‎Hokusai‎

‎Hokusai‎

‎Hokusai Manga Vol 1: The Life And Manners Of The Day Japanese Edition‎

‎Seigensha 2011. Paperback. New. 360 pages. 5.91x4.25x1.18 inches. Seigensha paperback‎

書籍販売業者の参照番号 : __4861522803 ISBN : 4861522803 9784861522802

‎Hokusai‎

‎Hokusai Manga: 3 Volume Box Japanese Edition‎

‎Seigensha 2011. Tankobon Hardcover. New. 900 pages. 6.30x4.53x2.99 inches. Seigensha hardcover‎

書籍販売業者の参照番号 : __4861523109 ISBN : 4861523109 9784861523106

‎Hokusai‎

‎Hokusai Manga Vol. 3: Fanciful Mythical And Supernatural Japanese Edition‎

‎2011-05-02. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence excellent customer service! unknown‎

書籍販売業者の参照番号 : 4861522889n ISBN : 4861522889 9784861522888

‎Hokusai‎

‎Hokusai Manga Vol 1: The Life And Manners Of The Day Japanese Edition‎

‎2011-03-05. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence excellent customer service! unknown‎

書籍販売業者の参照番号 : 4861522803n ISBN : 4861522803 9784861522802

‎Hokusai‎

‎Hokusai Manga Vol 2: The Whole Earth Catalogue Japanese Edition‎

‎2011-05-03. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence excellent customer service! unknown‎

書籍販売業者の参照番号 : 4861522870n ISBN : 4861522870 9784861522871

‎Hokusai‎

‎Hokusai The man mad-on-drawing Artia Prague 1955‎

‎Artia 1955-01-01. Loose Leaf. Good. Good Loose leaf book with hardcover folder Japanese string binding and trifold slipcase with bone pin closures Pages have tanning. Slipcase has signs of damp stains.; 100% Satisfaction Guaranteed! Ships same or next business day! Artia unknown‎

書籍販売業者の参照番号 : 111903070030

‎Hokusai‎

‎Hokusai's Thirty-Six Views of Mount Fuji‎

‎Yohan Publications. Fine with no dust jacket. 1992. First Edition. Softcover. 4896849108 . Clean and unmarked. Excellent condition. . Yohan Publications paperback‎

書籍販売業者の参照番号 : 13708 ISBN : 4896849108 9784896849103

‎Hokusai‎

‎in : Manga - Mangas - japanische Holzschnitte durchgehend illustriert mit‎

‎ca. Mitte 19. Jhd. o.O. o.J. Bd. 8 / 10 / 12 von 15 Bde. O.Brosch.8°. 88 Orig. Holzschnitten auf Doppelbögen Japan-Papier Blockbücher 29 29 30 Bl. 3 Bde. d.i. in Bd. 10 ein Orig. Holzschnitt von Hokusai siehe : Mangwa - Bücher guter Zustand ca. Mitte 19. Jhd. o.O. o.J., unknown‎

書籍販売業者の参照番号 : 6645

‎Hokusai‎

‎Japanische Holzschnitte und Zeichnungen. Zuerich: Verlag der Arche 1948. 14 Seiten Text Abbildungen auf 15 Tafeln. Kartoniert.‎

‎Die kleinen Buecher der Arche 41/42. - With a commentary in German English an French by Katherine Miller. - Einband mit schwachen Gebrauchsspuren. 122434 unknown‎

書籍販売業者の参照番号 : 122434

‎HOKUSAI‎

‎MANUELS DE DESSIN LIVRES ILLUSTRES French Edition‎

‎PICQUIER 2014. Paperback. Good. Disclaimer:A copy that has been read but remains in clean condition. All pages are intact and the cover is intact. The spine may show signs of wear. Pages can include limited notes and highlighting and the copy can include previous owner inscriptions. At ThriftBooks our motto is: Read More Spend Less.Shelf and handling wear to cover and binding with general signs of previous use. Secure packaging for safe delivery.Dust jacket quality is not guaranteed. PICQUIER paperback‎

書籍販売業者の参照番号 : 1319235496 ISBN : 2809710309 9782809710304

‎HOKUSAI‎

‎One Hundred Views of Fuji: Fugaku Hiyaku-kei‎

‎New York: Frederick 1958. hardcover. very good. Color frontispiece profusely illustrated in black and white. 17 pp. introduction by Jack Hillier followed by 64 pages describing the plates. Tall 8vo grey pictorial cloth silk ties red board slipcase. Slipcase shows a little wear otherwise fine. Bound in the Japanese manner. Frederick Publications New York 1958. Very good . Frederick unknown‎

書籍販売業者の参照番号 : 289239

‎Hokusai‎

‎One Hundred Views of Mt. Fuji‎

‎New York: Braziller 2001. Second Printing. Wraps. Near Fine. 224pgs very nice copy Braziller paperback‎

書籍販売業者の参照番号 : 0086-10-34

‎HOKUSAI‎

‎One Hundred Views of Fuji: Fugaku Hiyaku-kei‎

‎New York: Frederick 1958. hardcover. very good. Color frontispiece profusely illustrated in black and white. 17 pp. introduction by Jack Hillier followed by 64 pages describing the plates. Tall 8vo grey pictorial cloth silk ties red board slipcase. Slipcase shows a little wear otherwise fine. Bound in the Japanese manner. Frederick Publications New York 1958. Very good .<br/><br/> Frederick unknown books‎

