keisai (23 Ergebnisse)

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Unknown. Zustand: Good. No Jacket. Shelf and handling wear to cover and binding, with general signs of previous use. Paperback Format. Secure packaging for safe delivery.

État de NEUF / New condition 000-169689 '9782809712797 23/10/2017 Livres Illustrés Broché.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Illustrated (illustrator). First Edition. New York: Braziller, 2008. First edition, first printing. Oblong folio. Cloth binding. 160 pp. Reproduced from the finest surviving edition of the original manuscript, this book offers an unforgettable portrait of daily life in 19th century Japan. Each plate teems with unique characters, from beggars and brawling men to boaters and finely clothed women; and the artists' gentle humor imbues them all with remarkable, human vitality. Behind the travelers loom castles, cities, powerful waterfalls and other sites familiar to lovers of Japanese history. Readers will travel from station to station through changing easons, rural roads and city streets, on a journey that explores every stratum of a diverse society. Commentary by art scholar and curator Sebastian Izzard, Ph.D. accompanies each image, offering new insights into the artists' processes, and into the survival of their work. Many of the wood blocks used in printing the original Sixty Nine Stations changed radically after the early editions, and Izzard addresses the protean nature of each image. His commentary details the manuscript's survival during the dramatic social shifts and economic hardship of Hiroshige and Eisen's time, urging an appreciation for its evolution over the years. The Sixty-Nine Stations of the Kisokaido tells the story of a landmark, immortal artists, and an enduring masterpiece. New in new dust jacket, protected with an archival-quality mylar cover.

Osaka 1833, Maekawa. Brown stitched wrs., 2 vol. set, 64+45+ 9 double-folded leaves, covers clean, bit of usual edge and corner wear title slips, embossed covers, slight discoloring to front covers, else solid and firm.

Kuwagata Keisai (1764-1824), peintre japonais de l?école ukiyo-e, signa d?innombrables estampes, ainsi que les illustrations de plus de deux cents livres de genres variés. Il fut surtout l?inventeur à la fin du XVIIIe siècle d?un style minimaliste d?une étonnante modernité et plein d?humour, qui lui valut d?être copié par nombre de ses contemporains. Hokusai, son grand rival, s?en inspira lorsqu?il entreprit la réalisation de sa célèbre Manga. Oiseaux et animaux dans le style du dessin abrégé (1797) et Personnages dans le style du dessin abrégé (1799) sont ses deux albums les plus inventifs et ils connurent un immense succès populaire. En France, le style unique de Keisai fut remarqué dès la fin du XIXe siècle par des artistes comme Rodin ou le graveur Isaac, et par le critique Théodore Duret, défenseur de Manet, qui y vit le « triomphe de l?impressionnisme ».

New York, George Braziller Publisher, [2008]. 159 pp. 1 b./w. map & 70 col. plts. Orig. hardcover boards), d./j. Oblong 4to. Drawn from the finest surviving edition, images are presented from Hiroshige and Eisen's manuscript of wood blocks displaying daily life in 19th century Japan. Includes commentary. - Text in English.

22,5 x 15,5 cm. 20 double leaves with illustrations. Orig. stitched orange wrappers with title label. Very good copy.

17,5 x 12 cm. 27 double leaves with woodcut illustrations, 2 double-page col. woodblock prints, title page, 2pp text, colophon page. Orig. stitched wrappers. Wrappers creased. Some finger staining else very good.

26 x 18 cm. Colophon, 2pp text and 49 pages with col. woodcut illustrations. Orig. stitched wrappers with title-label. Wrappers a bit rubbed and creased else a very good copy.

Editions Philippe Picquier - 2011- 2 livres cartonnés en accordéon et un livret broché au format in-4, dans un coffret cartonné illustré et aimanté - Livret de 16 pages, "Personnages" 71 pages et "Oiseaux & Animaux" 57 pages - Nombreuses illustrations en couleurs hors texte Très bon état.

