278 results
1967ref. 197201967. Film Alain Delon in Le Samourai aka The Godson in the US directed by Jean-Pierre Melville. Archive of 7 original vintage lobby cards. Artists International 1967 and 1972. All are about 8" x 11". Three are silver gelatin photogaphs in black and white four are in color. Le Samourai is a noir crime film about the intersecting paths of a professional hitman trying to find out who hired him for a job and then tried to have him killed and the Parisian commissaire trying to catch him. It was a massive success in France selling 1.9 million tickets which led to an English dubbed version released in the US in 1972. With aesthetic emphasis placed on being "cool" the film is seen as a direct ancestor to films like No Country for Old Men Road to Perdition and Pulp Fiction. Photos feature action sequences and close ups of stars Delon Nathalie Delon and Francois Perier. Two have the US title as well as production information in lower white margin. Four color images have the German title with actor and directors names in corners. Roger Ebert gave the film four out of four stars writing: "Like a painter or a musician a filmmaker can suggest complete mastery with just a few strokes. Jean-Pierre Melville involves us in the spell of Le Samourai 1967 before a word is spoken. He does it with light: a cold light like dawn on an ugly day. And color: grays and blues. And actions that speak in place of words." Scarce and in very good condition. unknown books
1967ref. 197201967. Film Alain Delon in Le Samourai aka The Godson in the US directed by Jean-Pierre Melville. Archive of 7 original vintage lobby cards. Artists International 1967 and 1972. All are about 8" x 11". Three are silver gelatin photogaphs in black and white four are in color. Le Samourai is a noir crime film about the intersecting paths of a professional hitman trying to find out who hired him for a job and then tried to have him killed and the Parisian commissaire trying to catch him. It was a massive success in France selling 1.9 million tickets which led to an English dubbed version released in the US in 1972. With aesthetic emphasis placed on being "cool" the film is seen as a direct ancestor to films like No Country for Old Men Road to Perdition and Pulp Fiction. Photos feature action sequences and close ups of stars Delon Nathalie Delon and Francois Perier. Two have the US title as well as production information in lower white margin. Four color images have the German title with actor and directors names in corners. Roger Ebert gave the film four out of four stars writing: "Like a painter or a musician a filmmaker can suggest complete mastery with just a few strokes. Jean-Pierre Melville involves us in the spell of Le Samourai 1967 before a word is spoken. He does it with light: a cold light like dawn on an ugly day. And color: grays and blues. And actions that speak in place of words." Scarce and in very good condition. unknown
1982ref. 2080202104503633Kashiwashobo 1982. Soft Cover. Fine. Number of books: 4 Kashiwashobo paperback
1890ref. 90romanzo storico giapponse AFFICHE ORIGINALE éditée vers 1880-1890 format : 76 x 112 cm (plus un bandeau de 8 cm de haut annonçant une représentation à Turin collé en bas) Mise en scène sous forme d'opéra d'un roman du japonais TAMENAGA SHOUNSHOUI dessin de TAVIO Lithographie de E. PERINO marques de plis et d'un cachet de taxe sinon bel état de fraicheur des couleurs pas de déchirure, pas de manque pour cette très rare affiche. l'affiche n'est pas entoilée
1878ref. 2090502128301145Not Available 1878. Soft Cover. Fine. The book is in fine condition. Not Available paperback
1884ref. 2090502128300007Not Available 1884. Soft Cover. Fine. The book is in fine condition. Not Available paperback
1885ref. 2090502128300123Not Available 1885. Soft Cover. Fine. The book is in fine condition. Not Available paperback
1882ref. 2080302106807364Ryuundo Temple Osaka Prefecture 1882. Soft Cover. Fine. Number of books: 4 Ryuundo Temple, Osaka Prefecture paperback
1916ref. 2080202102705284Foreign sugar industry 1916. Soft Cover. Fine. Page size: 267 pages Size: A5 size Foreign sugar industry paperback
1879ref. 2090502128300510Not Available 1879. Soft Cover. Fine. Number of books: 3 Not Available paperback
1889ref. 2110502150412978Not Available 1889. Soft Cover. Fine. Number of books: 3 copies Not Available paperback
