Japanese Photobooks Catalogue Maggs Bros Ltd

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Catalogue

1430

JAPANESE PHOTOBOOKS CATALOGUE 1430

MAGGS BROS LTD

Front cover illustration from item 8

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1 AKIYAMA (Ryoji).

Narakawa-mura [The Village of Narakawa].

First edition. Numerous photographic plates. Japanese text. 4to. Original flexible boards in dustwrapper and obi, s light staining to covers, but very good inside. 117pp. Tokyo, Asahi Shimbunsha, 1991.  Akiyama Ryoji was born in Narakawa (Nagano Pref.) in 1942. After graduating from the Department of Literature at Waseda University he joined the AP News Agency, and subsequently became a freelance worker for Asahi Shimbun . Akiyama was surprised to find a sensitivity in the village that seemed to have disappeared in Tokyo. And while many of the images are formal (posed) portraits they show the warmth and health of village life. Only one copy in OCLC.

2 ARAKI (Nobuyoshi). Tokyo Natsu Monogatari - Tokyo Summer Story. First edition. Numerous photographic plates. Japanese text. 8vo.

Original flexible boards in dustwrapper and obi, a very good copy. 398pp. Tokyo, Waizu Shuppan, 2003.  An interesting photo-documentary of Tokyo on a fine summer day. All of the images were taken through the window of a taxi moving slowly through various neighbourhoods. The book is ostensibly a homage to the films by the famous director Ozu Yasujiro (1903-63) whose slow style revealing gentle family drama has given him enduring appeal. The title of the book refers to Tokyo Monogatari (1953), Ozu’s most famous work. Needless to say,  Araki’s take on Tokyo and it’s citizens couldn’t be more different from that of Ozu - even if the pace and the famous low angle of Ozu’s vision (‘tatami-shot’) is similar. Only two copies in OCLC.

3 ARAKI (Nobuyoshi). Tokyo wa, Aki; Toshi no Janarizumu [Tokyo is  Autumn; Journalism in the Capital]. First edition. Numerous photographic

illustrations. Japanese text. Small 8vo. Original decorated boards in dustwrapper and obi, a very good copy. 180pp. Tokyo, Sanseido, 1984. Many photographers rate this book amongst Araki’s best work. Street scenes of Tokyo taken in 1972 and 1973 just after he left Dentsu. The images are combined wi th a dialogue between Araki and his wife Yoko. This seemingly innocuous book conveys the essence of  Araki’s technique and the raison d’etre of h is work. The first t hree images are of Golden Gai, showing the disused tram-line behind the bars. It is a location filled with nostalgia, the nondescript high-rise in the centre serving to provide a cont rast to the decaying traditional two-story buildings in the foreground. The camera swings to the right to show the back facade, then goes a little closer to focus on the garbage cans. This is truly post-modern photography. By focussing on the banal and profane Araki dispenses with the beauty of the object and by doing so arrives where he wants to be, namely in photography. But Araki’s images are certainly not random. As he walks around his favourite neighbourhoods he is keenly aware of the smallest details, the nature and content of billboards, stickers in a car-window, of the old, the new, and the decaying. As such this is a truly remarkable book. Only three copies in OCLC.

4 ASAHI SHIMBUN-SHA. NAKAYAMA (Iwata). Asahi Camera - The Japanese Journal of Photography.  Vol. 13, no. 5. Numerous photographic

plates and illustrations. Japanese text. Captions to plates in English and Japanese. Large 8vo. Original printed wrappers, minor wear to spine, but overall still a good copy. Tokyo, Asahi Shimbun, May 1932.  Asahi Camera was foun ded by Narusawa Reisen in April 1926. It was no t constrained by any particular photographic genre but rather focused on practical and educational issues relating to any given t endency, be it amateur or commercial. The present issue is important for featuring the modernist work by Nakayama Iwata (1895-1949) both on the cover and inside. The featured essay relates the experiences of Asahi Press photographers who covered the Sino-Japanese conflicts in Manchuria and Shanghai.