Colour woodblock illustrations throughout, 21 double folded leaves, traditional Japanese 4 hole stab string binding, 23.5 x 16 cm, title label on cover little worn, covers worn and soiled, a prior owner's label upper cover, title hand-written on spine and lower edge. Kuwagata Keisai (1764-1824), who initially was known as an artist under the name Kitao Masayoshi, was a well known ukiyo-e artist in the mid-Edo period. At the time he was as well known as Hokusai. In his early career, he illustrated numerous yellow cover books. In his thirties, he was employed by the lord of Tsuyama and promoted to a samurai rank. He mainly drew in a sophisticated style using abstract lines. This book shows a range of colour woodblock images of the artist's work mainly of day-to-day items such as vegetables, birds and animals, but all with an extraordinary simplicity of style. This is the first of five volumes of his work.

Reprint. Color woodblock print, 25.5 x 37.7cm on sheet size 32 x 47cm, tipped in at upper edge to original paper mat. Short tears to paper mat. Very good condition. This captivating artwork presents a picturesque view of Tokyo with the iconic Mt. Fuji gracing the distant horizon. Keisai Eisen (1790-1848), a pupil of Kikugawa Eizan, was a prolific artist known for his diverse subjects, including "bijin" (beautiful women), shunga prints (erotic prints), and landscapes. Notably, he collaborated with Hiroshige on a landscape series, with Hiroshige completing the series when Eisen had a dispute with the publisher. An interesting detail is the use of alphabet characters as graphic symbols for framing the print, adding a unique and distinctive touch to the composition.

Kohon (18 x 12 cm). Blockbuchbindung mit schmucklosen Deckeln (stark knickspurig und berieben, aber Bindung völlig intakt). 29 Bll., mit 26 teils doppelblattgroßen - bis auf eine auch farbigen - Holzschnittillustrationen. Ein Holzschnitt als Frontispiz auf vorderem Innendeckel montiert (vermutlich so erschienen). Teils auf sehr dünnem und fragilem Papier gedruckt. Das Innenleben trotz offensichtlich häufigerer Konsultation des Büchleins bis auf stellenweise deutlichere Fingerflecken in den unteren, äußeren Ecken sehr gut erhalten. Shagan: Encyclopedy of Japanese Erotic Art, I, p. 151 & p. 214. - Seltenes Werk der Shunga-Literatur von dem zu Lebzeiten weitgehend verkannten und mittellos verstorbenem Eisen, der noch unter weiteren Namen publizierte. Shunga, oder zu deutsch Kopfkissenbücher (nach dem Ort, an dem man sie aufzubewahren pflegte), widmeten sich den zahlreichen Aspekten des Geschlechtslebens und sind wegen ihrer Eigenschaft als Ratgeber- bzw. Gebrauchsliteratur in der Regel nicht von druckfrischer Erhaltung. Vorliegendes Werk, das in der wohl umfangreichsten Shunga-Sammlung in Honolulu (Richard Lane Collection) offenbar nicht vorhanden ist, widmet sich insbesondere auch lesbischen Sexualpraktiken sowie - anschaulich illustriert dem Gebrauch von allerhand Hilfsmitteln. Es sei zwar bemerkt, daß homoerotische Praktiken in der japanischen Kulturgeschichte weit weniger von Tabuisierung betroffen waren, als dies in den westlichen Kulturen der Moderne der Fall war und ist. Gleichwohl verhinderten auch in der japanischen Kultur die menschlichen Grundbedürfnisse nach Schutz der Intimität einerseits sowie gesellschaftliche Vorstellungen darüber, was dem Erhalt der öffentlichen Ordnung zuträglich ist andererseits, daß derartige Bücher frei zirkulierten. Sie gehörten auch in Japan zu den ,verbotenen Schätzen'. Shagan: Encyclopedy of Japanese Erotic Art, I, p. 151 & p. 214. - Seltenes Werk der Shunga-Literatur von dem zu Lebzeiten weitgehend verkannten und mittellos verstorbenem Eisen, der noch unter weiteren Namen publizierte. Shunga, oder zu deutsch Kopfkissenbücher (nach dem Ort, an dem man sie aufzubewahren pflegte), widmeten sich den zahlreichen Aspekten des Geschlechtslebens und sind wegen ihrer Eigenschaft als Ratgeber- bzw. Gebrauchsliteratur in der Regel nicht von druckfrischer Erhaltung. Vorliegendes Werk, das in der wohl umfangreichsten Shunga-Sammlung in Honolulu (Richard Lane Collection) offenbar nicht vorhanden ist, widmet sich insbesondere auch lesbischen Sexualpraktiken sowie - anschaulich illustriert dem Gebrauch von allerhand Hilfsmitteln. Es sei zwar bemerkt, daß homoerotische Praktiken in der japanischen Kulturgeschichte weit weniger von Tabuisierung betroffen waren, als dies in den westlichen Kulturen der Moderne der Fall war und ist. Gleichwohl verhinderten auch in der japanischen Kultur die menschlichen Grundbedürfnisse nach Schutz der Intimität einerseits sowie gesellschaftliche Vorstellungen darüber, was dem Erhalt der öffentlichen Ordnung zuträglich ist andererseits, daß derartige Bücher frei zirkulierten. Sie gehörten auch in Japan zu den ,verbotenen Schätzen'. 1001 g.