書籍販売業者の参照番号 : 289239

‎HOKUSAI‎

‎The Dome: A Quarterly containing Examples of All the Arts Number Four 4‎

‎London: Unicorn Press 1898. First. hardcover. fine. Illustrated. Thin 8vo printed boards. London: Unicorn Press 1898<br/><br/> Contains an essay on Hokusai by Charles Holmes and two plates. Also contains A Note on Piranesi by L.A.Corbeille with 3 plates and contributions by Laurence Housman & Laurence Binyon. Very fine copy.<br/><br/> Unicorn Press unknown books‎

書籍販売業者の参照番号 : 220134

‎Hokusai Hiroshige and Others‎

‎120 Japanese Prints CD-ROM and Book Full-Color Electronic Design Series‎

‎Dover Publications 2006-06-24. Paperback. Good. Dover Publications paperback‎

書籍販売業者の参照番号 : SONG0486997405 ISBN : 0486997405 9780486997407

‎Hokusai Hiroshige and Others‎

‎Japanese Prints: 16 Art Stickers Dover Art Stickers‎

‎Dover Publications 2001-05-11. Paperback. Used:Good. Dover Publications paperback‎

書籍販売業者の参照番号 : DADAX0486415651 ISBN : 0486415651 9780486415659

‎Hokusai introduction by Jack Hillier and description of the plates by Fredk Frederick Victor Dickins‎

‎Fugaku Hiyaku-kei or A hundred Views of Fuji Fusiyama‎

‎London: B.T. Batsford 1880. First Edition. Octavo; xxviii 70pp; 2 double plates 'View of Fuji from Yoshida' and 'Birds-Eye View of the Crater'. A Good copy of a scarce publication in original 1/4 black leather and marbled boards spine lettered in gold front board detached ffep beginning to detach; internally clean. Laid in is the offering circular for Frederick Publications 1958 publication which used Hillier's introduction and Dickins' descriptions of the plates. B.T. Batsford unknown‎

書籍販売業者の参照番号 : 19781

‎Hokusai Katsushika‎

‎Cien vistas del monte Fuji‎

‎2016. Paperback. Very Good-New. Rare book paperback‎

書籍販売業者の参照番号 : 91842 ISBN : 8494611925 9788494611926

‎HOKUSAI Katsushika.‎

‎EHON KOKYO: THE CANON OF FILIAL PIETY ILLUSTRATED. KOH-KYOH = HSIAO-CHING in Ch‎

‎Edo 1850 Suharaya. Original grey stitched wrs. 2 vol.set grey covers title slips faint Takai Ranzan commentator and author vol.1: pp.2-28; vol.2: pp. 29-49title page supplied in facsimile vol. 1 as is 15.5 x 23 cm. Third Edition . . . . HOKUSAI ILLUSTRATES THE CONFUCIAN CLASSIC . . . ON FILIAL PIETY The famous and celebrated Chinese Confucian classic HSIAO-CHING XIAO QING was a well-know treatise in Japan and it was imported from China centuries ago. The original classic was done in Chinese in one volumes with 18 chapters. . The contents are the teachings of Confucius on filial piety given as a talk with his pupil Tseng Ts'an. It is thought that the work was written by some pupils of Confucius listening to his master's talk with Tseng Ts'an. See Toda below. . TITLE: The alternate title as per Kerlin is EHON KOBUN KOKYO. The wood blocks were carved by Egawa Sentaro. The work was compiled by Goshatei Kizan. . THE ARTIST: KATSUSHIKA HOKUSAI 1760-1849: The work is signed Zen Hokusai I-itsu ga. . Hokusai was Japan's most famous Edo period illustrator of Japanese genre landscape scenery and of the daily lives and occupations of the commoners. His works are full of cheerfulness humor optimism and he had a knack of capturing the true nature of his time people and life style. He was affectionately called the "MAD MAN ON DRAWING" by the Japanese. His works continue to fascinate the world over ! . THE ILLUSTRATIONS: The work has 25 illustrations in vol.1 and 2 in vol. 2. For exact collation see Kerlin & Toda below. . EDITION: The first edition was issued in 1834 and is very difficult to obtain. The contents of the first and third editions of 1850 remain the same. See Dr. Lane who refers to the 1864 second edition on p. 308 item #241 per citation below. In any case the first and third editions are identical in size illustration count. . CONDITION: This set is bound in the original orange stitched wrappers with the usual minor rubbing to the covers dusty and a bit minor soil. . Contents a bit dusty usual but minor thumbing some old worming mostly in margins illustrations are by and large not affected. Vol. 1 a few pages have a few small worm holes not major. Vol. 2 last two illustrations have 3.4 cm. worm in lower part of page. . With a facsimile of the title page stitched into volume one new end papers inside front covers. . BIBLIOGRAPHY: . K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE ILLUSTRATED BOOKS p.265 bottom of page. H. Kerlin: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS.see item number 281 KSM kyokun kyoten 1-493-1 Jack Hillier.: ART OF HOKUSAI BOOK ILLUSTRATION: item #242 no. 142 p.108 plate 190 shows the title page of this book now provided from this resource in facsimile. Text begins on p. 208-208. Per Hillier: ".a few brilliant improvisations including the charming title-page with opposing panels of crows on a plain ground and plovers in reserve on a black ground." He continues on p.208-209: "One of them illustrations is Basho showing the great haiku poet standing on a dangerous cliff-ledge path leading to the infamous Hanging Bridge of Kiso. He is in the very pose bent over a supporting stick that Hokusai adopted in a famous self-portrait and the haiku by Basho." Basho is illustrated as plate 191 on p.209. Kraft: vol.2 no. 72 1864 edition; vol. 3 NO. 110 Richard Lane; HOKUSAI LIFE AND WORK plate 315 on p.247; pp. 248 308 #241. He also refers to the 1864 second edition on p. 308 item #241. It would appear the first and third editions are identical in size & illustration count. . . unknown‎

