Design

Design — marelibri

Ocean View Extreme End of Cape Ann Pigeon Cove Mass

rif. 7643Boston: J. H. Bufford’s Lith. ca. 1870. Lithograph 20.25” x 30.25” plus margins. CONDITION: Very good old folds and a .5” chip to upper-right edge recently backed with Japanese tissue. A scarce and elaborate plat map for a seaside resort development at Pigeon Cove in Rockport Mass. Located on the eastern extremity of Cape Ann Pigeon Cove began attracting vacationers from the Boston area during the 1840s. Once the train reached the area in 1862 summer boarding homes soon gave way to seasonal hotels. Spearheading the development of Ocean View were the two men listed at the center-left of this map—George Babson of Pigeon Cove 1835–1895 and Eben Phillips of Boston 1808–1875 the latter owning much property there. The map shows the various subdivisions of Ocean View including occupied lots and those set aside for various purposes as well as numbered lots for sale. Among the lots occupied or in use are those of Pigeon Cove House Mrs. M. D. Babson Summer Boarding House Rev. E. H. Chapin of New York two observatories and the town school. Also identified on the plan are commercial entities surrounding Pigeon Cove Harbor such as E. Eames & Co. and Marchent & Co. A vignette entitled “View from Phillips Avenue near Dick’s Dream” shows a couple riding horseback against a sunset backdrop of vessels plying the waters. Text in the upper-left corner extolls Ocean View’s various beauties its mineral springs—“differing entirely from others and pronounced by leading physicians to contain great medicinal properties”â€”and the “laying out of the lots which are very large” and “beautifully shaded with a native growth of Walnut Oak and Pine treesâ€¦” In the lower-left corner are fifteen glowing testimonials from summer residents visitors from Boston and New York the editor of the New Orleans Picayune and publications such as Springfield Republican Boston Transcript etc. Commended here are Ocean View’s “wild and romantic” scenery; the “grateful odor of the forest mingled with the briny exhalations from the ocean”; “rocks in magnific multitudes” and so on. Poet William Cullen Bryant observes: “Full of pleasant paths running in every direction the woods here look like a beautiful rural temple.” One rapturous visitor cites a few lines of poetry: “Blended there / In wild reality when life is old / And many a scene forgot the heart will hold / Its memory of this.” Ocean View is here advertised as accessible from Boston by little over an hour’s rail ride via the Eastern Railroad; at the time of this map’s production four trains traveled from Boston to Ocean View each way daily. OCLC records just two holdings of what appears to be the same edition of this map at the Peabody Essex Museum and the Leventhal Center at the Boston Public Library. We locate a third example held by the town of Rockport. Another edition with tinting and more vignettes was published as well. A rare and quite handsome promotional map for this North Shore resort development. REFERENCES: Ray Martin. “Ocean View” at Notes from Halibut Point online; pictured at Digital Commonwealth Massachusetts of Rockport Town Hall. Boston: J. H. Bufford’s Lith., [ca. 1870] unknown

James Arsenault & Company · Stati Uniti2500,00 USD≈ 2237,74 €

ONCHI Koushirou 恩地孝四郎, binding design.Biblio.com

NIHON JIDOU BUNKO æ—¥æœ¬å…ç«¥æ–‡åº«ã€€JAPANESE CHILDREN'S LIBRARY 76 volumes complete