5 ASAHI SHIMBUN-SHA. NARUSAWA (Kimbei), editor.  Nihon Shashin Nenkan - The Japan Photographic Annual 1925-1926. First edition.

Numerous photographic plates (5 tipped in). Japanese and English text. 8vo. Original flexible boards (frayed edges), light browning, overall a good copy. 41,112, 101, 26pp. Tokyo/Osaka, Asahi Shimbunsha, dated Taisho 15, [i.e. 1926].  Asahi Shimbunsha started publi shing the Japan Photographic Annual in July 1925. T he present is the second issue of this important yearbook. Great pride is being taken in the progress made by Japanese photography both in terms of content and reproduction.  “Compare this volume to that of last year’s. No one, we believe, will glance through this issue without being struck by the great strides that we have made during the past year”. (Narusawa Kimbei). Much of this annual is devoted to pictorialist photography with contributions by Fukuhara Shinzo, Minami Minoru, Kakefuda Isao, Nishiyama Kiyoshi, Fuchikami Hakuyo, Kometani Koro, Fukuhara Roso, Umesaka Ori, and many others. The text gives an overview of photographic events during the y ear with a list of exhibitions and winning entries, as well as a list of photography clubs, studios, and supply stores together with their addresses. No copy in OCLC.

6 ASAHI SHIMBUNSHA. NARUSAWA (Kimbei), editor.  Nihon Shashin Nenkan - The Japan Photographic Annual 1928-1929. First edition.

104 photographic plates (5 tipped in). Japanese text with English abstract. Large 8vo. Original flexible boards, overall a very good copy. 39,117, [iv], 14(text)pp. Tokyo/Osaka, Asahi Shimbunsha, dated: Showa 4, [i.e. 1929].  Volume five of the annual publication and one can clearly feel that new trends are challenging the predominance of pictorialism. With contributions by Fukuhara Shinzo, Ezaki Kiyoshi, Umesaka Ori, Yasui Nakaji, Kometani Koro, Ito Sokai, Nishiyama Kiyoshi, Fukuhara Roso, Shiotani Teiko, and many others. The text giv es an overview of photographic events during the year with a list of exhibitions and winning entries, as well as a list of photography clubs, studios, and supply stores together wit h their addresses. 2 copies in OCLC.

7 ASAHI SHIMBUN-SHA. Nihon Shashin Nenkan - The Japan Photographic Annual 1929-1930. First edition. 80 photographic plates

(6 tipped in). Japanese text with English abstract. Large 8vo. Original flexible boards, light spotting to text, overall still a very g ood copy. 32, 110, 15(text)pp. Tokyo/Osaka, Asahi Shimbunsha, dated Showa 5, [i.e. 1930]. This is volume six of the annual publication with 111 images selected from 890 contributions. 1930 clearly marks the beginning of the Shinko Shashin movement. The present issue includes work by Nakayama Iwata, Umesaka Ori, Yasui Nakaji, Kakefuda Isao, Fuchikami Hakuyo, Ishiyama Yasuhisa, Kurata Kenji, Tabata Eizo and Okubo Koroku. A small section of images is devoted to advertising photography. 2 copies in OCLC.

8 ASAHI SHIMBUN-SHA. NARUSAWA (Kimbei), editor.  Nihon Shashin Nenkan - The Japan Photographic Annual 1935-1936. First edition.

120 photographic plates. Japanese text with English abstract. 8vo. Original decorated wrappers (minor wear to spine) in slipcase, a very good copy. [iv], 47, [vi](ads.)pp. Tokyo/Osaka, Asahi Shimbunsha, dated: Showa 10, [i.e. 1935]. The format of the publication was changed in 1934 with glossy covers taking account of the change in taste. Each issue is divided into a section of plates followed by a detailed technical and artistic commentary on each photograph as well as a review of events of th e year. The long list of addresses of clubs, studios, and photographers is dispensed with. The present issue includes work by Kimura Ihei, Nakayama Iwata, Nojima Yasuzo, Fukuda Katsuji, as well as a fascinating photo-montage by Matsubara Juzo (see cover). No copy in OCLC.