1883ref. 2090502126803273Hakumon Head Office Ginza Tokyo 1883. Soft Cover. Fine. Number of books: 2 Hakumon Head Office (Ginza, Tokyo) paperback
1926ref. 2092902140304933Daekoku Hongan-ji Temple 1926. Soft Cover. Fine. Number of books: 1 Daekoku Hongan-ji Temple paperback
ref. DADAX159532464XNew unknown
1860ref. 231401860. Meiji JapanSamuraiKabuki Theatre Samurai identity in the late 19th century photo archive documenting kabuki depictions of warrior masculinity in Japan during the early Meiji period made after the abolition of the samurai class when images of warriors continued to shape popular understandings of military tradition and masculinity in Japan. These four photographs preserve samurai imagery as presented in popular theatre at a time when Japan's military identity was changing under rapid political transformation. The archive is especially strong for showing how kabuki performance sustained martial ideals in visual form after the social foundations of hereditary warrior status had been dismantled. Photo archive of 4 albumen carte-de-visite photographs approximately 2.5 x 3.5 inches Japan circa 1860s-1880s. The images show male sitters posed in studio interiors against plain backdrops and atop patterned floor coverings each dressed as a samurai or warrior character. One figure stands in full armor with a sword at his side and a striped staff or bow-like prop in hand his costume built from lamellar armor tassels shin guards and layered protective dress that stress the ceremonial weight of warrior costume. A second sitter tentatively identified as kabuki actor Jitsukawa Enjaku appears seated frontally in voluminous robes with sharply extended shoulder forms flanked by swords and posed on a textile-covered platform in a deliberately formal composition. A third stands holding a small prop structure in one hand with a sword tucked at the waist while a fourth in a more lightly defined but heavily worn image sits in traditional dress with topknot hairstyle and blades visible at the sash. Across the group the repeated use of swords stylized posture and exaggerated makeup grounds the archive in theatrical samurai iconography rather than ordinary portraiture. These photographs belong to the decades in which photography popular prints and theater recoded samurai visuals as a national historical image rather than a living class identity. Kabuki played a central role in that process preserving warrior narratives and masculine ideals for mass audiences while early commercial photography made those images widely distributable and accessible. For institutions building Japanese photography theater or military history holdings the archive offers direct evidence of how samurai identity was presented popularized and circulated in the first generation of Japanese photography. Heavy fading staining edge wear and mount losses to several cards most notably one with substantial abrasion and corner loss; overall fair to good condition. A group exemplifying the presentation of samurai imagery in popular theatre and photography in Meiji Japan. unknown books
1860ref. 231401860. Meiji JapanSamuraiKabuki Theatre Samurai identity in the late 19th century photo archive documenting kabuki depictions of warrior masculinity in Japan during the early Meiji period made after the abolition of the samurai class when images of warriors continued to shape popular understandings of military tradition and masculinity in Japan. These four photographs preserve samurai imagery as presented in popular theatre at a time when Japan's military identity was changing under rapid political transformation. The archive is especially strong for showing how kabuki performance sustained martial ideals in visual form after the social foundations of hereditary warrior status had been dismantled. Photo archive of 4 albumen carte-de-visite photographs approximately 2.5 x 3.5 inches Japan circa 1860s-1880s. The images show male sitters posed in studio interiors against plain backdrops and atop patterned floor coverings each dressed as a samurai or warrior character. One figure stands in full armor with a sword at his side and a striped staff or bow-like prop in hand his costume built from lamellar armor tassels shin guards and layered protective dress that stress the ceremonial weight of warrior costume. A second sitter tentatively identified as kabuki actor Jitsukawa Enjaku appears seated frontally in voluminous robes with sharply extended shoulder forms flanked by swords and posed on a