[Tokyo, n.d. ca 1920's]. Color woodblock print, Aizuri-ban, sheet size: 37.4 x 25.7; print size:35 x 31.5 cm., pristine impression, registry, superbly clean, UNUSED example, seldom found. * * RARE EXAMPLE * * . *** **** *** . . WINTERY RIVER FERRY CROSSING . . .AN IMPRESSIVE VIEW OF A BITTER-COLD WINTER AFTERNOON . . . PASSENGERS & BOATMEN BUNDLE UP AGAINST THE FREEZING COLD . . * This is a lovely winter scene with lots of snow and people bundled up. It shows a "Watashi Bune," a small ferry boat for people to cross the XX river. . The two boatman wears a rice straw 'rain-coat' to shed the snow off of him and a bamboo hat. Passengers include an two old men without head covers, four women with face protecting cloths, and another peasant man also wearing a straw-rain. . The scene shows a black sky, gradiation into grey, with river in pale blue also gradiation into a dark & cold deep blue indigo. The snow covered trees, straw roofs, and other small boatmen are hunkered down all wearing straw rain coats, a very drab and "cold" wintery scene. . This is an "Aizuri-ban" or a print that uses aniline-blue color. . The colors effectively give the viewer a 'chill' when observing. . *** EISEN 1970-1848: He was an Ukiyo-e painter, print artist, print artist. The first pupil of Kano school artist Hakkeisai & Eizan. Best known for his stunning landscapes and collaboration with Hiroshige. See Lane below. . *** Color photos are posted to our website. . *** CONDITION: . This print is flawless, with superb impression and registry. This is an UNUSED example, the back side is also very clean, no issues. About as good as it can get. Ready for framing and display. . *** REFERENCE: LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E, see p.219 for Eisen. . * .