1927rif. 910941927. ONCHI Koushirou æ©åœ°åå››éƒŽ binding design. NIHON JIDOU BUNKO æ—¥æœ¬å…ç«¥æ–‡åº«ã€€JAPANESE CHILDREN'S LIBRARY 76 volumes complete. Searching for a concise introduction to this set I found a wonderful little essay written by the owner of the UMINEKO book shop in Japan. He was remarking on the exhibition of art bindings that he had seen at an exhibition of art bindings from the 20s and 30s that was held at the Old Book Center æ±äº¬å¤æ›¸ä¼šé¤¨ã€€in Tokyo a few years ago. This is a rather poor translation more a paraphrase really from his original Japanese. Just a nice introduction to the set and the era. ”When I went to the recent exhibition I was quite taken with a variety of book named "Yenbon" It is a general term for the collection of literary works published by many publishers in the late 1920s early Showa era. They were called 'yen book' at that time because they were priced cheaply at 1 yen per volume. So-called "Yen books" for children representatives of which are this "Nihon Jidobunko"Children's Library and "Shougakusei Zenshuu" Elementary School Children's Complete Works Published by Kobunsha Bungeishunjusha. ARS and Koubunsha are known for their fierce competition in advertising and sales in that era. "Nihon Jidoubunko" was a collection of 76 volumes published by ARS from 1927 Showa 2 to 1930 Showa 5. Ars Publishing is a publishing company founded by the famous poet Kitahara Hyakushu's younger brother Tetsuo. They published wonderful works on art theory photographic manuals dictionaries of science. many designed by Onchi. The sales policy of this "Japan Children's Library" was "Distributed only to reserved members not sold individually. Separate volume 'Self-Study Dictionary' will be given free of charge." In other words quite like the animal encyclopedia my parents bought me monthly at the supermarket back in the early 60s. Illustrated by Takeo Takei Yumeji Takehisa Hatsuyamaji Kiichi Okamoto and many other of the finest children's illustrators of the time. The authors and editors included Mimei Ogawa Hakushu Kitahara Shoyo Tsubouchi Miekichi Suzuki and Toson Shimazaki. Onchi himself worked on the cover art and binding of all volumes and the cover art is different for each volume. All are very beautiful. Onchi worked on everything from the layout of the illustrations to the creation of the block copy and the creation of the advertising pamphlet for the entire volume. A revised edition was released after the war in 1953 Showa 28. Onchi was in charge of the binding for the revised version but the design and binding are the same for all volumes. Not varied for each volume as here. Thus a remarkable set virtually impossible to find complete of a collection of contemporary children's stories by famous Japanese authors housed in a beautiful binding and book design. brother Tetsuo. They published wonderful works on art theory photographic manuals dictionaries of science. many designed by Onchi. The sales policy of this "Japan Children's Library" was "Distributed only to reserved members not sold individually. Separate volume 'Self-Study Dictionary' will be given free of charge." In other words quite like the animal encyclopedia my parents bought me monthly at the supermarket back in the early 60s. Illustrated by Takeo Takei Yumeji Takehisa Hatsuyamaji Kiichi Okamoto and many other of the finest children's illustrators of the time. The authors and editors included Mimei Ogawa Hakushu Kitahara Shoyo Tsubouchi Miekichi Suzuki and Toson Shimazaki. Onchi himself worked on the cover art and binding of all volumes and the cover art is different for each of the 76. All are very beautiful. He also did the layout of the illustrations created the block copy and the advertising pamphlet for the entire volume. A revised edition was released after the war in 1953 Showa 28. Onchi was in c. unknown