textile-covered platform in a deliberately formal composition. A third stands holding a small prop structure in one hand with a sword tucked at the waist while a fourth in a more lightly defined but heavily worn image sits in traditional dress with topknot hairstyle and blades visible at the sash. Across the group the repeated use of swords stylized posture and exaggerated makeup grounds the archive in theatrical samurai iconography rather than ordinary portraiture. These photographs belong to the decades in which photography popular prints and theater recoded samurai visuals as a national historical image rather than a living class identity. Kabuki played a central role in that process preserving warrior narratives and masculine ideals for mass audiences while early commercial photography made those images widely distributable and accessible. For institutions building Japanese photography theater or military history holdings the archive offers direct evidence of how samurai identity was presented popularized and circulated in the first generation of Japanese photography. Heavy fading staining edge wear and mount losses to several cards most notably one with substantial abrasion and corner loss; overall fair to good condition. A group exemplifying the presentation of samurai imagery in popular theatre and photography in Meiji Japan. unknown
1847ref. 183301847. Utagawa Yoshitora. Ichinoya Kassen 1847 presents a mid nineteenth century ukiyoe interpretation of samurai warfare rooted in the historical memory of the Genpei War a foundational conflict in Japanese military history. The print depicts three samurai engaged in combat two mounted with swords drawn and one on foot wielding a long spear emphasizing coordinated martial roles within battle. Produced during the late Edo period when samurai identity was increasingly codified through visual culture rather than active warfare the image contributes to the preservation and stylization of martial tradition. The detailed rendering of armor and weaponry reflects both historical reference and contemporary interest in the aesthetics of the warrior class situating the work within a broader cultural effort to memorialize feudal conflict in an era of relative peace. Utagawa Yoshitora. Ichinoya Kassen. Japan 1847. Ukiyoe woodblock print. Measures approximately 14 x 9.5 inches. The composition shows three armored samurai each equipped with components of traditional armor including dÅ chest armor sode shoulder guards kote armored sleeves kabuto helmets with shikoro neck guards kusazuri skirt armor haidate thigh guards and suneate shin protection. Two figures ride horses with swords drawn while the third advances on foot with a spear his katana at his side. The background features stylized mountains and ocean waves consistent with Edo period landscape conventions. The print is hand colored with gradations of red and blue tones with strong clarity in line and detail. Created during a period when ukiyoe artists frequently revisited historical battles to reinforce cultural identity the print reflects the enduring significance of samurai narratives within Japanese visual and literary traditions. Scenes such as the Battle of Ichinotani were widely reproduced and circulated contributing to popular historical consciousness and the romanticization of warrior ethos. The emphasis on armor detail and combat posture provides valuable material for the study of military representation in Edo period art. Minor chipping to borders not affecting the image; colors remain vivid and well preserved. Overall very good. unknown books
1847ref. 183301847. Utagawa Yoshitora. Ichinoya Kassen 1847 presents a mid nineteenth century ukiyoe interpretation of samurai warfare rooted in the historical memory of the Genpei War a foundational conflict in Japanese military history. The print depicts three samurai engaged in combat two mounted with swords drawn and one on foot wielding a long spear emphasizing coordinated martial roles within battle. Produced during the late Edo period when samurai identity was increasingly codified through visual culture rather than active warfare the image contributes to the preservation and stylization of martial tradition. The detailed rendering of armor and weaponry reflects both historical reference and contemporary interest in the aesthetics of the warrior class situating the work within a broader cultural effort to memorialize feudal conflict