[Tokyo ca 1920's,Takamizawa].Color woodblock print,excellent example, superb registry & impression, sheet size:37.5 x 25. 7 cm.; print size:35.6 x 23.5 cm.,there are 2 small mends to the back side, now firm & stable. with Dutch letter border. . *** **** *** . . A STUNNING CLASSIC VIEW OF MT. FUJI FROM THE CENTER . . . OF EDO AT NIHON-BASHI . . . WITH BORDER SHOWING FOREIGN LETTERS & SYMBOLS . . * This work was greatly influenced by the Dutch in Deshima, Nagasaki, who brought foreign letter texts to Japan. . Eisen was aware of the new words and alphabetical characters used by the Dutch. These new characters became the border of this print, with the word "HOLLAND" found at the upper right corner of the print. Though some letters are backwards, nevertheless they are impressive to the average Japanese who had never seen such 'symbols.' . This is an "aizuri-ban" or a print that uses aniline-blue color. . The colors effectively give the viewer a 'chill' when observing. . *** EISEN 1970-1848: He was an Ukiyo-e painter, print artist, print artist. The first pupil of Kano school artist Hakkeisai & Eizan. Best known for his stunning landscapes and collaboration with Hiroshige. See Lane below. . *** RARE EXAMPLE: This print has been coveted by collectors for the last 200 years ! Japanese prints with foreign alphabets are sparse and seldom found. On the verso is a small Hanko [stamp] by the famous Tokyo publisher/printer; "TAKAMIZAWA." . *** The classic scene of Nihon-bashi in the foreground with a stunning Mt. Fuji in the background touches every Japanese heart, the nostalgia of old Edo, showing the center of that ancient city. . It was from the Nihon-bashi, that the TOKAIDO GO-JU-SAN TSUG [FIFTY-THREE STAGES OF THE TOKAIDO] highway began as station one. . The print has a title caption and artist signature [all in block] at the upper left corner. On the lower edge are two Kanji, reading: GEN HAN" [ORIGINAL PRINTING]. . *** The work is strong in indigo-blue sky, gradating into pale 'sky-blue,' and the river blue. Fuji is depicted with lots of snow & ice in white on grey. The lands below Fuji are black over grey mountains, green forests, then the sprawl of Edo, castles, houses, to the Nihon-bashi river which flows under that iconic landmark bridge. . *** CONDITION: This is an excellent example with superb registry & impression, verso blank. On the verso [back side] there are two small remnants of a paper hinge on the top edge, there are two tiny left corner mends from the back side, these can be matted out. Else a truly superb example. Fresh, brilliantly clean and bright. . Ready for framing and display, an impressive compositing and perspective. . *** REFERENCE: . LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E, see p.219 for Eisen. , *.