9 ASAHI SHIMBUN-SHA. Nihon Shashin Nenkan - The Japan First edition. 161 photographic plates. Photographic Annual 1938.

Japanese text with English abstract. 8vo. Original decorated wrappers (wear to spine) in slipcase, but still a very good copy. 4, 30, [vi](text)pp. Tokyo/Osaka,  Asahi Shimbunsha, dated: Showa 13, [i.e. 1938]. The photographs on the cover are by Yasumoto Koyo and Shibuya Ryukichi. This issue contains some remarkable modernist images by Yasui Nakaji, Nakayama Iwata, Koishi Kiyoshi, Nojima Yasuzo, Fuchikami Hakuyo, Kimura Ihei, Hanaya Kambei, and Matsubara Juzo. No copy in OCLC.

10 ASAHI SHIMBUN-SHA. Photographic Annual 1941.

Nihon Shashin Nenkan - The Japan

First edition. 144 photographic plates. Japanese text. Large 8vo. Original decorated wrappers in dustwrapper. Overall a very good copy. 5, 28(text)pp. Tokyo, Asahi Shimbunsha, dated: Showa 16 [i.e. 1941]. The first image in this annual is a hazy image of a marching soldier by Ueda Shuntaro. It is the only image that hints at the outbreak of full-scale war with America and the allies, but maybe this conflict was still not discernable by May ‘41. However, upon closed inspection one finds that most of t he big names of the avant-garde have disappeared, while photographers like Nishiyama Kiyoshi, Kakefuda Isao, Minami Minoru, Nojima Yasuzo, and  Yasui Nakaji are represented with fairly innocuous work. Furthermore, the English abstract has been dispensed with.

11 CAMERA MAGAZINE SUPPLEMENT. Arusu Shashin Nenkan; 2601nen ban - Ars Photographic Annual 2601. First edition. Two colour

plates as well as 98 b.-w. plates. Japanese text. 8vo. Original flexible boards in (damaged) dustwrapper, slightly worn, just a good copy. Tokyo, Ars, dated: Showa 16, [i.e. 1941].  Ars Sh ashin Nenkan was a supplement to Camera magazine, dedicated to out-standing examples of contemporary photography. The present issue contains work by Nojima  Yasuzo, Ueda Shoji, Nakayama Iwata, Nishiyama Kiyoshi, Kuwahara Kineo, Yasui Nakaji, Hamaya Hiroshi and Kimura Ihei. At the back there is small appendix of ‘patriotic images’ relating to the war in China as well as the political situation at home. An index at the back provides addresses, occupations, and photo-club membership for all the photographers. The abstract composition on the cover is by Domon Ken. Only one copy in OCLC.

TOGETHER WITH ORIGINAL PHOTOGRAPHS 12 DAI-HONEI KAIGUN HODOBU. ONCHI (Koshiro) design.  Daitoa senso kaigun sakusen shashin kiroku [The Great East Asia War - A Photographic Record of the Naval Operations]. First edition. 2 vols.

Numerous photographic plates, several folding. Japanese text. Small folio. Original cloth-backed boards in dustwrapper (minor staining and marginal tears). Overall still a very good copy. Decorated endpapers. 144, [viii]; 144, [viii]pp. Tokyo, Asahi Shimbunsha, dated: Showa 18 [i.e. 1943].  A selection of photographs of the Japanese Navy in World War II covering the period from the attack on Pearl Harbour on December 1941 to May 15th 1943. Includes photographs of operations in China, Java, Borneo, Philippines, New Guinea, and other areas in Southeast Asia. Unfortunately none of th e images are credited to individual photographers. The work was edited by the Naval Headquarters News Section and the introduction states that the images were collected from a variety of military sources including the Army Information Bureau. Rare. Only one copy of OCLC. Together with 9 original vintage photographs measuring ca. 16x22cm, (6 of them published in vol. 2) including one of Japanese invasion of Attu island (Aleutian) and one of Japanese bombers flying towards Australia (Darwin). [see across]

Original Prints by  Various Photgraphers; item 12.