書籍販売業者の参照番号 : 29012301

‎HOKUSAI Katsushika‎

‎Ehon Sumidagawa: Ryogan Ichiran. Glimpses of Both Sides of the Sumida River‎

‎Tokyo: Yoshikawa Kobunkan 1917. Reprint. paperback. near fine. Hokusai. 3 volumes in decorative wrappers with paper labels string-bound in Japanese Style. 4to Illustrated with 46 fine color reproductions printed by x. Tokyo: Yoshikawa Kobunkan 1917 or 1918. A handsome reprint of the 1803 classic original. Near fine and complete but lacking the original folding box. Yoshikawa Kobunkan unknown‎

書籍販売業者の参照番号 : 277575

‎HOKUSAI Katsushika. Taito.‎

‎EHON TEIKIN OHRAI: BOOK OF FAMILY PRECEPTS. AKA. AS: TEISEI GASHOO KOOHON TEIKI‎

‎Edo c.1830's-1848 Yoshikawa. Stitched wrs.complete 3 vol set 303030p. 166 woodcut polates covers with some small chips corners bit rubbed contents clean no worming very good impression 16 x 23.8 cm.blue Chitsu folding case.RARE . . . ONE OF HOKUSAI'S MOST FASCINATING . . . EDO PERIOD GENRE STUDIES . . . THREE VOLUME SET COMPLTE MEIJI EDITION . THE ARTIST: KATSUSHIKA HOKUSAI 1760-1849: Hokusai was Japan's most famous Edo period illustrator of Japanese genre landscape scenery and of the daily lives and occupations of the commoners. His works are full of cheerfulness humor optimism and he had a knack of capturing the true nature of his time people and life style. He was affectionately called the "MAD MAN ON DRAWING" by the Japanese. His works continue to fascinate the world over ! . The work reflects all the charm and skill that Hokusai was s famous for. Hokusai captured the sprit flavor and charm of his genre drawing a lovely panoramic view of the Japanese genre life style occupations and daily activities of the commoners during the 1830-1840's. . Hokusai shows his light-hearted comic and ironic illustrations on all facets of life he enjoyed poking fun at the irony of daily life and its parade of characters. . THE AUTHOR: GENYE Hoohshi -1350: He ".was a Buddhist priest of the Tendai sect. The purpose of this book was to show the models for letter writing commonly used in the Ashikaga period but as these letters give useful words and acknowledge of ethics necessary for cultured people the book was used as a text book for Terakoya schools in the Tokugawa period. Consequently there were many popular illustrated editions of the book of which this is an example. The illustrations in this publication have no direct relation ship to the letters only suggesting some points mentioned in the writings." see Hillier p.200; and Toda below. . THE SUBJECT: A popular work during the late Tokugawa period it was also used in the Ashikaga period as a text for writing by the literati classes. An eclectic and superbly illustrated text shows the activities of all classes of Japanese. Tradesmen at their hard toil paper makers the daily activities of women artists and artisans cultured classes warriors Buddhist priests Lords and a host of other charming drawings. With a number of natural history illustrations: fish birds & animals. . Hokusai books are always RARE & highly desirable. They reflect a charm showing the artist's humor and compassion for life his talented gift to record for all posterity. A lovely and sympathetic view of what Japan was truly like during his times. His works are celebrated as the best Japanese painter and illustrator of his era. S U P E R B ! . "Hokusai's book is ingeniously designed with pages divided in two and text and illustration separated by a dividing line but the positions of each part and their proportions varied from page to page. .but seizes upon some incident or object mentioned by the author and builds a drawing around it situation his pictures in contemporary Edo and his figures in 'modern dress.'" See Hillier below pp.200-201. . "One illustration plate 181 gives us a picture of another famous publisher's bookshop.it is the premises of Nishumura Eijudoh the publisher of the TEKIN ORAI his sign and name being emblazoned on the Noren or curtain and on the lantern outside the premises. Another illustration is of Benkei with his armory of fearsome weapons standing on Gojo Bridge." See Hillier below pp.200-201 plate 181 182. . EDITION: This is the Meiji reprint of the first issue 1828. Pagination: Vol. 1: preface 1 sheet text 30 sheets 55 illustrations. Vol. 2: " " 56 " Vol. 3: " 55 " . CONDITION: The work is printed with good registry and excellent key block line and images are solid. The binding is tight with some minor splits to where the stitching is at either the top or lower edges some very minor chipping to edges of covers. The set is contained in a recent indigo-blue Chitsu case with bone clips. . NOTE: Please visit our website and see our book #220751 for the original volume 1 of this title issued 1827. . BIBLIOGRAPHY: . L. Roberts: DICTIONARY OF JAPANESE ARTISTS: p.168. E. Dawes: p.57. H. Kerlen: CATALOGUE OF PRE-PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS p.137 #335. J. Hillier: THE ART OF HOKUSAI IN BOOK ILLUSTRATION: p.277 item number 230 the 1828 edition and pp.198 200 201; illustrations 181 182. He stated of this title: "It was the first book of what might be termed a serious didactic type that Hokusai had been called upon to illustrate during his long career." See pp.198 200. TODA Kenji.: DESCRIPTIVE CATALOGUE OF JAPANESE AND CHINESE ILLUSTRATED BOOKS IN THE RYERSON LIBRARY OF THE ART INSTITUTE OF CHICAGO p.258 as: YEHON TEIKIN WORAI: ILLUSTRATED 'COMMUNICATION OF HOME PRECEPTS' Bunsei 11 1828 we believe he made an error the actual colophon date is Bunsei 10 =1827 however Lane stats 1828; a Nagoya Eiraku edition. The he continues with vol. 3 complete in 3 volumes vols. 12 missing obviously he is talking about Lane's entry of 3 serially issued volumes. Confusing 1827 as part of a series issued years later. At the time 1827 no one knew there would be 2 other later volumes. He also cites a later edition dated Kaei 1 1848 a preface date in volume 2 again thinking this is a 3 volume set but not in 1828 !. . The later edition was indeed a 3 volume set see pp.258 where there are 2 entries for this title. LANE Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E p.255 where he lists Taito as being used 1811-1820 this was one of Hokusai's many "Go" studio names. . He also lists this exact book he calls: "EHON TEKIN OHRAI" on p.274 number 218 issued in 3 series: 1: 1828 our example; 2: ca. 1830's; 3:1848. . Color scans are posted to our website. . . unknown‎