[Japan ca 1830's, n.p.]. Two odd sheets from an unknown Shunbon [erotic book], woodblock printed in color, sold as a pair, unsigned as usual, old marginal thumbing, a bit dusty, else clean and solid work, nicely executed, unknown title. . . *** *** *** . . EROTIC WOODBLOCK PRINTS . . * KEISEN EISEN [1790-1848]: As usual Japanese works we most always unsigned. Attribution is done by artistic and stylistic comparisons to artist's work. In this case, the style is easily recognized to be Eisen's work. The typical long nose lines was one of his trademarks. . *** THE TITLE: The title is "Tama" a common name for a girl or cat in the mid-19th century. This is printed on the smaller print in the left gutter. We read that as "TAMA MAKI NO FUTATSU:" "TAMA SCROLL 2." . *** THE TWO SHEETS: Sheet 1: This shows a scene of two women, one grabs from behind in an effort to pull open the other woman's Kimono. . A man voyeur hidden in the bushes outside watches with much interest. On the floor is a folded group of "Chirishi" or typical Japanese hand-made Washi toilet paper and another stray sheet near by. . "Chirishi" is symbolic and associated with love-making and any other erotic practice. It is often illustrated in brothels or Shunga [erotic prints & books] with a meaning that love-making fluids would flow from either the vagina or ejaculation and this kind of "Chirishi" [tissue] was an essential part of love-making and its aftermath. . Just the image of "Chirishi" during the Tokugawa period was enough to excite both men and women ! . The illustrating of this in the room with these two women indicate they are ready and willing prostitutes. One is lonely and probably in love with the other girl. Lesbianism was a common feature in whore houses and among the prostitutes who found "true love" among their peers rather than with their male clients. Male clients came and went, and by and large seldom did a wealthy client buy out prostitutes and make them a wife. . Here we see one girl overtaken with jealousy or love for her co-worker. Prostitutes commonly carried substantial amounts of "Chirishi" in their Kimono sleeve for use before and after love-making. . This sheet is actually two pages co-joined in the center to make one larger page. With generous margins at the top and bottom, sheet size: 26.5 x 25.5, print size ca. 25.5 x 18.5 cm. In the lower left corner it is a bit "thumbed," else a clean and solid copy. . With a cartouche in the upper left corner with Japanese text reading "Sekikon kyuri wo zukuki kaigen" we shall not translate due to the erotic nature of this comment, suffice to say it expresses one girls need to "possess" her fellow prostitute and romantic companion! . *** SHEET 2: This shows a man and a woman on a verandah, she mounts and faces him, openly kissing. A small but critical point: notice her exposed right foot. While embracing her lover, the toes on her foot are curled tightly, indicating erotic sensuality, pleasure and orgasm. She also lock-embraces him tightly with both arms, indicates they are enjoying making love to the fullest. . There is a wad of rolled up "Chirishi" toilet paper adjacent to them, indicating preparedness for wiping up the love juices when finished. She is a well-prepared prostitute from the Ukiyo ["Floating" or "Fleeting World"]. . Above them is a fan-shaped cartouche which reads: "Shunraku tei ha zaishu utahime ni aku fu." again an erotic reference so the "Pleasures of spring [Shun, as in "Shun-ga" or "Erotic Spring Pictures" [pictures of love-making] and "aku fu" or "nasty habits" from the pleasures of "Spring erotica and love-making." . SHEET SIZE: This sheet is 17.5 x 25.3 cm., the print size is 13 x 19 cm., and there is a book title or at least an abbreviated title in the left margin reading: "Tama Maki no ni:" Tama [a girl's name] volume or scroll number 2]. This is also thumbed in the lower left corner, and has the stab marks of a sheet formerly bound into a book. . *** These two prints are odd pages from what appears to be a superbly drawn and executed period "Shunpon" [erotic illustrated book]. . Beautifully drawn by [Eisen], a very skilled master artist. Printed in typical pastel and vegetal colors with great taste. . *** KEISAI EISEN [1790-1848]: He was a Japanese Ukiyo-e artist who specialized in Bijin-ga [pictures of beautiful women]. His best works, including his Okubi-e ["large head pictures"], are considered to be masterpieces of the "decadent" Bunsei Era [1818-1830]). He was also known by his 'studio' name: Ikeda Eisen, among many others and also wrote under the name of Ippitsuan. . In addition to producing a prolific number of prints, he was a writer, producing biographies of the Forty-seven Ronin and several books, including a continuation of the Ukiyo-e Ruiko [History of Prints of the Floating World], a book which documented the lives of the Ukiyo-e artists. . His supplement is known as "Notes of a Nameless Old Man." He describes himself as a dissolute hard-drinker and claims to have been the owner of a brothel in Nezu in the 1830s which had burned down. Surely he was inspired by living his life among prostitutes and drew them often. This book is an excellent example from his life-style as an artistic whore house voyeur ! . *** REFERENCES: . L. Roberts: DICTIONARY OF JAPANESE ARTISTS, see p.21 for more details on Eisen, he specialized in Bijin Ga [pictures of beauties], erotica and landscapes. * WikiPedia: : SHIBUI, Kiyoshi.: ESTAMPS EROTIQUES PRIMITIVES DU JAPON:GENROKU KOHANAGA SHU-E . It is not surprising this and a plethora of other Japanese Shunga, Shunpon [Erotic prints & books] are not listed in Shibui. While he lists many, there are even more not listed in his book, or any other reference book on the subject. . Erotic books were "suppressed" by the Tokugawa Shogunate, therefore the majority of these kinds of books & prints were published on the 'black market' and not distributed openly. They remain on the 'fringe' of publication. There.

Zustand: Gut. (Kitao Masayoshi, auch bekannt als Kuwagata Keisai, geb. 1764 in Edo, gest. 1824, japanischer Maler und Karikaturist des Ukiyo-e. Schüler von Kitao Shigemasa und später von Kano Yosen'in Korenobu. Zeitgenosse von Katsushika Hokusai). Original-Holzschnitt von Masayoshi Kitao auf Japanpapier (tate-e). Maße Blatt (gesamt): 26,5 x 16,2 cm, obere Blattkante nach hinten umgeschlagen (ca. 5 mm). Abbildungsgröße: 20,6 x 15,7 cm. Vgl. Los 1381, Auktionshaus Dannenberg, Auktion Nr. 162 (Asiatica, 2021). Linker Rand mit Klebekante (maximal 5 mm breit) und einem winzigen Randausriss, Ränder teils leicht fingerfleckig. Blatt mit wenigen kleinen braunen Fleckchen, oberer Weißrand mit vereinzelten winzigen Flecken. Blatt rückseitig mit 3 kleinen Resten von weißem Nassklebeband aus früherer Montage (je maximal 2 x 0,5 cm). Guter bis sehr guter Zustand. Original woodcut by Masayoshi Kitao on Japanese paper (tate-e). Sheet size (total): 26.5 x 16.2 cm, upper margin folded to the backside (appr. 5 cm width). Picture size: 20.6 x 15.7 cm. Left margin with traces of glue (width of 5 mm max.) and with one tiny missing part at the outer cout edge, margins partly lightly fingerstained. Sheet with some small brown spots, upper margin (outside the picture) with tiny spots. Sheet on the backside with 3 pieces of white wet adhesive tape (each 2 x 0.5 cm max.) from former mounting. Nearly fine condition.

