of the printing of the black-and-white images.

    VARIOUS PHOTOGRAPHERS. WATANABE (Tsutomu), editor. Gendai Nihon Shashin Zenshu [An Overview of Modern Japanese Photography].

    38

  • 39

    250

    First edition. Numerous photographic illustrations. Japanese text with English abstract. Large 8vo. Origi-nal cloth in slipcase, a very good copy. 106pp. Tokyo, Heibonsha, dated: Showa 34,1959.

    HAGA (Hideo). Ta no Kami - The Rituals of Rice Production in Japan.

    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.

  • 150

    First edition. Numerous photographic plates. Japa-nese text. 8vo. Original cloth in dustjacket and slip-case, a very good copy. Unpaginated. Tokyo, Chunichi Shimbun, 1961.

    Tanaka Tokutaro (1909-1989) was born in Satte City in Saitama Prefecture. After working in a railway factory for 24 years he retired at the age of forty to open a photographic supply store in Urawa. He started shooting White Herons in 1954 and his work was published in both Time Life Magazine and the New York Times in the 50s. More than just an interesting early example of wildlife photography Tanakas work betrays an extraordinary sympathy for the birds that verges on the obsessive. Uncommon.

    TANAKA (Tokutaro). Shirasagi [White Heron].40

  • First edition. No. 438 of a limited edition of 1000 copies. 119 photographic plates. Japanese text. 4to. Original cloth in plastic dustwrapper and slipcase, a very good copy signed by Nishiyama on the title. 24(text)pp. Tokyo, Privately Printed, 1961.

    SOLD

    41 NISHIYAMA (Kiyoshi). Purezanto Kurabu 40 Kinen Shashinshu - Pleasant Club 40th Anniversary Album.SIGNED COPY

    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. They seem to favour somewhat abstract compositions but elegant compositions. Printed in superb 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.

  • Matsujiro shashinshu. [Polio and the fight of mother and child: Hokkaidos mass outbreak].

    150

    Second edition. Numerous photographic illustrations. Japanese text. 8vo. Original flexible boards, minor rubbing but overall a very good copy. 96pp. Tokyo, Kenkosha,1961.

    PROTEST BOOKClearly modelled on Domon Kens Chikuho no kodomotachi this is another example of documentary photography with a social conscience. In 1960 a large scale epidemic of Polio broke out in Hokkaido with over 5000 patients hospitalized in that year. Kawamata covered this dreadful event. With an introduction by Domon Ken, printed in the same year as the first edition.

    KAWAMATA (Matsujiro). Shonimahi to tatakau haha to ko: Hokkaido no shudan hassei. Kawamata 42

  • 350

    First edition. Numerous photographic plates. Japa-nese text. 8vo. Original flexible boards in dustwrap-per (some damage). Still a very good copy. 164pp. Tokyo, Tojusha, 1969.

    Kurihara Tatsuo was born in Tokyo in 1937. In 1961 he graduated in politics and economics from Waseda University, joined Asahi Newspaper, and in the following year won the Japan Professional Photographers Society Newcomer Prize for several photo-essays he had published in Shukan Asahi and Asahi Graph. He turned freelance in 1967 and the present is his first book, a fascinating record of life on the barricades, centred around student activities in Tokyo University.

    43 KURIHARA (Tatsuo). Ikari o hibi no kate ni. Gakusei toso no kiroku Kurihara Tatsuo shashin hokoku [Anger is Our Daily Bread - A Record of the Students Fight - Photo

    Reportage by Kurihara Tatsuo].

  • 250

    First edition. Numerous photographic plates. Japa-nese text. 8vo. Original flexible boards in obi and plastic dustwrapper. A very good copy. 211pp. Tokyo, Asahi Shimbunsha, 1970.

    During the early 1970s Asahi Newspaper produced a series of politically charged photographic reportages (Shashin hokoku & Shashin kiroku) on the atom-bomb and its after-effects, pollution, unemployment, and other social issues. All of them were produced by staff photographers with a particular interest in the subject. Okinawa had been designated a keystone of the Pacific and the 118 military bases on the island left little room for doubt of American commitment. It also gained strategic significance in the Vietnam War. This emotional documentary contrasts life on the bases with life in the villages and towns. The meeting-point between the two tended to be in bars and brothels, and Kurihara records the growing local opposition movements to the bases.

    KURIHARA (Tatsuo). Shashin Hokoku Okinawa 1961-1970 [Okinawa Photo-reportage].44

  • 550

    First edition. 101 photographic plates, many double-page and in colour. Large folio. Original decorated boards in slipcase (minor discoloration), still a very good copy. [iv], [viii], [iv](text)pp. Tokyo, Mainichi Shimbunsha, 1970.