13 DODO (Shunji). Shin Sekai - Mukashi mo ima mo [New World - Yesterday and Now]. First edition. Numerous photographic plates.

Japanese text. Small folio. Original flexible boards in slipcase, a very good copy. Unpaginated. Osaka, Chosei-sha, 1986. Shinsekai was one of Osaka’s oldest and most colourful downtown neighbourhoods. Until major redevelopment in the late 1990s the area’s claim to fame was rooted in its mix of cheap bars, theatres, and gambling halls. It had a reputation for poverty mixed with petty crime due to the large concentration of homeless and prostitutes, in particularly transvestites. Dodo Shunji records the narrow street and its characters with deep affection. No copy in OCLC, no copy in NACSIS.

14 DOISNEAU (Robert).

Kodomo no Jokei - Scenes D’Enfants. First edition. Numerous photographic illustrations, several in colour. Text in French and Japanese. 8vo. Original printed boards, a very good copy. [iv], 48, [viii]pp. Tokyo, Heibonsha, dated: Showa 32 [i.e. 1957]. Robert Doisneau (1912-1994) achieved fame as one of France’s most popular and prolific reportage photographers. His images show a warm vision of human frailty. The present book on children was only published in Japan. Book-design by Hara Hiromu. Rare. Only one copy in OCLC.

15 DOMON (Ken) and others.  NIHON MINGEI KYOKAI. Shuri to Naha [Shuri and Naha]. Kogei Vol. 103. First and only edition. One of a limited

edition of 1000 copies. Numerous photographic plates, two large folding maps. Japanese text. 8vo. Original decorated wrappers, a fine copy. 97(text)pp. Tokyo, Nihon Mingei Kyokai, dated: Showa 15, [i.e. 1940]. This is a very early and rare publication wi th work by Domon Ken. In 1940 he and two other photographers (Sakamoto Manshichi, and Koshi Misuo) were sent to Okinawa to record local architecture and customs in the capital of Naha. Most of the photographs show Shuri castle, the royal palace of the Ryukyu kingdom, and other early examples of architecture and sculpture. A section at the end deals with local arts and crafts, the markets, and local festivals. Rare. No copy in OCLC.

16 DOMON (Ken). HAMAYA (Hiroshi) and others.  Japan. First edition. 65

photographic plates. English text. Small folio. Original cloth in dustwrapper, a very good copy. [xii], [iv]pp. Tokyo, Ministry of Transportation, 1956.  “Travel abroad is one of the great pleasures of life. It is also a means of widening one’s horizons, of seeing and understanding the life and environment of other peoples, and of creating friendships among peoples based on such understanding.” (Introduction) In spite of the innocuous title this is possibly one of the best illustrated tourist publications ever published about Japan. The printing quality is superb. Includes images by Domon Ken, Hamaya Hiroshi, Watanabe Yoshio, Yoshida Jun, Higuchi Susumu, and Matsugi Fujio. The dustwrapper shows a flower arrangement by Teshigahara Sofu. Rare.

17 DOMON (Ken). Nihon Meishoden - [Famous Artisans of Japan].

First edition. Numerous photographic plates (many in colour). Japanese text. Folio. Original cloth in dustwrapper, lacking cardboard case, still a very good copy. Unpaginated. Kyoto, Shinshindo Shuppan, dated: Showa 49 [i.e. 1974]. Superb portraits of sixteen major figures from the world of literature (Kawabata Yasunari), woodcut art (Munakata Shiko), acting (Mizutani Yaeko), pottery (Hamada Shoji), go (Sakata Eio), as well as the heart-surgeon Sagakibara Shigeru - to name just a few. All of them were survivors, the old guard of Japan - in a positive sense. The characters are full of a sense of their own achievement and they were clearly comfortable with Domon’s presence. Book-design by Tanaka Ikko. Only 2 copies in OCLC.