書籍販売業者の参照番号 : 87057401

‎HOKUSAI Katsushika.‎

‎FUGAKU HYAKKEI: THE HUNDRED VIEWS OF MT. FUJI. Complete 3 Volume Set Woodbloc‎

‎Tokyo 1948 Oshima. Yellow stitched stiff wrs. 3 vol. set woodblock printed on hand-made paper very goodcleanbright set contents very clean white clear impressions in tones of grey Sumi black stiff buff paper Chitsu case. R A R E . . . . FUGAKU HYAKKEI: 100 VIEWS OF MT. FUJI . . . HOKUSAI'S MOST FAMOUS BOOK ON JAPAN'S SACRED SYMBOL . . . COLOR WOODBLOCK-PRINTED ON HAND-MAID WASHI PAPER . . . HIS GREATEST CLASSIC ! . THE ARTIST: KATSUSHIKA Hokusai 1760-1849: Hokusai's most famous work in book form illustrating a profusion of views of Mt. Fuji from all perspectives. . Hokusai was Japan's most famous Edo period illustrator of Japanese genre landscape scenery and of the daily lives and occupations of the commoners. His works are full of cheerfulness humor optimism and he had a knack of capturing the true nature of his time people and life style. He was affectionately called the "MAD MAN ON DRAWING" by the Japanese. His works continue to fascinate the world over ! . This book was also the prototype for his great color woodblock print series of multiple views of Mt. Fuji. . A delightful and impressive work considered a classic for nearly 200 years. . This monograph is devoted to Japan's most sacred Mt. Fuji in all its glory portrayed in various seasons and as seen by common folk as they go about their daily lives and daily occupations and along the Tokaido highway. . THE INTRODUCTION: The introduction was written by Hokusai on the first two pages of each volume. . THE COMPLETE SET OF 3 VOLUMES: The collation is: 252525 double folded leaves or 150 pages in all with illustrations of Mt. Fuji on 144 pages 6 pages of Japanese text. . The history of the various editions and volume count are complex the work was originally issued complete in two volumes which included all pages found in the 3 volume set. The set of 3 volumes is no different than those bound in 2 volumes it is simply a matter of combining pages into two or three bindings. The binding format was a choice made by publishers & their binders. The usual format is 3 volumes numbered 1 2 & 3. There are 3 volumes bound into a single binding and other variants contents by and large is the same. . THE SUBJECT: MT. FUJI JAPAN'S MOST SACRED SYMBOL: . The work is marvelous it shows Mt. Fuji portrayed in the daily life of the common people. . In the spring time how ordinary Japanese sat outdoors and viewed the cherry blossoms with Mt. Fuji in the background. Mt. Fuji was always present in daily life as a background. . The composition artistry and skill of Hokusai is without parallel. The book illustrates his unique talent and drawing skills. His artistry pictured Mt. Fuji in myriad scenes early morning evening rain and cloudy days. The mystical quality of Mt. Fuji demonstrates the great respect Hokusai felt showing the great grandeur of the sacred mountain. . Hokusai used acute visual composition concepts insight and visionary-like "Avant-garde" talent to impress viewers to identify with the splendor of Mt. Fuji. . Hokusai is still hailed as Japan's greatest artist of the 19th century. His woodblock printed books and printed command solid prices. . THE EDITIONS: There were two main editions: the FIRST EDITION published in 1834-5 was bound in pink stiff stitched covers commonly called "FALCON FEATHERS." All later editions are reprints with various dates bound in yellow blue purple green black and several other variants. Contents remains the same it would be a matter of quality of impression. The later editions do not always have a colophon or date. Some editions do show publisher's information and date. Other copies may have been rebound omitting the colophon. . There is no 'standard' relationship between date and color of binding however we have had many editions and copies information below reflects this history: . In 1875 Meiji 8th year reprint bound in either yellow covers with green printed title slips or blue covers with red printed title slips. . In 1877 Meiji 10th year reprint in black covers with red printed title slips. . A late final reprint in 1940 with yellow covers. . All of the above were woodblock printed editions on Washi hand-made paper. The contents is identical regardless of edition. The volume size varied by a few centimeters mostly a difference of the top or bottom margins. . The quality of the reprints are determined by the freshness of the impression and registry. As the original woodblocks wore down and warped they were replaced with new blocks. Some later editions were printed from very worn poor quality original blocks others from a mixed variety of old and new blocks quality varies in each copy. . Please visit our website to see the editions currently in stock. Photos posted to our website may not reflect the exact copies in stock but are 'generic' examples of the contents. . NOTE: Not all copies are identical each have specific and unique condition and other differences. . SIZE: Depending on edition the First Edition was typically bound 15.5 x 22.5 cm. The Meiji editions were about 15.3 x 24.2 cm. with a very minor difference in size dependent on which publisher printed & bound their copies. There are minor size differences by edition the images remain the same size it was strictly a matter of larger margins in later editions. . For the most part this set was uniformly bound each with title slips. The Meiji title slips were red Kanji on a red bordered white Washi paper. . THE ENGLISH TRANSLATION OF FUGAKU HYAKKEI: There was a complete English translation of the 3 volume set and each of its pages. Please visit our website and search for F.V. Dickins 1960 edition which may be in stock. See below for more details. . CONDITION NOTE: General: Unless otherwise stated bound in the original publisher's stitched stiff yellow or other color covers with green or red printed title slip. . The registry and impressions are excellent most likely early pulls off the woodblocks. . We may have different dated editions each copy has been described not all are in the same condition dates also vary. Please inquire about any particular copy for more details. Photos posted to our site are 'generic' and represent general examples of the contents & illustrations. Please review photos posted to our website. . The 1877 edition has a small mend at the last page the colophon in vol. 3 else very clean nice. . Color photos of a generic example are posted to our website copies vary please read the individual copy notes for differences. . REFERENCES: . DICKINS TRANSLATION: TWO EDITIONS: WITH ENGLISH TRANSLATION & ILLUSTRATIONS: a. F.V. Dickins.: FUGAKU HIYAKU-KEI: sic OR A HUNDRED VIEWS OF FUJISAMA FUJI BY HOKUSAI. London in 1880. This book contained 3 original woodblock illustrated volumes of Hokusai's book FUGAKU HYAKKEI. . b. A 1960 reprint of the above. H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS . for more bibliographic details item #396 pp.163-166. BROWN Louise N.: BLOCK PRINTING AND BOOK ILLUSTRATION IN JAPAN p.183 she cites two entries. Henry Smith II: HOKUSAI ONE HUNDRED VIEWS OF MT. FUJI pp.21-22 outline of the editions. K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE . ILLUSTRATED BOOKS p.263. L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS p.47. Jack Hillier: no. 241 p.278. --. : HOKUSAI: no. 110 --. : THE ART OF JAPANESE BOOK ILLUSTRATION p.213-225 . plates 195-208 Kraft: VOL.3 NO. 185-=195; VOL. 4 NO.36 R. Keyes: EHON: The Artist and the Book in Japan: pp.218-223 i.e. exhibit #54 color plates: figures 54.1-54.5. KSM: Kaiga 7-18-1 Forrer: 170-177 . NOT LISTED IN: C. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA MARUYAMA SHIJO AND OTHER RELATED SCHOOLS OF JAPAN. . . unknown‎