Boston Book Company · Stati Uniti2500,00 USD≈ 2237,74 €

Kholostenko, Ie[vhen] and Vasily Sedliar, designBiblio.com

UKRAINE - AVANT-GARDE Bela Uits Béla Uitz

rif. 54109Kharkiv: Mystetstvo 1933. Large octavo 25.7 × 18.8 cm. Original pictorial wrappers by Vasily Sedliar decorative dust jacket; 20 1 pp. of text 41 leaves of plates to rectos 2 pp. of text including list of reproductions. Small loss to corner of first leaf; pre-war stamps to title verso and p. 21 of the Ukrainian Public Library without inventory numbers marking the book part of the later dispersed duplicate exchange fund. Else about very good. A striking important Ukrainian avant-garde book designed by Vasily Sedliar 1899-1937 a leading Ukrainian painter illustrator and art pedagogue of the interwar period who was killed during the Stalin Terror of 1937. The book is likely the first monograph on Béla Uitz 1887-1972 a Hungarian-Soviet avant-garde artist who later turned to monumental painting creating large-scale murals for the Kharkiv Krasnovodsk Theatre a project he worked on with Sedliar. Uitz was initially influenced by Cubism Expressionism and later Constructivism with the 42 reproductions of his work in this volume tracing his artistic trajectory. Active in Comintern in Hungary France Austria and Germany in 1926 Uitz moved to the Soviet Union joining the October group and teaching at VKhUTEMAS in 1927-1930. In 1931 Uitz was elected secretary of the International Union of Revolutionary Artists at a conference held in Kharkiv and commissioned to decorate the Kharkiv theatre with this volume likely published for the occasion. The Ukrainian art critic and monumental painter Ievhen Kholostenko 1904-1945 wrote the introductory text to the volume. Both Sedliar and Kholostenko were students of Mykhailo Boichuk 1882-1937 at the Kyiv Academy of Art. A celebrated modernist painter Boichuk came into disfavor in the 1930s. His arrest and execution he was accused of being "an agent of the Vatican" affected an entire generation of students known as the "Boichukists" who practiced the innovative kind of monumental painting Boichuk taught. One of the closest associates of Boichuk Sedliar was part of the so-called "executed renaissance" rozstriliane vidrodzhennia a generation of innovative artists and writers who perished during the Great Purge. Any printed matter bearing their names was systematically removed from libraries and bookstores in the late 1930s. As of June 2024 KVK OCLC show a sole copy worldwide at Staats- & Universitätsbibliothek Hamburg. unknown

Penka Rare Books and Archives · Germania2250,00 €

Babel, Isaac (И Бабель, screenplay); Sholem Aleichem (original novel); Alexander Bykhovskii (Александр Быховский, design & illusBiblio.com

Блуждающие Звезды: Кино-Сценарий Bluzhdaiushchie Zvezdy: Kinostsenarii Wandering Stars: Film Script

1926rif. 54867Moscow ÐœÐ¾ÑÐºÐ²Ð°: Kinopechat Кинопечать 1926. First edition. Softcover. Good to very good condition. Octavo. 80pp. Dark blue and white wrappers with constructivist typography on the front cover housed in modern blue heavy paper portfolio with printed typographic design of original cover pasted to cover flap. Publisher's device on title page. This scarce published screenplay for the film adaptation of Sholem Aleichem's novel "Wandering Stars" by the acclaimed Russian-Jewish novelist playwright and journalist Isaac Babel 1894-1940. The film was premiered in Kiev on January 4th 1927 and was directed by Grigori Gritscher-Tscherikower 1883-1945. It was produced by VUFKU studios the national film studios of the Ukrainian SSR. This book contains the entirety of the film's screenplay accompanied by three striking b/w illustrations by Soviet artist and designer Alexander Bykhovskii 1888-1978 who likely also created the striking cover. The final three pages contain publisher's ads listing other work on the topic of cinema. The story tells of the love between Leibel the son of a wealthy shtetl family and Reizel a poor cantor's daughter in Bessarabia. The two run off to join a traveling Yiddish theater group. They are later separated with each becoming successful in their own right only to eventually reunite in America. The work was first serialized and originally appeared in the Warsaw newspapers between 1909 and 1911. It has come to be seen as the third in an unofficial trilogy of novels by the writer centering on musicians or performers preceded by Stempenyu 1888 and The Nightingale 1889. In 1925 the Moscow State Jewish Theater suggested that the Goskino the Soviet State Film Studio produce a film adaptation of Sholem Aleichem's novel. The order was commissioned to Isaac Babel for translation and adaptation from the book's original Yiddish language to Russian for the screenplay. During this period Babel had been working on other translations of Yiddish literature into Russian including the collected works of Sholem Aleichem and work by David Bergelson. According to Babel's foreword printed here he faced a number of difficulties adapting the novel including the modification of petty bourgeoisie motifs as well as the changes of film directors and their differing requirements. Because of certain elements in the script of which the main committee of the Goskino did not approve the film's production had to ultimately be switched to VUFKU studios in Odessa. In a letter during the period of production Babel apparently wrote: "I will have to be present on the set. if I am not there the director will ruin everything" and later upon hearing of further changes made by Gritscher-Tscherikower wrote that "it is more profitable for me not to participate in this shameful production". Regardless of Babel's opinion of the final product the film was well received by Soviet audiences at the time. Text in Russian. Portfolio with minor wear. Wraps partially restored with minor wear. Previous owner's names and date at top of title page one near gutter. Light water staining along right half of bottom edge of first 30 pages reappearing from pages 40 to end though along lower part of foredge more pronounced on pages 75/76 and light fraying along foredge from pages 67 to 76. Block lightly age-toned. Kinopechat (Кинопечать) unknown