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

and only edition. 39 photographic plates. Japanese text. Large 8vo. Original red cloth (lacking dustwrapper and/or slipcase?), slightly soiled, but very good inside. Decorated endpapers, a.e.g. 78pp. Dalian, Minami Manchu Tetsudo Kabushiki Gaisha/Chunichi Bunka Kyokai, dated: Showa 5, 1930. Fuchikami Hakuyo (1889-1960) moved to Manchuria in 1928, where he worked for the public-relations department of the South-Manchuria Railway Company. It took two years before he could devote himself to the subject he really loved. This yearbook is in fact the only one that was issued. It is very much rooted in the pictorialist phase of the ‘Hakuyo’ period. Each plated is faced by a page of text with remarks by the artists followed by an appraisal by Fuchikami. It includes works by Date Yoshio, Mizuno Masatoshi, Sakakibara Masaichi, Kato Seiichi, Shiwa Yoson, and Fuchikami himself. Two years later he founded the Manchuria Photographic Artists Association. Very rare. No copy in OCLC. Five copies in NACSIS (all in Japan).

19 FUKUHARA (Shinzo).  Kikuoka Tatsujiro Shashin Isaku-shu [Posthumous Photographs by Kikuoka Tatsujiro]. First and only edition.

No. 67 of a limited edition of 300 copies. 24 plates. 8vo. Original flexible boards (marginal browning), light foxing, but overall a very good copy. [x], iv, 4(text)pp. Tokyo, Nihon Shashinkai, dated: Taisho 15 [i.e. 1926]. Kikuoka Tatsujiro (dates unknown) was a member of the Japan Photographic Society and a regular contributor to ‘Shashin Geijutsu’ and ‘Shashin Shimpo’ magazines. He was a close friend of Fukuhara Shinzo who wrote a short appreciation of his work without giving away much personal details about the man. Very rare. No copy in OCLC. No copy in ALC. Only one copy in NACSIS.

20 FUKUHARA (Shinzo).

Matsue Fukei - The Old Town of Matsue.

First edition. Frontispiece and 30 photographic plates. Small folio. Original boards with printed label (minor foxing) and decorated slipcase (rubbed edges, minor wear to bottom corners), but very good inside. [x]pp. Tokyo, Japan Photographic Society, 1935. Matsue carries the distinction of being both one of the oldest as well as the most beautiful 17th century castle-towns in Japan. The capital of Shimane prefecture it is situated on Shijinko lake close to the Japan Sea in Western Japan. Due to its location and its numerous canals it was thought to have scenic qualities very similar to those of the West Lake in China, in fact it’s name is said to be based on China’s old Songjiang province. In the 19th century Lafcadio Hearn took up residence here and married one of the town’s daughters. The present publication is a superb example of Fukuhara Shinzo’s pictorialist style. Both the focus and the selection of subjects are highly unusual and even avant-garde. His sepia photographs have a soft and dreamy quality while at the same time being devoid of sentimentality. Fukuhara Shinzo gave pictorialism a new expression. While the aesthetics are clearly Japanese the composition has a very abstract and even modern feel. A gem.

21 FUKUHARA (Shinzo). Hikari to sono kaichou. [The Light and it’s Harmony]. 11th edition. 48 photographic plates. Japanese text. Small 8vo.