    This is Naraharas first major book in colour, a look at traditional Japanese culture. Mt. Fuji... Sword... Noh... Courtesan... Sumo... and Samurai... All of these subjects gathered here are representative of the clichs with which Japan was once spoken of... What is ambivalent here is not merely the manner of selecting the subjects. Clearly apparent within the actual composition of the photography of nature and man, within the texture of the photographic surface, are the photographers affection for and irritation at the objects. (Essay: The Soul of a Young Japanese by Yamazaki Masakazu). Later he explained that it was a chance encounter with a book of erotic woodblock prints in a shop-window in Paris that inspired him to produce this book which now seems very much a product of the 70s. Book-design by Tanaka Ikko.

    NARAHARA (Ikko). Japanesque.45

  • 2500

    First and only edition. No. 150 of a limited edition of 300 copies. Japanese text. Oblong folio. Original flex-ible decorated boards in glassine jacket and folding cardboard case with a label and stamp affixed to top board and two silk ties. A close to fine copy signed by the photographer on front free endpaper. Tokyo, Yutsu Kobo (Privately Published), 1970.

    SIGNED COPYThis is one of the least known works by the famous Japanese novelist Oe Kenzaburo, winner of the Nobel Prize of Literature in 1994. Oe had famously contributed some of the text to Kawada Kikujis Map (1965) but felt that he had not expressed his feelings fully. He knew Tsukasa Osamu (born 1935) as an artist and book-designer and together they set upon producing this statement about Japan after the A-bomb. The result is curious: It is a blend of craftsmanship and anti-craft, of tradition and anti-tradition. Most of the images show Buddhist imagery, carvings, statues and wall-paintings relating to hell. Printed in high-contrast photogravure they were all taken with a Hasselblad camera by Tsukasa. The present book is his only venture into photography, he is known as a writer and artist and was awarded the Mainichi Arts Prize in 2007.

    OE (Kenzaburo), TSUKASA (Osamu) photographer. Shonin - Eizo Gikyoku [The Witness - A photographic Theatre]. 46

  • SOLD

    First edition. 109 photographic plates (several dou-ble-page). Japanese text. Large folio. Original cloth in dustwrapper and original plastic bag (minor wear to both), light foxing to last 2 ff., overall still a very good copy. Loose folded index leaf. [64](text)pp. To-kyo, Seikatsusha, 1971.

    HAYASHI (Tadahiko). Nihon no Sakka [Literary figures of Japan].47Hayashi learned a lot during the previous consignment and felt his strength to be in portraiture. He became famous for his flawlessly composed portraits that were taken in settings that would somehow link the subject to his surroundings and give the viewer a better understanding of the character. In doing so the setting became equally important to the artist and Hayashi was not afraid to rearrange details in order to emphasize certain points. Essentially his portraits were staged and Hayashi was strongly criticized at the time by those who felt that such interference undermined the integrity of the photograph. In the text he describes the encounter with each of the 109 famous writers. Outstanding are his portraits of Osamu Dazai, Mishima Yukio, Sakaguchi Ango, Kawabata Yasunari and Kume Masao.

  • 120

    First edition. Numerous photographic plates. 4to. Original flexible boards (light dust-staining), overall a very good copy. Unpaginated. Tokyo, Shashin Hyor-onsha, 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 in OCLC.

    48 ISHIDA (Hirokazu). NAGANO (Shigeichi), introduction. Baramon to Janta: Indo [Brahman and the People: India].

  • 49 SASAKI (Kon). Chiisai Inochi [Small Life].

    First edition. Numerous photographic colour plates. Japanese text. 8vo. Original decorated boards with obi. A very good presentation copy, signed by the photographer. 161pp. Tokyo, Asahi Shimbunsha, dat-ed: Showa 46 [i.e. 1971].

    180

    SIGNED COPYSasaki Kon (1918-2009) was born in Qingdao (China) but moved back to Kobe where he grew up. He started photographing in his early teens and after graduating from high school studied engineering. During the war he was stationed in Korea and Manchuria. He returned to Kobe and in 1951 met Kimura Ihei and became his apprentice. In 1963 he joined a scientific film production company where he specialised in microscopic photography. From 1966 to 1980 his work was published under the title Small Life in Asahi Camera magazine. It established his reputation as one of the foremost photographers of natural history. The present is the first publication of chiisai inochi in book format.

  • SIGNED COPYA book of landscape/townscape photography combined with poetry. This work had originally been serialized by Chuo Koronsha in 31 issues between 1967 and 1971. Hamaya came away from his experiences of the 1960 uprising as a disillusioned man and he turned instead to landscape photography.

    First edition, limited to 1250 copies. Numerous col-our plates. Folio. Original blind-stamped cloth in slip-case and outer cardboard box. Some very minor fox-ing to prelims, but overall very good copy signed by the photographer on front free endpaper. [viii], 144, [viii]pp. Tokyo, Chuo Koronsha,1972.

    350

    HAMAYA (Hiroshi). Nihon no Shiika. [The Poetry of Japan].50

  • First and only edition. Numerous photographic plates. Japanese text. Original boards in plastic dust-jack-et, and decorated slipcase (minor wear, small dent to lower right corner), still a very good copy signed & stamped by the photographer on title. 160pp. Na-goya, Privately Printed, 1973.