Eric Chaim Kline - Bookseller · Stati Uniti2750,00 USD≈ 2461,51 €

Hosoe, Eikoh (細江英公, photography); Yukio Mishima (三島由紀夫, preface by); Tadanori Yokoo (横尾忠則, book design and illus)Biblio.com

薔薇刑新輯版 Barakei Shinshuba/ Ordeal by Roses Re-Edited IN ORIGINAL PUBLISHER'S SHIPPING BOX

rif. 50199Tokyo: Shueisha 集英社 1971. New edition. Hardcover. vg- to near fine. Large oblong folio. 15x21". Unpaginated. All content housed inside the publisher's original cardboard shipping box with printed label pasted on the front. Binding protected in original a white cloth portfolio with red lettering on the front cover and lavishly decorated interior flaps. Black suede-covered boards with mutli-colored illustration mounted on the front cover. Decorative endpapers. Engraved stainless-steel plate showing Mishima's face mounted on black paper preceding the title page. The deluxe and lavishly printed new bilingual edition of the acclaimed and eroticly-charged work also know as "Killed by Roses" by Japanese photographer Eikoh Hosoe b.1933. It gained notoriety and elicited controversy when it was originally released in 1963 and won the Japan Photo Critics Association's writer award. The main photographic subject of the book the acclaimed and controversial writer Yukio Mishima 1925-1970 wrote the preface to the original edition and also writes the preface for this new edition both are included here. Mishima's acclaimed works include the famous and controversial novels "Confessions of a Mask" 1949 and "The Temple of the Golden Pavilion" 1956. Hosoe's striking high-contrast b/w photographs are all printed in high-quality photogravure retaining all the power and atmosphere of his original images. In comparison with the first version of the work this edition features the content having been noticeably re-edited with one image added a few others removed. The images have been thematically re-organized into five new chapters with the names "Sea & Eyes" "Eyes & Sins" "Sins & Dreams" "Dreams & Death" and "Death" respectively. Influential artist and graphic designer Tadanori Yokoo b. 1936 oversaw all of the design and layout aspects of the book and also created its additional illustrated elements most of which comprise the first chapter of this new edition. While Hosoe was still completing work to prepare this new edition of "Ordeal by Roses" the notorious "Mishima Incident" occurred November 25th 1970 which culminated in the ritual suicide of Yukio Mishima by seppuku. The incident shocked the nation and in its wake the photographer was quite unsure of how to proceed regarding the publication of the book. Not wanting to seem like an opportunist taking advantage of the controversy and the publicity surround Mishima's death he contemplated shelving the project but was later persuaded by Mishima's widow Yoko who said that her husband would have wanted it to be released. It was finally release only a few months later on January 30th 1971. Text in Japanese and English throughout. Portfolio with foxing to the white cloth including the front cover and the interior but the illustrations on the flaps are still clean. Suede binding clean and protected in modern mylar. Light foxing to the edges of the book block. Interior with all pages and images clean and vibrant save for a few sporadic instances of the most minor stains or smudges on the blank versos a few pages. The verso of the final photographic plate and the page opposite have a bit more foxing. Portfolio in very good- binding and interior in very good to near fine condition overall. Alternate title: ç´°æ±Ÿè‹±å…¬å†™çœŸä½œå“. Shueisha (集英社) hardcover