Original decorated, cloth-backed boards in slipcase, a very good copy. 18, [vi](ads.)pp. Tokyo, Shashin Geijutsusha, dated: Taisho 12 [i.e. 1923].  “Separating from the physical connection that would simply photograph the thing as it is, and moving towards the birth of a spiritual connection that would hold the spirit or the meaning held by nature - this is the second element of importance... We can also think of this as the revelation of the spirit of nature as seen in the photograph through the spirit of man, or the revelation of man through nature...”. And later on the theory of haiku photography: “Grasping the harmonious instant through impression, the calm of each separate ray of light, that affect each and every sheet, this feels like the consecutive reading of short poems. It is as if you can read a haiku in the photograph.” (Translated in: The World of Shinzo Fukuhara - Poetics of Light. Tokyo, Shiseido 1994, p. 120-121). This book caused a sensation when it was published. Often described as the first theoretical treatise of Modern Japanese photography, it is also a very attractively illustrated plate-book in its own right. Only one copy in OCLC.

SIGNED COPY  22 GOCHO (Shigeo). OTSUJI (Kiyoshi) introduction.  Self and Others. First

edition. One of a limited edition of 300 copies. Numerous photographic plates. Small 4to. Original cloth in dustwrapper, overall a very good presentation copy signed and stamped (hanko) by the photographer on back free end-paper. Unpaginated. Tokyo, Privately Printed, 1977. Gocho Shigeo was born in Niigata in 1946. From a young age he was afflicted by a number of illnesses that resulted in him being physically handicapped. Yet, he was determined to make the most of his abilities and in 1965 he entered the Kuwasawa design school in Tokyo where he took up photography. After graduating in 1968 he worked both as a graphic designer and a photographer. The present is Gocho’s second and rarest publication, one of only three photo-books published during his life-time. Almost all of the images are staged portraits, the subject being well aware that he is being photographed. ‘Self and Others’ is nothing short of a visual record of the emotions that exist between people. It is also an account of life and death: The first image is of a new-born child, the one-but-last is a self-portrait of a man who is aware of his impending death. The images in-between show the confrontation with and the reaction of ‘others’ to ‘self’. Gocho is always present in the expressions of his subjects even when they try to ignore him. It is a very humane work. The preface was written by his teacher Otsuji Kiyoshi. Only one copy in OCLC.

23 GOTO (Chikao), photographer.  SHIRASU (Masako). Hieizan Kaihogyo [Hieizan Mountain Training]. First edition. Numerous photographic plates.

Japanese text. Folio. Original flexible boards in dustwrapper, decorated cardboard slipcase and obi, a very good copy. 129pp. Kyoto, Shishindo Shuppan, 1976.  An illustrated work describing the Tendai sect’s practice of ‘Circumambulation’ on the Buddhist mountain Hieizan. The purpose of ‘kaihogyo’ is to achieve a closer union with Buddha by praying and walking in the harsh conditions of the mountain. Wearing nothing but white li nen clothes and straw sandals the practitioner aims to become a living Fudomyo’o (god of fire). He sets off into the mountains just after midnight returning to the temple the following evening. Throughout the walks he is prepared for death. Initially this practice takes place over 100 days, but having achieved this the monk can apply for a 1000 day course involving 700 marathons and at the highest level seven and a half days without sleep and food. Book-design by Tanaka Ikko. Only one copy in OCLC. Works 115.

24 HAGA (Hideo). Ta no Kami - The Rituals of Rice Production Production in Japan. First edition. Numerous photographic illustrations. Japanese text with

English abstract. Large 8vo. Original cloth in slipcase, a very good copy. 106pp. Tokyo, Heibonsha, dated: Showa 34, 1959. Haga Hideo (born in Dalian, China in 1921) spent most of his life documenting customs and rituals in farming communities throughout Japan and it is only recently that his work i s being appreciated for it’s aesthetic qualities. The present work deals with the area around Iwaki City in Fukushima prefecture. Haga describes the rites of the New Year, the rituals of rice planting and transplanting, the rites of ‘Warding off Insects’ (mushi-okuri) as well as the rituals of harvest and post-harvest. Includes a commentary (in English) by Ishino Iwao, Professor of Sociology and Anthropology at Michigan State University. Seven copies in OCLC.

25 HAMAYA (Hiroshi). Henkyo no machi [The Remote City] Urumchi. First edition. 24 plates. Text in English and Japanese. Large 8vo.