    51SIGNED COPY

    Usui Kaoru was born in Nagoya in 1916. He took up photography around 1933 as an amateur. From the 1930s to the 1950s Usui set up a series of amateur photography groups in Nagoya. One of these was Shu-dan 35, whose members included the young Tomatsu Shomei. Between 1950 and 1955 Usui won the annual Camera Magazine award three times, and his work was highly praised by Ken Domon. Usuis work encompassed a wide variety of styles and he was influenced by the realism of Domon Ken as well as the surrealism of Ueda Shoji, and possibly Yasui Nakaji. The present book is divided into two parts, namely the period of ARS Camera and the period of Photo Art, two publications to which Usui was a regular contributor. The black-and-white images are both unconventional and artificial in the best sense. C.f. SOLD

    USUI (Kaoru). DOMON (Ken), introduction. Tobera no ki no shita [Underneath the Tobera Tree].

    Tokyo Metropolitan Museum of Photography: Nihon Shashinka Jiten - 328 Outstanding Japanese Photographers. Tankosha, 2000. P. 58. Rare.

  • SIGNED COPYGoto Keiichiro (1918-2004) is one of the few photographers who managed to make a transition from the pre-war to the post-war period. Born in Nagoya he became a leading photographer in avant-garde photography of a surrealist nature. He was friendly with Narita Shuntaro of the Aiyu Photography Club, as well as Nagata Niryu of the photography magazine Camera Man (published in Nagoya). During the war he was affiliated to the Japan Photojournalism Association (a propaganda agency attached to the Cabinet Information Bureau) and after the war continued to work as a photo journalist. During the 50s he held a series of solo exhibitions in Nagoya and Tokyo and in 1961 he won the 5th Japan Photo Critics Association Prize for his achievements. In 1974 he was awarded the Japan Photographic Society Prize for the present work, a mixture of nude photomontages and abstract colour composition

    First edition. 2 vols. No. 34 of a limited edition of 510 copies. Numerous photographic plates (2 tipped in). Imperial folio. Original decorated cloth in (slightly warped) plastic dustwrappers, slipcases and outer cardboard box (very light foxing), but overall still a very good set, signed by the photographer on front free endpaper of each volume. Unpaginated. A.e.g. Nagoya, Privately Published, 1973.

    850

    GOTO (Keiichiro). Shashin-shu - Photography.52

    reminiscent of the work of Jackson Pollock. Rare. Only one copy in OCLC (George Eastman House).

  • First edition. 2 volumes. Numerous photographic plates. Japanese text. 8vo. Original decorated boards, minor wear, still a very good set. 127; 92pp. Tokyo, Privately Printed, dated: Showa 45-46, [i.e. 1970- 1971].

    53A fascinating and rare record of a student assignment to photograph Tokyo. The first volume is a record of selfishness, the second one describes the relationship between people and cars. The results are a tribute to the maturity of the students at the Tokyo College of Photography (now Tokyo College of Visual Arts). This is no. 3&4 of the annual News Photography Campaign Series which was an annual seminar held at the school. Unrecorded. No copy in OCLC. Not in NACSIS.

    450

    TOKYO SHASHIN SENMON GAKUIN. TOKYO COLLEGE OF PHOTOGRAPHY. Jibun saeyokereba [As long as I am ok] Hito to kuruma [People and Cars].

  • Another fascinating record of a student assignment: Behind the innocuous title of Toshi hides a very contemporary view of the capital and its individuals: Squatting farmers, glue-sniffing hippies, children, a nun, industrial wastelands and urban sights, and of course ANPO demonstrations, all of the images are full of the spirit of the early 70s and are a tribute to the maturity of the students at the Tokyo College of Photography. The second volume deals with problems of congestion and overcrowding on Tokyos streets, trains, and in housing developments. This is no. 5&6 of the News Photography Campaign Series, part one and two relating to the Capital. Unrecorded. No copy in OCLC. Not in NACSIS.

    First edition. 2. vols. Diagrams, maps, and numer-ous photographic plates. Japanese text. 8vo. Origi-nal decorated boards, minor staining, light damage to lower margin of vol. 2, still a very good set. 96; 76pp. Tokyo, Privately Printed, dated: Showa 47-49, [i.e. 1972-74].

    450

    TOKYO SHASHIN SENMON GAKUIN. Toshi [The Capital] & Kamitsu [Congestion].54

  • First edition. Numerous photographic illustrations as well as colour plates. Text in Japanese. Large 8vo. Original decorated flexible boards (slightly creased), overall a very good copy. 171pp. Tokyo, Asahi Camera, 1974.