Eric Chaim Kline - Bookseller · Stati Uniti2750,00 USD≈ 2461,51 €

Kallay, Karol (Photographs); H Pifko (Ed); Alojz Riskovic (Design);Biblio.com

Deň plný zázrakov A Day Full of Miracles

1963rif. 54664Bratislava: Mladé letá 1963. First edition. Hardcover. Very good to near fine condition. 1/5000. Large quarto. Unpaginated. 72pp. Original off-white cloth with abstract illustration of a human heart on front cover red lettering on spine in original photo-illustrated dustjacket black lettering on spine red on cover protected by modern mylar. Photo-illustrated endpapers. "The book is one of the most unusually edited and designed and also rarest postwar photo books by Karol Kállay." Czech and Slovak Photoo-Publications p. 316 This rare and poignant photo-essay by Slovak photographer Karol Kállay present seventy-two sheet-fed gravures. Divided into two parts: A selection of photographs showing Bratislava children playing together or walking through a neighborhood under construction in part one and part two documents the everyday life of surgeons and nurses dedicated to save lives at the Bratislava Children's University Hospital where children are seen undergoing open-heart surgery while anxious parents wait and hope for a positive outcome. Text in Czech. Dustjacket lightly rubbed along edges slightly more pronounced at top of front foredge and minor chips at tail of spine. Binding age-toned along top and bottom edges. Interior in near fine condition. Karol Kallay 1926-2012 was a citizen of the world a photographer with blue blood running in his veins who in the educational spirit of the First Republic remained a sworn Czechoslovak even after the breakup of Czechoslovakia in 1993. He was born a Hungarian aristocrat on the 26th of April 1926 in Cadca in Czechoslovakia's First Republic where right from the republic's beginnings the use of aristocratic titles - distinguishing those with "blue blood" from the mere mortals - was officially banned. Despite this his distinction conspicuously radiated out of him all his life. He always wanted to be a photographer. Perhaps it was because at the age of sixteen he won a gold medal in a Slovak photo contest. But it was also thanks to the excellent education he got from his older friends in the Trencin amateur photographic club Halasa Hajduch Farkas which was one of the many Slovak photographic societies started after the war by Jiri Jenicek an officer of the Czechoslovak army and a brilliant and enthusiastic amateur photographer. Kallay's wise father didn't want to impede his son's "comedian career" as he regarded the photographic profession but he had one condition - his son had to study something proper first. And so Karol after the end of the Second World War studied commercial engineering and law in Bratislava. He worked for a construction company in Zilina and Sucany and in his free time he devoted himself to photo reportage as an associate of a photo weekly Domov and Svet. That brought him to Prague where he meet two eminent photographers: Karel Hajek the shining star of reportage photography and Jan Lukas whose recently published book Zeme a lide not only impressed him but practically predetermined his future photojournalistic direction in the spirit of humanistic photography. "Through Jan Lucas I discovered magazines - "Life" "Paris Match" "Illustrated London News" including fashion magazines such as "Vogue" and "Harper's Bazaar"; articles and the opinions of the aesthetician Alexander Libermann and the artistic direction of Alexey Brodovitch - it was all important learning for me because we didn't have that in Slovakia" he remembers. And so Kallay's specific bipolarity as an excellent fashion and advertising photographer was basically the source of his income with excellent reporting constantly mapping out the people's lifestyles that he found on his frequent travels all over the world. Thanks to the Bratislava weekly magazine "Moda" to which he was a regular contributor he could leave his regular job in 1956 and become a freelance photographer. That opened the way for him to contribute to the most important foreign fashion magazines - mainly "Jardin des Modes" in Paris and "Saison" and "Sybille" in Berlin. And because of this at home he became forever known as a successful photographer of fashion who brought the freshness and the dynamism of live photography into his work. In other words: he stopped photographing models as stiff coat hangers. In addition he traveled published books and did reportages for prestigious magazines such as "Geo" "Stern" "Spiegel" "Focus" "Merian" "Sports International" "Paris Match" and "Illustré" of which at that time the world behind the iron curtain knew practically nothing about. And thanks to this talent Karol Kallay became a photo reporter like none other in Czechoslovakia. Mladé letá hardcover

Eric Chaim Kline - Bookseller · Stati Uniti3250,00 USD≈ 2909,06 €

Grosz, George (artist), Hermynia zur Muhlen (author), and Tomoyoshi Murayama (cover design)Biblio.com