Original decorated boards, together with a loosely inserted sheet providing technical information on each image. A very good copy. [iv], 48, 11pp. Tokyo, Heibonsha, dated: Showa 32, 1957. For many centuries Urumchi in Xinjiang Province has been a meeting point for cultures of the East and West. An area where Uigu rs, Hui, Tartars, Mongols, Uzbeks, Russians, Kazaks, and Han Chinese live together under the adverse conditions of the desert. Throughout the 1950s Hamaya was fascinated by the effects of harsh natural environment on human beings. He visited Urumchi in October 1956: “Passing the mud houses, mud walls, poplarlined streets and coming into the main thoroughfare, I saw the city stirring into life in the dust-whirling wind... The old man slowly washes his face. Scooping up water in both hands, he curiously rinses or rather jerks his face - not the hands - up and down in his cupped hand - it’s the way the people wash.” Only two copies in OCLC.

26 HANABUSA (Shinzo) photographer.   HASEGAWA (Setsuko) text. Mizu [Water]. First edition. Kagaku no tomo no. 159. Numerous colour

photographic plates. Japanese text. Square 8vo. Original decorated flexible boards, a very good copy. [32]pp. Tokyo, Fukuinkan, 1982. Hanabusa Shinzo was born in 1936 in Chiba city. Having graduated from the Tokyo C ollege of Photography he became a member of the Japan Photographers Association. He won several prizes during the 60s when he was focused on social issues. The present is some light relief with a children’s book illustrating the importance and joy of water. Uncommon. Only one record in OCLC.

27 HARA (Hiromu) book-design. Sekai Shashin Nenkan - Photography of the World. First editions. 14 vols. Numerous photographic plates (several

in colour). Folio. Original cloth-backed boards in dust-wrappers (minor wear) and cardboard slipcases. Some very minor spotting to prelims, but overall a very good set. Tokyo, Heibonsha, 1958- 1972. This yearbook of world photography covers the most exciting period of black-andwhite photography throughout the world all of them printed in superb photo-gravure. Naturally there is a slight dominance of Japanese photographers there is some very solid representation of Eastern and Western European, as well as American, Korean, and Indian photographers. Each issue contains essays o n various subjects as well as a section giving background information for each images as well as biographical details for the photographer. Superb book-design by Hara Hiromu. The series was started in 1958 and ran until 1974.

28 HARA (Hiromu) book-design. Sekai Shashin Zenshu - Photography of the World. First editions. 7 vols. (complete). Numerous photographic

plates (several in colour). Folio. Original cloth-backed boards in cardboard slipcases. Some very minor spotting to prelims, but overall a very good set. Tokyo, Heibonsha, 1955- 1957. This survey of world photography was a predecessor of Heibonsha’s yearbook of photography. Each volume is devoted to one or several countries while volume 7 (bessatsu) gives an illustrated history of photography compiled by Ina Nobuo (and others). The images are printed in photo-gravure. Each issue contains biographical details of the photographers. Superb book-design by Hara Hiromu.

29 HARA (Hiromu) designer.   OKADA (Sozo) editor.  Dai Toa Kensetsu Gaho - Ajia no mamori, Teikoku Kaigun [Pictorial of Greater East Asia under Constrction - Guarding Asia, the Imperial Navy]. First edition.

Numerous photographic illustrations including one double fold-out plate (measuring 112x42,3cm). Japanese text. Large folio, measuring 29,8x42,3cm. Original decorated wrappers, minor staining to covers, a very good copy. Unpaginated. Tokyo, Nippon Dempo Tsushin-sha, dated: Showa 17, August 19th, [i.e. 1942]. This is a separate Japanese language issue identical content to ‘FRONT no. 1-2’, a tour-deforce of propaganda, design and photography: Front was intended for foreign audiences and apparently distributed in fifteen languages throughout the ‘Greater East-Asia CoProsperity Sphere’. Kimura Ihei was the head of the photography section which included Kazano Haruo, Watanabe Tsutomu, Katsura Koshiro, Oki Minoru, Sekiguchi Mitsumori, Hamaya Hiroshi, Kikuchi Junkichi, Nishino Kazuo, Sakaguchi Tadahiro, and Tsuji Yunnosuke. Hara Hiromu was in charge of design working with art directors Ogawa Toraji, Imaizumi Takeshi, and Hasuike Juntaro. The layout and use of montage was inspired by the Soviet Propaganda magazine ‘USSR in Construction’, clearly reflected in the title of the present issue, which is devoted to the Navy. Only one copy in OCLC.