    55Kimura Ihei died on May 31st 1974. Asahi Camera devoted a special issue to Kimura with reminiscences by Kitai Kazuo, Shinoyama Kisshin, Nakahira Takuma, and Okura Shunji. Ina Nobuo and Otake Koji summed up his achievements. It includes twenty-six colour plates of his travels to Paris, his early work in Okinawa (1935), images from the early post-war period, as well as his famous scenes from Akita.

    SOLD

    KIMURA (Ihei). Kimura Ihei no Sekai [The World of Kimura Ihei].

  • Sakamoto Manshichi (1900-1974) was born in Fukuyama City (Hiroshima Pref.). At the age of 21 he came to Tokyo where he entered the Shinagawa Photography Research Institute. For a while he worked in the Mikasa Photoshop, before opening his own photo studio in 1926. In 1928 he started to work for the monthly Kogei (Crafts) magazine and from that time specialised in photographing ancient architecture, sculpture, and art objects. In 1933 he was sent to China to photograph the Imperial Palaces and Temples in Chengde. In the following years he accompanied several archaeological expeditions visiting ancient sites in North China, Manchuria, and Inner Mongolia. After the war he continued recording ancient Japanese artefacts in particular Buddhist sculpture. The present posthumous works (isakushu) was published by his daughter one year after his death and it gives an overview of his best work.

    First edition. Numerous photographic plates. Japa-nese text. Small folio. Original cloth in dustwrapper (minor wear), overall a very good copy. 177pp. To-gether with a separately printed presentation slip. To-kyo, Nihon Keizai Shinbunsha [Privately Published], dated: Showa 50 [i.e. 1975].

    SOLD

    SAKAMOTO (Manshichi). Utsukushiki Hotoketachi [Beautiful Buddhas] - Sakamoto Manshichi Isakushu.56

  • First edition. Numerous photographic plates. Japa-nese text. 8vo. Original flexible boards in slipcase, a very good copy. Unpaginated. Tokyo, Nora-sha, dated: Showa 50, [i.e. 1975].

    57A superb documentary-style book about the lowest class of Geisha in Japan. Onsen Geisha are those who have fallen out of favour in one way or another, or who were never quite up there in the first place. Often elderly or a little bit less than attractive they entertain guests in the hot springs of Besso Onsen (Nagano Pref.) never to form any binding relationships, or if they do, to suffer the consequences. The stark black and white images chillingly convey the sadness of their existence, made all the more peculiar by the veneer of tradition.

    250

    HIRAICHI (Isao). Onsen Geisha.

  • Under the sub-title 'Children of Koto' Domon here publishes for the first time images of working-class children that he had taken between 1953 and 1954 in Tokyo's Koto ward. Efforts to get these images published in 1956 were thwarted, because the publisher felt that the book would not sell. This is a great example of the absolute unposed snapshot and the radical realism that he aspired to. He captures the intense energy, joy, and innocence of childhood in Tokyos 'shitamachi'. This is the 2nd volume in the Nikon Salon Books series, and this volume is outstanding for the quality of its reproductions. Design by Kamekura Yusaku.

    First edition. Numerous photographic plates. Japa-nese text. Small folio. Original decorated flexible boards in dustwrapper, a close to fine copy. 136pp. Tokyo, Nikkor Club, dated: Showa 51 [i.e. 1976].

    SOLD

    DOMON (Ken). Kodomotachi [Children].58

  • Maquette of the Special issue no. 10 of Asahi Camera Magazine. First edition. 16 segments of photograph-ic plates. Japanese text. Large 8vo. Original printed flexible boards, a very good copy inscribed by Kitai on verso of front board together with a short note explaining the background to this publication. Tokyo, Asahi Shimbunsha,1976.Together with a copy of the finished product: Mura e [To the Village].Special issue no. 10 of Asahi Cam-era Magazine. First edition. Numerous photographic plates. Japanese text. Large 8vo. Original printed flex-ible boards, a very good copy. 278pp. Tokyo, Asahi Shimbunsha, 1976.

    59SIGNED AND INSCRIBED COPY OF THE MAQUETTE

    Kitai Kazuo was born in Anshan (Manchuria) in 1944. In the same year the family managed to return to Japan. Kitai moved to Tokyo in 1962 to embark on photographic studies at the Arts Department of Nihon University but he dropped out in 1965 before the end of the course. In the same year he published his first protest book Teiko and from 1969 to 1971 recorded the struggle against the expansion of Narita airport. By 1973 Kitai was fed up with the endless revolution. He turned to the countryside for a sense of peace and genuineness. Travelling to the remote regions of Honshu, Kitai understood that the scenes he witnessed were bound to disappear. He was a close friend of Osaki Norio, an editor at Asahi Camera who agreed to publish this work. The publication was well received and it won him the prestigious 1st Kimura Ihei Prize in the same year. An expanded version of this volume was published by Tankosha under the same title in 1980. Layout by Nakayama Reikichi and Azuma Seitaro.

    2500

    KITAI (Kazuo). Mura e [To the Village].