[Kyoto nd. ca. 1902, Unsodo]. Stiff buff stitched wrs., very good, 25 double-folded leaves, 50p. color woodblock-printed illustrations, 18 x 25 cm., Japanese introductory page and colophon. *** *** *** . . . KITAO MASAYOSHI ILLUSTRATES THE METHODS OF DRAWING . . *** WHO WAS THE ARTIST KEISAI KITAO [1764-1824: Kitao aka. by studio names: Kuwagata Keisai et al., was a celebrated Ukiyo-e painter, printmaker and illustrator born in Suruga province. He was also the star pupil of Kitao Shigemasa, and worked until 1797 as an Ukiyo-e artist under the 'Go' or studio name of Kitao Masayoshi, designing numerous prints & and illustrating books. . *. In 1797 Keisai became the official painter to the Daimyo of Tsuyama, he was also given some training by Kano Eisen'in. He took his grandmother's name of Kuwagata and then began to work in the Kano school style. Eventually retired and became a lay monk. He is known for his subtle and tender lines, his prints of lowers done with delicacy. His work is charming, expressing innocence and with remarkable delicacy and softness. . * This is a another famous book by Kitao Masayoshi. Per Lawrence [below] and we summarize, he was a celebrated Ukiyo-e painter, printmaker and illustrator born in Suruga province. . He was also the star pupil of Kitao Shigemasa, and worked until 1797 as an Ukiyo-e artist under the 'Go' or studio name of Kitao Masayoshi, designing numerous prints & and illustrating books. In 1797, he became the official painter to the Daimyo of Tsuyama & was also given some training by Kano Eisen'in. He took his grandmother's name of Kuwagata and then began to work in the Kano school style. Eventually retired and became a lay monk. He is known for his subtle and tender lines, his prints of lowers done with delicacy. His work is charming, expressing innocence and with remarkable delicacy and softness. . * The current work is a collection of his color drawings of mostly of animals [mammals], birds, insects, frogs, fish, turtles, shrimp, lobster, shell-fish, whales and other sea creatures. For a companion volume in the same style on human figures please inquire for his RYAKU GASHIKI. . * Hokusai was greatly influenced by his unique style, which found its way into the his famous series title: HOKUSAI MANGA. These caricature were done with naive innocence, with a dash of fun intended, and some irony. The work shows a great diversity in his ability to draw and perceive nature as it actually was, during the late 18th century. The work is delicately pastel colored, revealing his keen sense of nature's animals, wide variety and large number of his quaint drawings are presented in this book. A delight to behold ! . *** BIBLIOGRAPHY: . H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS, p.57-8, #140, cites the 1797 edition. * KSM 5-687-3 * Kraft vol.1, no.55, vol.3, no.60 * C.H. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A BIBLIOGRAPHY, p.240 * Duret 181 * Hayashi 1558 * Javal [II] 140 * Odin 108 * L. Brown, p.124 * Toda. 213, cites 1797 edition *. Strange, illustrations reproduced [1897], p.88. . ***.