書籍販売業者の参照番号 : 84211707

‎HOKUSAI Katsushika.‎

‎FUGAKU HYAKKEI: THE HUNDRED VIEWS OF MT. FUJI. Complete 3 Volume Set Woodbloc‎

‎Tokyo 1877 Hayashi. Black stitched stiff wrs. vol. 3 only woodblock printed very goodcover edges bit worn & chipped scuffed contents clean excellent impressions and registry colors grey Sumi black firm solidly bound 16.1 x 24 cm. . . . . FUGAKU HYAKKEI: 100 VIEWS OF MT. FUJI . . . HOKUSAI'S MOST FAMOUS BOOK ON JAPAN'S SACRED SYMBOL . . . COLOR WOODBLOCK-PRINTED ON HAND-MAID WASHI PAPER . . . HIS GREATEST CLASSIC ! . THE ARTIST: KATSUSHIKA Hokusai 1760-1849: Hokusai's most famous work in book form illustrating a profusion of views of Mt. Fuji from all perspectives. . Hokusai was Japan's most famous Edo period illustrator of Japanese genre landscape scenery and of the daily lives and occupations of the commoners. His works are full of cheerfulness humor optimism and he had a knack of capturing the true nature of his time people and life style. He was affectionately called the "MAD MAN ON DRAWING" by the Japanese. His works continue to fascinate the world over ! . This book was also the prototype for his great color woodblock print series of multiple views of Mt. Fuji. . A delightful and impressive work considered a classic for nearly 200 years. . This monograph is devoted to Japan's most sacred Mt. Fuji in all its glory portrayed in various seasons and as seen by common folk as they go about their daily lives and daily occupations and along the Tokaido highway. . THE INTRODUCTION: The introduction was written by Hokusai on the first two pages of each volume. . THE COMPLETE SET OF 3 VOLUMES: The collation is: 252525 double folded leaves or 150 pages in all with illustrations of Mt. Fuji on 144 pages 6 pages of Japanese text. . The history of the various editions and volume count are complex the work was originally issued complete in two volumes which included all pages found in the 3 volume set. The set of 3 volumes is no different than those bound in 2 volumes it is simply a matter of combining pages into two or three bindings. The binding format was a choice made by publishers & their binders. The usual format is 3 volumes numbered 1 2 & 3. There are 3 volumes bound into a single binding and other variants contents by and large is the same. . THE SUBJECT: MT. FUJI JAPAN'S MOST SACRED SYMBOL: . The work is marvelous it shows Mt. Fuji portrayed in the daily life of the common people. . In the spring time how ordinary Japanese sat outdoors and viewed the cherry blossoms with Mt. Fuji in the background. Mt. Fuji was always present in daily life as a background. . The composition artistry and skill of Hokusai is without parallel. The book illustrates his unique talent and drawing skills. His artistry pictured Mt. Fuji in myriad scenes early morning evening rain and cloudy days. The mystical quality of Mt. Fuji demonstrates the great respect Hokusai felt showing the great grandeur of the sacred mountain. . Hokusai used acute visual composition concepts insight and visionary-like "Avant-garde" talent to impress viewers to identify with the splendor of Mt. Fuji. . Hokusai is still hailed as Japan's greatest artist of the 19th century. His woodblock printed books and printed command solid prices. . THE EDITIONS: There were two main editions: the FIRST EDITION published in 1834-5 was bound in pink stiff stitched covers commonly called "FALCON FEATHERS." All later editions are reprints with various dates bound in yellow blue purple green black and several other variants. Contents remains the same it would be a matter of quality of impression. The later editions do not always have a colophon or date. Some editions do show publisher's information and date. Other copies may have been rebound omitting the colophon. . There is no 'standard' relationship between date and color of binding however we have had many editions and copies information below reflects this history: . In 1875 Meiji 8th year