  • Otake Shoji was born in 1920 in Shizuoka Prefecture. He went to Shanghai in 1940 and became a member of the Peking Embassy photo staff in 1944. After the war he worked briefly for GHQs public relations dept. before becoming a freelance photographer in 1948. He specialised in taking portraits, in particular of women and musicians and became famous for his photographs of American singers and actresses performing at the Ernie Pyle Theater in Tokyo. In 1949 he was a co-founder of the Young Photographers Association (Seinen Shashinka Kyokai) as well as a founding member of Nikakai Photography Section in 1953 and Gine Group in 1956. The present book shows a selection of nudes and portraits from the 1960s and 70s.

    First edition. Numerous photographic plates, many in colour. Japanese text. Folio. Original cloth in slipcase, overall a very good copy. Unpaginated. Tokyo, Nihon Kamera-sha, 1976.

    250

    OTAKE (Shoji). Teru hi; kumoru hi - Otake Shoji sakuhinshu [Sunny days; Cloudy days - Works by Otake Shoji].60

  • First and only edition. 26 loose photographic plates in original portfolio and outer folding case. Oblong folio, minor spotting to prelims, light sunning to top right corner, still a very good set. 4ff. of text (biog-raphy, introduction, and post-script). Osaka, Privately Printed, 1976.

    61Utsumi Masashi was born in 1915 in Tokyo. In 1942 he graduated in medicine from Osaka University, was drafted into the army and sent to South-East Asia. He returned in 1947 and became a surgeon at the Osaka City General Hospital. A keen amateur photographer he joined the Spiegel Photographers Club in 1964 where he met Tanahashi Shisui (see item 59), who wrote the introduction to this book. He died in 1975 and the present isaku-shu features the best of his work.

    SOLD

    UTSUMI (Masao). TANAHASHI (Shisui), editor. Isaku: [Posthumous photobook by Utsumi Masao].

  • Machi is Takanashis second book, in many respects a surprising follow-up to the previous title and devoid of the attitudes of the Provoke period. The images are in colour and suddenly an aura of peace pervades the city: Although not intended as a documentary this book captures the charm of the old shitamachi neighbourhoods of Tokyo. Takanashi does not show the humans that inhabit these places but one can well imagine them from the jumble of accumulated bits and pieces of daily life that resonate warmly in the glow of the afternoon sun. Some of the images had been published in Asahi Camera magazine from April 1975 onwards however the size of the present publication (where the double-page images measure ca. 60x42cm) bring out the full spectrum of the detail. All of the images are taken with a large-format camera mounted on a tripod often using extremely long exposure times (up to 20 minutes).

    First edition. Numerous (mostly double-page) colour plates. Large folio. Original cloth in plastic dustwrap-per, cardboard slipcase (some wear), and obi. Some occasional minor foxing, but overall a very good copy. [190]pp, together with 12pp. supplement explaining the locations. Tokyo, Asahi Shimbunsha, 1977.

    800

    TAKANASHI (Yutaka). Machi [Town].62

    Takanashi later explained that he was following the style of E. Atget (1857-1927) in this series. The book was designed by Kamegai Shoji and cost 20,000 Yen, a considerable amount in 1977.

  • First edition, revised. Numerous photographic plates. Japanese text. Large 4to. Original cloth in decorated (slightly damaged) slipcase, minor wear and occa-sional light foxing, overall still a good copy. Together with a separate list of plates, stamped with Konos name and address. 124pp. [Kobe], Privately Printed, dated: Showa 52 [i.e. 1977].

    63VERY RARE

    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. Tampei held its first Tokyo exhibition in 1935 and for the next three consecutive years Kono was awarded the main prize. He was influenced by Yasui Nakaji and accompanied him on the Wandering Jew project in Kobe in 1941 (two of them are included in the book). After the war the Tampei Club re-grouped and Kono continued to work in the avant-garde tradition. In 1953 Tampei mounted an exhibition called The Tampei Eight which also included Kimura Katsumasa, Wada Seiko, Tamai Mizuo, Sahoyama Gyokai, Tanahashi Shisui, Horiuchi Hatsutaro, and Iwamiya Takeji. Tanahashi, Horiuchi, and Iwamiya each contribute essays at the end of this book. Konos photographs have a sombre quality that is slightly reminiscent of Kawada Kikujis early work. 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 650

    KONO (Toru). Wadachi - Kono Toru Shashin-shu - [Tracks] The Works of Tetsu Kono.

    the bibliographical notes on the last page have been cut by half. 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.

  • A special issue of Asahi Camera devoted to Kimura Ihei, this is chiefly an overview of his work during the 50s and 60s. Many of the images had not been published before and it is fascinating to see old favourites in their original context. Curiously, the format of the magazine is particularly well suited to Kimuras documentary style and in spite of the thin paper the quality of the reproductions is superb.

    First edition. Numerous photographic illustrations. Text in Japanese. Large 8vo. Original decorated flex-ible boards, a fine copy. 325pp. Tokyo, Asahi Cam-era,1979.