[Nagoya 1844-47?, Eirakuya]. Stiff orange wrs., stitched,16 x 23 cm., very good, usual minor edge wear, bit old worming only in the upper margin to 8p., else strong clear images, [20] double-folded leaves, 40 full page illustrations. Eisen was known for his stunning portrayal of Samurai warriors and traditional heroes. Like Kuniyoshi he excelled at action and sword play. This work continues in that vein with famous warriors subduing wild animals and challenging the most powerful sword fighters. A dramatic work, loaded with dynamic Samurai sword play and action ! **** THE WORK IN BIBLIOGAPHICAL TERMS: Kerlen states vol.1, vol.2 as the complete set; our copy clearly states "Zen" or "Complete" on the title slip, which appears to be 2 vols. bound in one. Kerlen states the complete set consists of 20 unnumbered pages. If it were incomplete, or an odd volume, the title slip would say vol. 1, or vol. 2, per Kerlen; as is. FIRST EDITION. **** REFERENCES: H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS #116, p.48-49. * KSM: KAIGA [Eiga]7-139-3 * Forrer:156-157 * Kraft: vol. 2, no. 40 * L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.21. ***.

[Edo? ca 1806-12, Tsuta Ya. Oban color woodblock print,sheet size: 24 x 36.3 cm., excellent impression & registry, pastel colors, two old folds, a couple of verso mends else clean & solid, no. 14 Hara No Eki Series. FIRST & ONLY RARE EDITION . *** **** *** . . A STUNNING PORTRAIT OF A JAPANESE WOMAN PILGRIM . . . SHE POSES BEFORE A GRAND MT. FUJI . . .WITH THE TOKAIDO HIGHWAY BACKGROUND & PALANQUIN COOLIES . . . FROM THE SUPERBLY EXECUTED SERIES: . . . HARA NO EKI JUYON BAN BIJIN TOKAIDO: HARA STATION, . . . NUMBER 14 OF THE BEAUTIES OF THE TOKAIDO SERIES . * This is a lovely view of a Japanese woman pilgrim on the highway, taking a break, as she wrings-out the water from her cotton Kimono, she holds a towel in her mouth. She glances at an right facing angle displaying a nice profile to her face. . *** THE ARTIST: EISEN [1790-1848]: He was an Ukiyo-E painter, printmaker, illustrator and the son of calligrapher Shigeharu, He lived in Edo, was a pupil of the Kano artist Hakkesai, then of the Ukiyo-e artist Kikugawa Eizan. His true name was IKEDA Yoshinobu before he took his master's name of Eisen. . He authored many illustrated books, was a prolific artist, specialized in Bijin Ga [pictures of beautiful women], erotica and landscapes. He also collaborated with Hiroshige on landscapes, doing the Kisoh Kaido [Sixty-nine stations of the Kisoh Highway]. . He used several Go [studio names]: Hokugoh, Hokutei, Ippitsuan, Kakoh, Keisai, Kokushunroh & Mumeioh. . He is well collected by world museums & libraries. See Roberts below. . *** CONDITION: The print has e excellent impression & registry, with bold & solid colors most in pastels. . The print has two mild old folds, there are two small, old restoration to the upper left & right corners with a couple old very minor mends all to the verso [back side] of the print. It is now solid and stable. . The surface is a bit dusty as usual, for an item over 210 years old. . *** NOTE: Color scans are posted to our website. . *** REFERENCES: . ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, p.21. * LANE, Richard. : IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E, p. 219+ illustration examples. *.

Zustand: Gut. (Keisai Eisen, eigentlich Ikeda Yoshinobu, weitere Künstlernamen: Hokugo, Hokutei, Ippitsuan, Kako, Kokushunro, Mumeio, geb. 1791 in Edo, gest. 20.08.1848, japanischer Maler, Holzschnitt-Künstler und Illustrator der Ukiyoe-Richtung während der späten Edo-Zeit). Original-Farbholzschnitt von Keisai Eisen auf Japanpapier (oban tate-e), ca. 1835. Signiert: Keisai Eisen ga. Verleger: Wakasaya Yoichi (Jukurindo). Blattgröße: 38,4 x 26,5 cm. Blatt mit vereinzelten winzigen punktuellen Löchlein (1 mm), Blattränder leicht fleckig. Blattränder rückseitig rundherum mit hellem Papier verstärkt (ca. 0,5 cm Breite). Guter bis sehr guter Zustand. Vielen Dank an Horst Gräbner für die Angaben.