MAVO: DADA IN JAPAN - NO COPY TRACED WORLDWIDE Chīsai PētÄ Little Peter. Translated by Hayashi Fusao

rif. 55248Tokyo: Gyoseikaku 1927. Small octavo 16.5 × 12.5 cm. Original pictorial wrappers illustrated by Tomoyoshi Murayama; 4; 89 5 pp. with 6 plates of illustrations by George Grosz. An uncut copy with wide margins; wrappers and margins somewhat dust-stained and toned; good or better. Rare first Japanese edition of the children's book with illustrations by George Grosz and cover design by Mavo founder Tomoyoshi Murayama. It was first published in 1921 under the title "Was Peterchens Freunde erzählen" What Little Peter's Friends Talk About in 1921 as the first volume in the book series "Märchen der Armen" Fairy Tales of the Poor published by Malik-Verlag which had been founded by John Heartfield and Wieland Herzfelde for the Berlin Dada movement. The little volume was to become one of the most successful proletarian children's books worldwide. In it the "Red Countess" as the communist noblewoman was also known describes how the objects in Peter's room begin to speak while he lies sick and bored in bed. The coals in the stove tell of the miners' hard work the water bottle of the glassblowers and the matchbox of the trees and forest workers. The Japanese translation by Hayashi Fusao featuring illustrations by Grosz played a key role in making Grosz known in China. Surprisingly it was the Japanese edition published between the two wars with Japan and approximately two years after the suspension of the Chinese Civil War between Nationalists and Communists in favor of a united front against Japan that served as the basis for Lu Xun's first Chinese translation in 1929 titled "Xiao Bide." Remarkably Grosz had been known in the Japanese Empire for many years before his illustrations in this book also gained circulation in China which unlike Japan had extensive Communist Party structures. Cf. Paul Bevan. A Modern Miscellany: Shanghai Cartoon Artists Shao Xunmei's Circle and the Travels of Jack Chen 1926-1938 Berlin 2018 pp. 135ff. It was mainly thanks to Tomoyoshi Murayama that the Berlin Dadaist Grosz became known in Japan; Murayama studied in Berlin from 1921 to 1923 and joined the circle associated with the "Der Sturm" gallery run by the communist Herwarth Walden. There he met among others Grosz and Schwitters. He also took part in the Düsseldorf Congress of "Progressive Artists" where Dadaists and Constructivists joined forces. Upon returning to Tokyo he founded "Mavo" as so to speak the Japanese branch of Dada. Like the Berlin group "Mavo's" art actions were not least political protests directed against the military government in Tokyo. Cf. Hanne Bergius Das Lachen Dadas: Die Berliner Dadaisten und ihre Aktionen Berlin 1989 p. 300. It was also Murayama who introduced Mavo member Yanase Masamu to the work of Grosz. The illustrator and cartoonist was also a member of the "Japanese Proletarian Artists' Association" for which he designed several journals posters and books. Furthermore he had been employed as a cartoonist and comic artist at the daily newspaper "Yomiuri Shimbun" since 1920. In 1929 Yanase published a comprehensive monograph on Grosz's work titled "Musan kaikyu no gaka Georuge Gurossu" George Grosz: Painter of the Proletariat. See Bevan ibid. As of March 2026 KVK OCLC lists no copy worldwide. unknown

Penka Rare Books and Archives · Germania3000,00 €

[JAPAN -- KIMONO DESIGN ARCHIVE].Biblio.com

A striking archive of hand-painted kimono designs from the design department of Marubeni Shoten Ltd. and also including their contracted design studios such as the Keimeikai Textile & Dyeing Studio and the Tanioka Shoten Design Department. These often large and extraordinary designs encompass a broad range of traditional Japanese motifs such as ornamental fans flowers landscapes sailing junks house crests and animals often with annotations revision notes as well as references to potential clients.