    SOLD

    KIMURA (Ihei). Kimura Ihei o yomu [Reading Kimura Ihei].64

  • Nikon Salon Books 5. First edition. 100 photographic plates. Japanese text. Small folio. Original decorated flexible boards in dustwrapper (slightly rubbed), still a very good copy. [xii], [28](text)pp. Tokyo, Nikkor Club, dated: Showa 54 [i.e. 1979].

    65The experience of working as a photographer for Tenjo Saijiki strongly influenced Sudas work: Even the snapshots show people as if they are walking onto a stage and many portraits appear to have an exaggerated artificiality. The scenes were taken in Tokyo between 1976 and 1978. This book is vol. 5 of the Nikon Salon Books series, which was not for sale. Book-design by Kamekura Yusaku.

    150

    SUDA (Issei). Waga Tokyo 100 [My Tokyo 100].

  • Suzuki Kiyoshi was born in Fukushima Prefecture in 1943. He graduated from the Tokyo College of Photography in 1969 and began working for the magazine Camera Mainichi.His first book called Soul and Soul was published in 1972. The English title of his third book Mind Games refers to a song by John Lennon. The Japanese title Tenmaku no machi refers to the first chapter of the book that records members of a travelling circus troupe. For Suzuki circus life represented a childhood memory as he enjoyed being taken by his father in his hometown. This is followed by three further chapters namely AQUA, Lying in Ruins, and Fool on the Road, a photographic essay about a homeless man (Urasaki Tetsuo) who Suzuki befriended. This book is nothing less than Suzukis musings on the meaning of life. The folding plate combines a list of the images with excerpts from his Diary. Book-design by Suzuki Hitoshi. Rare.

    First edition. Numerous photographic plates. Japa-nese text. Oblong 8vo. Original flexible boards in dustwrapper. Decorated endpapers. Folding colour plate loosely inserted. A close to fine copy. Unpagi-nated. Yokohama, Yugensha [Privately Printed], 1982.

    1000

    SUZUKI (Kiyoshi). Tenmaku no machi [A Town of Tents] - Mind Games.66

  • Iijima Kousui no onna. First edition. One of a lim-ited edition of 500 copies. Portfolio containing 15 photographic plates. Japanese text. Large folio. Fold-ing cardboard case. Minor foxing. Signed presentation copy. Tokyo, Koyusha, 1983.

    67SIGNED COPY

    Iijima Koei was born in Tokyo in 1942. After graduating from the Tokyo Junior College of Photography (Tokyo Shashin Tanki Daigaku) in 1964 he became apprentice to Sugiyama Kira. The present portfolio contains material from Iijimas first solo exhibition held in 1980.

    100

    IIJIMA (Kouei). Kanryu - Yukiguni no Onna [Cold Currents - Women of the Snow Country].

  • SIGNED COPYFurukawa Narutoshi (1900-1996) was born in Karatsu City (Saga Pref.) the grandson of Furukawa Shumpei, a pioneering figure in Japanese photography. After leaving Junior High School in 1919 he moved to Tokyo where he entered the Tokyo School of Fine Arts (Tokyo Bijutsu Gakujo) where he studied photography. Three years after graduation he entered the Oriental Photo Industrial Company where he became a technician as well as a teacher. In 1930 he joined the New Photography Research Society (Shinko shashin kenkyukai) that had been formed by Kimura Senichi in the same year. After the war Furukawa was made a Professor at the Tokyo Junior College of Photography, a position he held until 1982. The present volume is Furukawas first monograph: Pieces of Image shows images from Contemporary Dance, Mannequin dolls, images of

    First and only edition. Numerous colour photographic plates. Japanese text. Square folio. Original cloth in slipcase, very good copy, signed by the photogra-pher on front free endpaper. 79pp. Tokyo, Privately Printed, 1984.

    350

    FURUKAWA (Narutoshi). Pieces of Image - Furukawa Narutoshi sakuhinshu.68

    the Tokyo School of Music, photograms, posterizing, as well as images taken during a summer in Hampstead (London).

  • First edition. Numerous photographic plates. Text in French, English and Japanese. Imperial folio. Original boards in slipcase and outer cardboard case, a fine copy. Unpaginated. Tokyo, Goro International Press, 1984.

    69Tahara Keiichi was born in Kyoto in 1951. He was taught photography by his grandfather who was a professional photographer. In 1972 he arrived in France as part of the Red Buddha theatre troupe (he was working as a lighting technician) and decided to live in Paris. He stayed for 30 years. The present book of grainy images is divided into two parts: The first mado shows views through windows that consciously include the staining and reflections on the windowpane. For this series he was selected the best newcomer at the Arles International Photography Festival in 1977. The other series entitled Eclats appear to be installations of light and shadow taken inside his apartment. He won the 10th Kimura Ihei Award for the present book.

    350

    TAHARA (Keiichi). Tahara Keiichi 1973-1983.