in an era of relative peace. Utagawa Yoshitora. Ichinoya Kassen. Japan 1847. Ukiyoe woodblock print. Measures approximately 14 x 9.5 inches. The composition shows three armored samurai each equipped with components of traditional armor including dÅ chest armor sode shoulder guards kote armored sleeves kabuto helmets with shikoro neck guards kusazuri skirt armor haidate thigh guards and suneate shin protection. Two figures ride horses with swords drawn while the third advances on foot with a spear his katana at his side. The background features stylized mountains and ocean waves consistent with Edo period landscape conventions. The print is hand colored with gradations of red and blue tones with strong clarity in line and detail. Created during a period when ukiyoe artists frequently revisited historical battles to reinforce cultural identity the print reflects the enduring significance of samurai narratives within Japanese visual and literary traditions. Scenes such as the Battle of Ichinotani were widely reproduced and circulated contributing to popular historical consciousness and the romanticization of warrior ethos. The emphasis on armor detail and combat posture provides valuable material for the study of military representation in Edo period art. Minor chipping to borders not affecting the image; colors remain vivid and well preserved. Overall very good. unknown
ref. DADAX0515097047New unknown
1969ref. 230704052059ybvkTokyo, Kodansha, Showa 42-43 (1968-1969). Each volume with few pages Introduction, some 100 glossy-paper colour-plates tipped-on cardboards, ca. 20 glossy black-and-white plates, ca. 40 pages commentary. - Heavy gilt-titled raw-cloth (silk?) bindings in thick cloth-folders with wings and bone-clasps, protected by publisher's illustrated (clan-signs) matted thick cardboard-boxes; Folio (overall ca. 45 x 32 x 22 cm; ca. 21 kg.)!
1820ref. 305224Edo 1820. 200 woodblock illustrations of crests some light soiling to margins. 208 pp. small oblong 8vo 110 x 155 mm. blue paper wrappers worn stitched. 200 woodblock illustrations of crests some light soiling to margins. 208 pp. small oblong 8vo 110 x 155 mm. Japanese woodcut book on the crests and symbols of the Samurai families. WITH: A series of 99 small manuscript information cards on for ceremonial use for Samurai families denoting their crests and banners pen ink and colors. First half of 19th century each card 70 x 55 mm some affected by worm tracks. unknown books
1820ref. 305224Edo 1820. 200 woodblock illustrations of crests some light soiling to margins. 208 pp. small oblong 8vo 110 x 155 mm. blue paper wrappers worn stitched. 200 woodblock illustrations of crests some light soiling to margins. 208 pp. small oblong 8vo 110 x 155 mm. Japanese woodcut book on the crests and symbols of the Samurai families. WITH: A series of 99 small manuscript information cards on for ceremonial use for Samurai families denoting their crests and banners pen ink and colors. First half of 19th century each card 70 x 55 mm some affected by worm tracks. unknown
1800ref. 305220Nara 1800. 152 woodcut illustrations some double-page across several bifolia on mulberry paper. Folio 380 x260 mm. With a small stain on the opening pages thicker paper covers slightly soiled the upper cover with a few worm holes not affecting illustrations. upper cover title label not present. Stitched. Ownership chop of Sato Takekicho. 152 woodcut illustrations some double-page across several bifolia on mulberry paper. Folio 380 x260 mm. Woodcut book of the samurai armor at the Kasaga Shrine Nara Prefecture "A fine illustrated text on an important collection of ancient samurai armor. The Kasaga shrine in Nara was the shrine of the Fujiwara family first built in 768 and rebuilt several times over the centuries and is now one of the more important in Japan and a Unesco World Heritage Site. The family armor which came to be placed in the Shrine includes pieces dating from the 12th century such as a special helmet with a sparrow motif said to have been dedicated by Minamoto no Yokishitsune dating form the Kamakura period 1185. The shrine is famous for its bronze lanterns. unknown books