1819rif. 56897Kyoto Japan: Marubeni Shoten Design Dept. Keimeikai Textile & Dyeing Studio Tanioka Shoten Design Dept. ca. 1918-1945. Folio. 61 original hand-painted inked and pencil designs with a few on a lightly toned but quality semi-translucent paper the majority on thick paper stock and still others with two pieces carefully pasted together with contiguous designs sized from 9 x 15 in. up to 19.25 x 38.5 in. with 13 of the pieces larger the larger size a number of them sized 18 x 32 in. and many in the 14.25 x 15.5 in. size colour painted; the majority feature the design studio chop or crest at lower corners throughout many w/ annotations in margins several w/ change orders neatly annotated or even the title of the design and still many others w/ Roman numeric inventory codes in margins as well two still retaining original small silk samples many with creasing or minor tears & edgewear or creasing to fore-edges a few w/ small & large closed tears while others show some creasing and thumbing from continued use still an exceptional group of manuscripts. This superb archive of 61 original hand-painted kimono designs furnishes an exceptional visual array of Taisho- and early Showa-era Japanese motifs and styles. A number of the designs evoke traditional Japanese Ukiyo-e woodblock prints with deep vivid colours and well rendered illustrations. Many of these designs incorporate floral patterns including Kiku Chrysanthemum Botan Mon Peony Pattern Manju Kiku Marigolds Japanese Irises Morning Glory Cockscomb Ivy Dahlias and many other botanical motifs. In addition there are many illustrating ornately embroidered designs austere bamboo mushrooms and intriguing landscapes some with a small portion fully painted in with brilliant colouring while the outline of the kimono fills out the drawing. Two of the designs still features their original small attached silk kimono sample more reminiscent of Western Design houses which often attached their chosen fabric samples to their clothing designs. A few of the designs are executed on translucent thin paper for the kimono draper to transfer the design to white silk or other fabrics via some type of carbon paper process. Another of the designs has been executed on a stunning silver metallic paper with palm or bamboo leaf fronds executed in vivid blues & browns. Some feature a nearly surrealist quality while several others include illustrations of doves or chickens. Two of the designs incorporate Art Deco representations of Chinese Junks and Japanese sailing vessels typical of the 1930’s prior to World War II. In the Taisho Era a new era opened for textile designers working with Kyoto drapers and department stores with many having trained at new art colleges and then working in the design studios of Marubeni Keimeikai Textile & Dyeing Studio and others. The Tachiki Artist design studio designs on thin translucent paper include one with designer stamp of character embedded within a skull. Some appear to have two different date stamps for the Marubeni Shoten Design and some are unsigned or stamped. The Taisho- and Showa-era kimonos featured brighter colours more groundbreaking designs as Japan’s designers embraced traditional dress and transformed it into a new garment equally appealing to the “Moga” or brazen “Modern Girl.” The designer notes include instructions to “leave a little more space between the fans;” “Drop the little fan crest;” “too much white bush clover” on the pine cones and even that Matsuo Taishichi had ordered a design for “clothes for paying a visit for a young person.” The Marubeni Shoten originated with Chubei Itho who began in 1858 as a salesman for linen cloth and by 1872 had opened his drapery store Benchu in Senba Osaka. By 1918 Chubei Itoh had expanded the business into Osaka and deciced to merge with Itochu Shoten Ltd. becoming Marubeni Shoten with their own drapers shops and many contracts with department stores. Later by the mid-1950s Marubeni merged with the company that operated the Takashimaya Dept. Store Chain all the while preserving their design studio and artists. See: Yuko Fukatsu-Fukuoka The Evolution of Yuzen-dyeing Techniques and Designs After the Meiji Restoration 2004; Arisa Shinko Tomikawa Hand Painted Kyo Yuzen Atelier “Arisa” A Brief Introduction 2020; Annie Van Asche Japanese Kimono Fashion of the Early Twentieth Century Textile Society of America Symposium Proceedings 2000; Our History Our Roots Marubeni Corporation 2020. Marubeni Shoten Design Dept., Keimeikai Textile & Dyeing Studio, Tanioka Shoten Design Dept., hardcover

Zephyr Used & Rare Books · Stati Uniti3500,00 USD≈ 3132,83 €

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