  • The present portfolio was produced on the occasion of a symposium entitled Fin de Siecle with Taharas images of European architecture at the turn of the 19th to the 20th century. Very rare. First edition. 24 loose photographic plates. Text in

    Japanese. Imperial folio. Original portfolio, a very good copy. Unpaginated. 6 unnumbered leaves of text. Tokyo, Privately Printed, n.d., but [1985].

    150

    TAHARA (Keiichi). Tahara Keiichi - Fan do Shiekuru [Fin de Siecle].70

  • First edition. 24 loose photographic plates. Small folio. Original cardboard folder in slipcase (minor wear). Overall still a very good copy. Together with one folding leaf of printed text, and a folding list of plates. Kyoto, Benrido,1985.

    71This book was privately published by Hamaya in a limited edition and was not for sale. It was in fact presented by Hamaya to friends present at his wifes funeral and is thus an beautiful homage to her. All the pictures were taken between 1948-50 and show her performing female cultural pursuits or posing in traditional settings. They are strongly reminiscent of Ukiyo-e bijinga from the first half of the century but there is a personal note to them that is quintessentially Hamaya. A real gem and the last work he published during his lifetime.

    750

    HAMAYA (Hiroshi). Nyonin Rekijitsu - Calender Days of Asaya Hamaya. 1948-1950.

  • Fukase Masahisa was born in 1934 in Bifuka (Hokkaido), where his family operated a photographic portrait studio. In 1956 he graduated with a degree in photography from Nihon University. In 1964 he married the professional Noh performer Wanibe Yoko and in the same year he was invited by Takanashi Yutaka to join the Japan Design Centre. In 1967 he became photographic editor for the publishing house Kawade Shobo but he turned freelance in the following year. The present is his last book before an accident that resulted in his falling into a coma. In Japan ravens are regarded as omens of impending bad luck and Fukases images are full of a sense of gloom. Fukase is certainly not a tramp, but there was sufficient potential for him to become one. He did not, simply because of the photographer dwelling in his soul would not allow him to abscond. Ravens can be deemed as the height of Fukases work; it can also be said to have reached the greatest depth. The solitude

    First edition. Numerous photographic plates. Text in English and Japanese. 4to. Original blindstamped cloth in glassine wrapper and slipcase, a fine copy, to-gether with a separately printed list of plates. 131pp. Tokyo, Sokyu-sha,1986.

    3500

    FUKASE (Masahisa). HASEGAWA (Akira), text. Karasu - Ravens.72

    revealed in this work is sometimes so painful that we can not help averting our eyes upon glancing at it. (Postscript). The blindstamped black cloth shows the outline of a raven. This book won the 2nd Ina Nobuo Award. Rare.

  • First edition. No. 542 of a limited edition of 1000 copies. 3 volumes. 21, 20, 21 loose plates (complete, several in colour). Oblong folio. Original flexible cloth folders in corrugated cardboard slipcase (minor wear). Overall a very good set. No text. Tokyo, Pri-vately Printed, 1986.

    73Printed on the occasion of an exhibition at the Polaroid Gallery in Tokyo, this publication is full of Japanese sensibilities. All the plates are loose and printed on high quality paper. The pale colours of the covers beautifully reflect the delicacy of the images. The title hints at some form of return to a previous endeavour: Some of the photographs are reminiscent of the early modernist period. However, Ueda presents us with an unexpected and deliberate artificiality of the highest order. He took the images with a 35mm Polaroid camera. Some of them are reproduced in colour, others in monochrome. Ironically, Ueda considered himself more of an amateur than a professional, something that is less of a reflection on his status than his spirit. The present series reflects this spirit where the images are produced simply for their own sake.

    2800

    UEDA (Shoji). Kidou kaiki [Return Orbit] - Polaroid 35m/m Photo Album.

  • 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, who also contributed a memorial. Many of the early images are in a patriotic vein showing marches in support of troops being sent to China, but in later life Kato also took some interesting images of corroding surfaces. No copy in OCLC.

    First edition. Numerous photographic plates (incl. several in colour). Japanese text. 4to. Original cloth in cloth slipcase, a very good copy. 144pp. Tokyo, Pri-vately Printed, 1987.

    250

    KATO (Kyohei). Choukai Boraku - Kato Kyohei Isaku-shu [A Fleeting Moment - A Posthumous Album of Kato Kyohei].74

  • First edition. Numerous photographic plates. Text in English and Japanese. 4to. Original flexible boards in dustwrapper and obi, a fine copy signed by the pho-tographer on title. 91pp. Tokyo, Artworks Books, 1987.

    75Michiko Kon was born in 1955 in Kamakura. The present book is her first publication with a rather misleading title: While all of the images indeed show food, eating it is clearly not the object of these highly artificial compositions. In Michiko Kons photographs, the daily necessities of food, living space, and clothing are the subjects and with these she gives form to our invisible desires. When she is slapped for playing with food she forces that hand aside and continues pressing the shutter button. (Introduction by Shimamoto). Rare.