reprint bound in either yellow covers with green printed title slips or blue covers with red printed title slips. . In 1877 Meiji 10th year reprint in black covers with red printed title slips. . A late final reprint in 1940 with yellow covers. . All of the above were woodblock printed editions on Washi hand-made paper. The contents is identical regardless of edition. The volume size varied by a few centimeters mostly a difference of the top or bottom margins. . The quality of the reprints are determined by the freshness of the impression and registry. As the original woodblocks wore down and warped they were replaced with new blocks. Some later editions were printed from very worn poor quality original blocks others from a mixed variety of old and new blocks quality varies in each copy. . Please visit our website to see the editions currently in stock. Photos posted to our website may not reflect the exact copies in stock but are 'generic' examples of the contents. . NOTE: Not all copies are identical each have specific and unique condition and other differences. . SIZE: Depending on edition the First Edition was typically bound 15.5 x 22.5 cm. The Meiji editions were about 15.3 x 24.2 cm. with a very minor difference in size dependent on which publisher printed & bound their copies. There are minor size differences by edition the images remain the same size it was strictly a matter of larger margins in later editions. . For the most part this set was uniformly bound each with title slips. The Meiji title slips were red Kanji on a red bordered white Washi paper. . THE ENGLISH TRANSLATION OF FUGAKU HYAKKEI: There was a complete English translation of the 3 volume set and each of its pages. Please visit our website and search for F.V. Dickins 1960 edition which may be in stock. See below for more details. . CONDITION NOTE: General: Unless otherwise stated bound in the original publisher's stitched stiff yellow or other color covers with green or red printed title slip. . The registry and impressions are excellent most likely early pulls off the woodblocks. . We may have different dated editions each copy has been described not all are in the same condition dates also vary. Please inquire about any particular copy for more details. Photos posted to our site are 'generic' and represent general examples of the contents & illustrations. Please review photos posted to our website. . The 1877 edition has a small mend at the last page the colophon in vol. 3 else very clean nice. . Color photos of a generic example are posted to our website copies vary please read the individual copy notes for differences. . REFERENCES: . DICKINS TRANSLATION: TWO EDITIONS: WITH ENGLISH TRANSLATION & ILLUSTRATIONS: a. F.V. Dickins.: FUGAKU HIYAKU-KEI: sic OR A HUNDRED VIEWS OF FUJISAMA FUJI BY HOKUSAI. London in 1880. This book contained 3 original woodblock illustrated volumes of Hokusai's book FUGAKU HYAKKEI. . b. A 1960 reprint of the above. H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS . for more bibliographic details item #396 pp.163-166. BROWN Louise N.: BLOCK PRINTING AND BOOK ILLUSTRATION IN JAPAN p.183 she cites two entries. Henry Smith II: HOKUSAI ONE HUNDRED VIEWS OF MT. FUJI pp.21-22 outline of the editions. K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE . ILLUSTRATED BOOKS p.263. L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS p.47. Jack Hillier: no. 241 p.278. --. : HOKUSAI: no. 110 --. : THE ART OF JAPANESE BOOK ILLUSTRATION p.213-225 . plates 195-208 Kraft: VOL.3 NO. 185-=195; VOL. 4 NO.36 R. Keyes: EHON: The Artist and the Book in Japan: pp.218-223 i.e. exhibit #54 color plates: figures 54.1-54.5. KSM: Kaiga 7-18-1 Forrer: 170-177 . NOT LISTED IN: C. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA MARUYAMA SHIJO AND OTHER RELATED SCHOOLS OF JAPAN. . . unknown‎

書籍販売業者の参照番号 : 84211706

‎HOKUSAI Katsushika.‎

‎FUKUJU SOH: THE ADONIS PLANT. An Erotic Color Illustrated Woodblock Printed Boo‎