Edo 1799, Suwahara. Stitched wrs., covers rubbed, soiled, contents clean and solid, 31 double folded leaves [62p.], large size:18 x 26 cm.,62 colored woodlbock illustrations, back cover present, its paper covering gone. *** *** *** . . JAPANESE DRAWING MADE SIMPLY BY AN OLD MASTER . . . WHO WAS THE ARTIST KEISAI KITAO [1764-1824: Kitao aka. by studio names: Kuwagata Keisai et al., was a celebrated Ukiyo-e painter, printmaker and illustrator born in Suruga province. He was also the star pupil of Kitao Shigemasa, and worked until 1797 as an Ukiyo-e artist under the 'Go' or studio name of Kitao Masayoshi, designing numerous prints & and illustrating books. . *. In 1797 Keisai became the official painter to the Daimyo of Tsuyama, he was also given some training by Kano Eisen'in. He took his grandmother's name of Kuwagata and then began to work in the Kano school style. Eventually retired and became a lay monk. He is known for his subtle and tender lines, his prints of lowers done with delicacy. His work is charming, expressing innocence and with remarkable delicacy and softness. . * The current work is a collection of his color drawings of mostly human figures with a sprinkling of a few animals. Hokusai was influenced by his unique style, which found its way into the his famous series title: HOKUSAI MANGA. These caricature are done with naive innocence, with a dash of fun intended, and some irony. The work shows a great diversity in his ability to draw and perceive the Japanese people of the late 18th century. Delicately pastel colored, revealing his zest for life. A wide variety and large number of his quaint drawings are presented in this book. A delight to behold ! For a companion volume in the same style on animals, birds, fish, insects, please inquire for his CHOJU RYAKU GASHIKI. . *** BIBLIOGRAPHY: This famous work has been highly collected over the last 200 years by the most famous libraries, collectors & world museums. This title is cited in most of the standard bibliographies. [see below]. . Most cite the date as 1795 however our copy clearly states: Kansei 11th year, being 1799. It is possible that some bibliographers are citing the preface date. Ours clearly has a dated colophon of publication date. . To some bibliographers, there is some confusion between the First edition and later editions, which bear alternate titles: KEISAI RYAKUGA-SHIKI & JIMBUTSU RYAKUGA-SHIKI. . *** REFERENCES: * C.H. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA, SHIJO AND OTHER RELATED SCHOOLS OF JAPAN, p.453. He wrongly cites Toda: 210, with a different title: JIMBUTSU RYAKUGA SHIKI. * H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS, p.553-4, #1351, cites 1795 date. * K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE ILLUSTRATED BOOKS, p.215, he cites an later 1856 edition, a reprint., & p.210. * L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS. p.99. item E.2514-1925 seems to be the same as the one cited in Toda, but inaccurately thinks this is volume 3 of a set. * Louise Brown: BLOCK PRINTING & BOOK ILLUTRATION IN JAPAN cites on p.124 two separate entries for a book with this title: first states 1795 "Rare;" second cites what looks like a reprint: ".2 small volumes, not dated ca. 1809- 1810 colors." * Roberts: DICTIONARY OF JAPANESE ARTISTS p.75 does solve this mystery by noting that one of Keisai's studio names is also Kitao Masayoshi, as per Chibbett. Keisai was a pupil of Kitao Shigemasa a famous natural history painter of birds, flowers & animals. A skillful painter in the Kano style, who later retired to become a Buddhist monk. * KSM: 8-47-1 * KRAFT vol. 3, no. 556. * Corbin 399 with title: Keisai Ryakuga-shiki * Duret 179 * Haviland [xviii] 582, 97 quoting the wrong title: JIMBUTSU RYAKUGA-SHIKI, which is an entirely different book. * Hayashi 1557. According to him, some later issues bore the titles KEISAI RYAKUGA-SHIKI & JIMBUTSU RYAKUGA-SHIKI, * Hubert 39 * Javal [I] 97 * Odin 105, 106, 107 . ***.