    350

    KON (Michiko). SHIMAMOTO (Shuji) text. E A T.

  • Human beings approach the world with two eyes, the camera with only one. How would the world appear viewed through three eyes or more? ... The double gatefold photos in this collection each consist of four separate photographs. These were shot in a number of different ways. In some cases they were taken successively by a single rotating camera. In others they were shot simultaneously by four different cameras. And in still other instances a single camera was moved about to capture the subject from different angles... It permits an angle of vision greater than 180 degrees and allows the viewer to roam freely through space, moving from outdoors to indoors or from one floor to another. It also makes it possible for a photo to span an entire day from morning until evening or to capture a single human subject in different poses or attitudes... I suggest that you clear a desk of all extraneous objects, set the volume down in the middle, and empty your mind of other affairs before turning the pages. If possible the double gatefolds should be opened from both sides at once, using two hands; an utterly different

    First edition. Numerous double gatefold colour plates. Japanese text with English summary. Folio. Original decorated cloth in dustwrapper, obi, and slipcase. Overall a very good copy. Unpaginated. Tokyo, Sekai Bunka-sha, 1989.

    350

    SHINOYAMA (Kisshin). Shinorama Nippon.76

    world will emerge before your eyes. (About Shinorama). This book delivers upon its promises and more: Under twenty-four subject headings Shinoyama Kisshin manages to portray the timeless beauty of Japan, its natural scenery, its cities, its artefacts, its seasons, and its outstanding individuals. Book-design by Tanaka Ikko.

  • First edition. 40 photographic plates. Japanese text. Large folio. Original decorated cloth (very minor soil-ing) in cardboard slipcase, overall a very good copy, signed by the photographer on title. Unpaginated. To-gether with a loose sheet giving notes for the location for each image. Tokyo, Inter Press Corporation, 1989.

    77SIGNED COPY

    Takanashi took most of these images during the night, walking through the city by himself. There he discovered the remnants of history, leftovers from the 20s and 30s that were hidden beneath bridges, in cellars, stairways, and underground passages. He described this book as retro-focus. By photographing during the night Takanashi banned all movement and human activity from the images. They demand a certain amount of effort from the viewer, as if one eyes have to get used to the darkness and could be seen as part of a trilogy starting with Machi (1977) and ending with Nostalghia (2004). All of these books focus on layers of history/meaning within architecture, documenting the change inside the skin of the city. The introductory poem by Tamura Ryuichi is entitled The Sinking City. Matsuyama Iwao contributes a post-script. Otake Makoto (also a teacher at Tokyo Zokei Univ.) wrote the explanations to 1200

    TAKANASHI (Yutaka). Miyako no bo - Visages of a Metropolis.

    each locality. The book binding which aptly incorporates the phases of the moon was designed by Matsushita Koichi.

  • This is a logical continuation of the themes explored in Dream-age, and a strange perspective indeed: Office workers taking a mid-day nap on artificial grass in front of the Ikebukuro Sunshine building, 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, all of the scenes become significant through the angle, the moment, and the size. While verging on the absurd, there is a palpable sense of the security, confidence, and contentedness of the late 80s. The dated dustwrapper was issued in 1992 after IPC ran out of slipcases. Nagano was awarded the 11th Ina Nobuo Award for this book.

    1980-1989. First edition. 42 double-page plates. Japanese text. Large folio. Original decorated cloth in slipcase, a fi ne copy. [xii](text)pp. Tokyo, Inter Press Corporation,1989.

    450

    NAGANO (Shigeichi). Toi Shisen - A Strange Perspective in Tokyo.78

  • First edition. No. 36 of a limited edition of 800 cop-ies. Numerous colour photographic plates. Folio. Orihon. Original decorated boards in folding blinds-tamped cloth box in outer cardboard case, together with a separately printed booklet of text in English and Japanese. A very good copy. Unpaginated. Tokyo, Privately Published,1990.

    79A superb co-production between Shinoyama and the ikebana artist Teshigahara (1927-2001), who takes the viewer on a guided tour of his large bamboo installation held at the famous ikebana school in September 1987. This novel photographic collection consists of a continuous series of 30 photographs encompassing Hiroshi Teshigaharas one-man exhibition held at the Sogetsu Kaikan. The images were cut together using the Shinorama method and thus form one continuous panorama. They were taken during the course of one day, starting at sunrise and finishing in the evening. Includes an accompanying booklet containing essays by Noguchi Isamu, Isozaki Arata, and Shinoyama Kisshin.

    650

    SHINOYAMA (Kisshin). TESHIGAHARA (Hiroshi). Take [Bamboo].

  • SIGNED PRESENTATION COPYHama Noburu was born in 1946 in Tokyo. He graduated from Waseda in 1969. In 1975 he joined Tomatsu Shomeis Workshop. The present is his first book, a wonderfully themed work showing scratched surfaces. Ironically the printi