‎Japan circa 1868. Gold brocade green cloth covers clean accordion folded all edge silver gilt album: 17 x 25 cm. 12 double-page prints opens to 34 x 25 cm. Oban size with illustrated introductory page. EXCEPTIONALLY RARE EXAMPLE ! . . . . ONE OF HOKUSAI'S MOST FASCINATING EROTIC BOOKS . . . PROFUSELY COLOR ILLUSTRATED WOODBLOCK BOOKS . . . REVEALING ALL ASPECTS OF CARNAL LOVE-MAKING . . KATSUSHIKA HOKUSAI 1760-1849: . Hokusai was one of Japan's most celebrated loved and famous painters and woodblock print artist of the Edo period. He was fondly and commonly known as the "Mad Man on Painting." . The original was work printed around the late 1810's it was unsigned several variant editions are known most copies were lost or now unaccounted for. It is part of Hokusai's erotic trilogy. . This posthumous edition has been fashioned after the period original. It was meticulously woodblock carved and color-printed with utmost professional skill by the best artisans of the time. It has impeccable color impression and registry. . The book was printed in some twenty-odd different colors each color printed by a different woodblock. . An interesting proof of age is found on page six the rape scene. The girl's red under-Kimono was printed from a color made from finely ground iron oxide. The red has now turned to an iron-red patina with a dark purple hue. This common color was used at the beginning of the Meiji period 1868-1912 for most solid reds. Humidity content determines the amount of time it takes to give this patina on the average about 100-135 years for this reaction to change the properties of the iron forcing it to oxidize and change into a marvelous color and affect see scans posted to our website. . Although the book has a title slip it was intentionally left blank due to the subject being designated as "contraband" and banned by the Shogun as well as in the early Meiji era 1868. . ABOUT JAPANESE EROTIC ART: . A truly magnificent and unusual example of early Meiji polychrome printing. Most of the Shun Pon erotic books commonly call "Erotic Pictures of Spring" of this period show small images drawn from a distance with room decorations food bedding flowing robes furniture and outside scenery. . Shunga & Shunpon Erotic pictures & books reflect the "awakening" of human sexual desire after a long winter's sleep. Sex became an "art" used to stimulate enhance and evocative of love making. . THE CONTENTS: The work starts out with a double-page showing sliding Fusuma doors an invitation to voyeurism. The doors are subtly decorated giving no clue to the true nature of the contents useful for coercing young virgins to have a look.also the reason for no title slip. Each of the subsequent 12 double pages are devoted to the real subject of this book. The joy art & pleasure of love-making. . From the beginning of recorded time the Japanese were not a prudish people. In fact they held strong beliefs in and worship of inanimate sexual objects such as trees rocks and other things that showed a natural resemblance to the genitalia. These objects were collected & placed in shrines. Later some were carved from wood and stone and placed in special "fertility shrines" in Japan. Barren women often visited these shrines offering prayers to the Gods for fertility and evoked charms. Stories passed down over the centuries that some of the Monks or keepers of these fertility shrines or their priests were willing "assistants" of these "Gods" and gladly inseminated such vulnerable women. . The Japanese had an affinity with the natural expression of passion and lust. Rape of women alone along a pathway or in their own room was not uncommon. While some may truly object others feigned objection while in ecstasy see page #6. The book therefore beings when with point in mind. . Page one shows a very young woman. She has mounted an unseen suitor while she sits upon his gigantic penis her eyes are closed in the throes of ecstasy her lips are red with excitement and a very pale but obvious pink flush envelops her face. On the floor is the usual package of Chirishi or toilet paper used to wipe the aftermath. . The male's organ is huge and the veins are blue and popping her very excited vulva takes on the color of deep red and faint purple displaying the maximum color of excitement. While fully clothed her Kimono is open just enough to accomplish the act of love. To the Japanese partially clothed women with their genitals exposed was more erotic than a full nude.after all they did mixed public bathing for centuries. . Page two shows a couple. She is almost nude with just her red under Kimono draped over her stomach while he exposes his organ as he enters her from the "X" angle he cradles her from behind while holding her left breast. She pulls him from behind the neck to be close enough to share a tongue kiss rarely shown in Japanese prints. He inserts his tongue into her willing mouth as she holds his cheek fast. Her long and flowing hair is still tied with a black ribbon at the bottom suggesting that she is some kind of royal person. She also shows a pink flush to her mouth and vaginal lips. . Page three shows newlyweds. The woman still wears the traditional head gear of a bride. She holds a package of Chirishi in her lips ready for the flood of love juices that are already flowing out. The man enters her from the top while she willingly spreads her legs wide open. . Page four shows the woman on top in a contortion revealing the organs involved in love-making. . Page five shows the influence from an earlier Utamaro classic erotic work. The woman is on the bottom pulling the covers over her lover's bare back-side while they are making love in the winter. Her wooden platform pillow is ready as the are hidden from view by a small folding screen to keep cool the draft out. Her vermilion-red under Kimono is tangled with her outer Kimono. . Page six shows a ruffian raping a young girl. He is likely a common coolie all he wears is a "Fundoshi" or loin cloth which was easily moved to reveal his huge and erect penis. He has tumbled this innocent girl by pulling her foot from under her; then with his other hand inserts his organ into her. She is pushing his cheek away and attempting to pull his hand off her foot. What is ironical is that her face is flushed pink and her face shows no frown of rejection but her eyes are almost closed as she secretly anticipates the oncoming pleasure. For sure she must resist being innocent young coquettish and demure in an attempt to save face. It is important to note at this time that there exists a most similar print by Utamaro showing this very scene. Surely Hokusai was so impressed that as a tribute to Utamaro he utilized this stunning image in his own work the old adage "Copying is the greatest compliment." See more below regarding page six. . Page seven shows an unabashed nude couple enjoying a fully the pleasure of love-making sans restraints. In fact this must the a second or third time of love-making as noted the voluminous as the amount of expended Chirishi. It has been thrown about the room. It is known in Japan that after the first