1800ref. 305220Nara 1800. 152 woodcut illustrations some double-page across several bifolia on mulberry paper. Folio 380 x260 mm. With a small stain on the opening pages thicker paper covers slightly soiled the upper cover with a few worm holes not affecting illustrations. upper cover title label not present. Stitched. Ownership chop of Sato Takekicho. 152 woodcut illustrations some double-page across several bifolia on mulberry paper. Folio 380 x260 mm. Woodcut book of the samurai armor at the Kasaga Shrine Nara Prefecture "A fine illustrated text on an important collection of ancient samurai armor. The Kasaga shrine in Nara was the shrine of the Fujiwara family first built in 768 and rebuilt several times over the centuries and is now one of the more important in Japan and a Unesco World Heritage Site. The family armor which came to be placed in the Shrine includes pieces dating from the 12th century such as a special helmet with a sparrow motif said to have been dedicated by Minamoto no Yokishitsune dating form the Kamakura period 1185. The shrine is famous for its bronze lanterns. unknown
1853ref. 236181853. Heroic biography woodblock print archive from the late Edo to early Meiji period primarily featuring famed female samurai Tomoe Gozen. Drawn from Eiyū Hyakunin Isshu "One Hundred Heroic Figures with Poems" the series combines portraits concise biographies and moralizing verse celebrating warriors imperial loyalists and legendary figures whose deeds formed the historical canon of the Tokugawa and early Meiji eras. The present group is distinguished by the inclusion of Tomoe Gozen one of the few female warriors represented in the Japanese heroic tradition. Her appearance alongside figures including Minamoto no Yoshitsune Kusunoki Masashige Nitta Yoshisada and Tokugawa Ieyasu demonstrates how publishers presented female martial valor not as an exception detached from samurai history but as part of the same continuum of loyalty military skill and sacrifice that defined Japan's most celebrated heroes. Eiyū Hyakunin Isshu 英雄百人一首. Japan late Edo to early Meiji period nineteenth century. Twelve original woodblock printed leaves on thin washi paper each approximately 4" x 7". Each sheet presents a full length portrait accompanied by a biographical text and poetic verse identifying a celebrated historical figure. Subjects represented include Tomoe Gozen the armored woman warrior of the Genpei War; Minamoto no Yoshitsune the brilliant and tragic Taira clan conqueror; Tokugawa Ieyasu the patient unifier and founder of the Tokugawa shogunate; Kusunoki Masashige the fourteenth century imperial loyalist later elevated as a model of self sacrificing service; Nitta Yoshisada the anti Kamakura commander associated with the 1333 assault on Kamakura; Tokiwagozen the courtly mother of Yoshitsune whose story became a model of maternal endurance; and a further female court or courtesan figure shown in elegant dress rather than armor indicating the series' inclusion of women remembered for beauty loyalty literary refinement or moral example as well as martial action. The Tomoe Gozen sheet depicts the heroine in complete samurai armor with bow quiver and paired swords reflecting the traditional iconography established by the Heike Monogatari in which she is praised as an accomplished horsewoman archer and swordswoman who fought beside Minamoto no Yoshinaka during the Genpei War. The accompanying biographical text recounts her martial accomplishments and enduring reputation among Japan's legendary heroes placing her within the same educational sequence as the nation's most celebrated military commanders. The Eiyū Hyakunin Isshu series emerged during a period where townspeople students and aspiring samurai could access historical legend. The concise biographies and poems distilled episodes from works including the Heike Monogatari Taiheiki and other medieval chronicles into a format that reinforced ideals of courage loyalty and service. Tomoe Gozen occupies an exceptional place within this tradition. Although medieval Japanese literature preserves relatively few women on the battlefield Tomoe's inclusion here alongside Yoshitsune Masashige and Ieyasu demonstrates that nineteenth century readers encountered her not as a literary curiosity but as one of the established heroic figures of Japanese history. Light edge wear moderate toning scattered corner losses and creasing consistent with removal from a bound volume; impressions and printed text remain clear. Overall good condition. A nineteenth century Japanese historical publishing preserving one of the enduring printed representations of Tomoe Gozen within the broader canon of Japan's heroic warriors. unknown books