round of love-making if the man can wipe up love juices promptly enough a new erection can be achieved. The the drying of vulva will give the next round of love-making a new and more pleasurable sensation. . In this view the man enters from the rear while holding her fast his right foot is set and placed for maximum traction! . Page eight shows a couple engaged in love-making. The woman on top but with her back side facing him. Vis-a-vis each other to observe each other thus increasing the erotic passion. A tiny bit of silver color has accented her Kimono highly usual in any woodblock print. Of special note her toes are curled down in a fit of ecstasy! An exhibition of Hokusai humor ! . Page nine shows one of the most fascinating of all prints in this series. In the traditional "sixty-nine" position he has his tongue in her very excited and swollen purple-red vulva. She tries with difficulty to contain his very large penis with a dark pink-purple flush. Again this woman curls her toes in painful-erotic-ecstasy. Her expression shows her eyebrows in a frown as she enjoys the agony and ecstasy of wonderful carnal pleasures. . Page ten shows a mature couple nude she holds the tie-died head band in her mount to silence her cries of joy while she embraces her lover's neck. The spectacular view of the genitals fully engaged is stunning. The penis has its veins popping out while the lips of her vulva are flushed bright red the love juices flowing out. Her breasts are pointed downward revealing that she has given birth previously. Her her toes are curled in a passionate dream of pleasure. The pair both display a pink flush to their faces with very bright red lips. It is not common to see this in men. . Page eleven shows a couple preparing to make love. The man is on top displays a very large and erect penis while he sucks on her upturned breast. She is being manipulated to move her left leg up so he can then enter her open and eager waiting vulva. She clutches a handful of Chirishi in preparation for the flood of love juices. Her eyebrows are shaved with a faint pink flush just above her eyes has emerged from the excitement. . Page twelve shows a most unusual scene in the world of Shunpon. While lesbianism is not unusual in Japan openly depicting girls at such play are. This shows two ordinary nude women likely bored or abandoned by their male suitors have taken to the mutual pleasure of dildo play. One wears a huge and black penis tied about her waist. The other reveals her open and moist vagina clutches the penis while holding a few sheets of Chirishi. The other opens a tiny container with some sort of stimulating potion or lubricant. This will either be applied to the dildo or her partner's vagina. It seems clear the two girls have already shared this joy before. The girl grasping the dildo penis has already applied it to her partner and is now awaiting her turn to be "penetrated." . ATTRIBUTION: . The erotic book begins as usual without artist's name or title. By stylistic analysis and compared with many other signed Hokusai works its easy to understand who the artist was. . It is a long-standing tradition of most famous Japanese artists of the 17-19th centuries to create and discretely distribute banned erotic books and prints against Shogun laws. . Erotic books and prints were a quick cash resource for hard pressed artists regardless of how famous they were. Most all famous artists drew painted and provided artwork for woodblock-printed erotica. These earned immediate cash and the Shogun had a nearly impossible time proving guilt with unsigned materials. . ABOUT SHUNPON/BON & SHUNGA: Books of this erotic subject quality nature and rarity are seldom found on the open market. Shun=spring; Ga=picture; Pon/Bon=book. . Superbly colored in pastels prior to the very garish and bright advent and use of aniline dyes imported from Europe. Because Hokusai had lived during the life-time of Utamaro 1754-1806 he was influenced by this great master. . The most vivid example of this influence is found in number six above the rape scene. The original inspiration for this print was done by Utamaro in his most celebrated erotic album: UTA MAKURA: PILLOW OF SONG dated 1788. . Of this print Dr. Lane stated: "Utamaro's masterpieces.most impressive .series of twelve prints .this is one of the most dramatic scenes: a plebeian maiden being attacked by a middle-aged laborer and putting up stiff resistance" See Lane below. . The original Utamaro shows the exact same action with nearly identical composition; the man suppresses the girl by holding her left leg while she pushes his cheek away with her right hand.clearly Hokusai was so impressed with this superb composition and subject that he "borrowed" it in his own masterpiece. Note how even the man's "Fundoshi" loin cloth is in the exact format draped over his stiff penis. This is no coincidence ! This series and a few similar prints illustrated are found in Evans see below. . A RARE stunning and fantastic book of color erotica by Japan's master painter. . CONDITION: The over all condition is quite good with very minor amount of the usual period foxing. By and large this does not greatly detract from the over all images. Some images are in fine condition. On page #11 the print is about 5 mm. shorter at the bottom again this does not greatly affect the image. A small faint amount of transfer from the black is evident with a common result of books being folded and closed. . Overall the work is quite lovely and the viewer is exceptionally impressed by the fascinating and high quality of the subject images and drama. Please review photos posted to our website. . REFERENCE: . LANE Richard: IMAGES OF THE FLOATING WORLD p.140 plate 140 for a similar example. . --. EROTIC THEME IN JAPANESE PAINTING: THE EARLY SHUNGA SCROLL. . --. GREETINGS FROM EROS ! HOKUSAI AND THE EROTIC CALENDAR-PRINT. Japanese Title: HATSU HARU NO IRO GOYOMI. EVANS Tom.: SHUNGA: The Art of Love in Japan p.249 for text he text see illustrations: 6.83 6.85 and 6.86; 6.88 is an exact match for our number 9 above. BEURDELEY Michel. et al.: EROTIC ART OF JAPAN: The Pillow Poem. GICHNER Lawrence E.:EROTIC ASPECTS OF JAPANESE CULTURE. ILLING Richard.: JAPANESE EROTIC ART: And the Life of the Courtesan. UHLENBECK Chris. ed. et al.:JAPANESE EROTIC FANTASIES: Sexual Imagery of the Edo Period. WINZINGER Franz.: MEISTERWERKE DER EROTISCHEN KUNST JAPANS. MASTERWORKS OF JAPANESE EROTIC ART. RAWSON Philip.: ORIENTAL EROTIC ART. GROSBOIS Charles.: SHUNGA IMAGES OF SPRING: Essay on Erotic Elements in Japanese Art. DOUGLAS Nik. et al.: THE PILLOW BOOK: The Erotic Sentiment and the Paintings of India Nepal China & Japan. SHIBUI Kiyoshi.: UKIYO-E NAISI. BIBLIOGRAPHY OF JAPANESE EROTIC ILLUSTRATED WOODBLOCK PRINTED BOOKS. Modern Reading: UKIYO-E NAISHI . . hardcover‎

書籍販売業者の参照番号 : 23014201

‎Hokusai Katsushika Artist; Matthi Forrer‎

‎Hokusai‎

‎Barnes & Noble Books 2002. Book. Very Good. Trade Paperback. 4to - over 9� - 12" tall. Oblong softcover in very good plus condition. . Barnes & Noble Books Paperback‎

書籍販売業者の参照番号 : 099527 ISBN : 0760735352 9780760735350