30 HARA (Hiromu), designer.  OKADA (Sozo) editor. Manchukoku - Idai naru kensetsu. [Constructing Greatness - Manchuria]. First edition.

Numerous photographic illustrations including two large fold-out posters (one measuring 83x59cm, the other 55x42cm). Japanese text. Large folio, measuring 29,4x42cm. Original decorated wrappers, a close to fine copy. Unpaginated. Shinkyo/Tokyo, Manshu Shoseki/Toho-sha, dated: Showa 18,  August 8th [i.e. 1943]. This is a separately issued Japanese language issue of FRONT no. 5-6 was to be distributed in Manchuria. Again the title retains the term kensetsu (construction), a homage to the Soviet magazine ‘USSR in Construction’. The images show industrial development, happy workers and farmers, as well as a ceremony at the court of Shinkyo involving the Last Emperor Pu-yi. Altogether ten issues of Font magazine were published but almost the entire issue of the last volume was destroyed in an air raid in 1945. Very rare. Only one copy in OCLC.

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

edition. Numerous photographic plates. Japanese text with caption in Japanese and English. Folio. Original cloth in dustwrapper (top flap detached, marginal tears), still a very good copy. 186pp. Tokyo, Meguro Shoten, dated: Showa 16, 1941. Hasegawa Denjiro (1894-1976) was born in Tokyo. His father was a craftsman of household goods whose shop was destroyed in the Great Kanto Earthquake. As a result he went to Hokkaido to work on a dairy farm. This being not much to his liking he decided to go to India to study arts at the Visva Bharati University which had been founded by Tagore. From there he undertook several trips to the Himalayas where he photographed extensively. Upon his return to Japan his first book of Himalayan photographs was published in 1932. The images in the present book were taken during a three-month trip in autumn of 1939. His remarkable portraits of Chinese and Russians show an ease in dealing with foreigners that he must have learned in India. Only one copy in OCLC.

32 HASHIMOTO (Shoko). OZAKI (Norio), editor.  Goze [Blind Itinerant Female Musicians]. First edition. Numerous photographic plates. 8vo.

Original decorated flexible boards in slipcase and obi (slightly worn). Together with a loose 8pp. leaflet containing an appraisal of the work by Hayashi Tadahiko. A very good copy. 239pp. Tokyo, Nora-sha, dated: Showa 49 [i.e. 1974].  An excellent documentary showing the life of a several ‘Goze’ throughout the four seasons of one year. The term ‘goze’ (lit. just blind woman) refers to blind female itinerant musicians going from one village to the next in small groups o r alone - hoping to be put up for the night with some food in return for an old folk-song or two , sometimes accompanied by a shamisen. Only a handful of these musicians surv ive today. Hashimoto’s images have a grainy quality that is particularly well suited to his subjects. This is documentary photography at it’s best - un-intrusive and yet powerful. No copy in OCLC.

(Naoya).  Under Construction. First edition. Numerous colour photographic plates. Text in English and Japanese. Large 8vo. Original boards in dustwrapper and obi, a fine copy. 147pp. Tokyo, Kenchiku Shiryo Kenkyusha, 2001. 33 HATAKEYAMA

This is a photographic record of the construction of the Sendai Mediatheque, a library built by the architect Ito Toyo between November 1998 and March 2000. The work is one of the most beautifully crafted publications relating to contemporary architecture. It oozes with the professionalism of everybody involved. There is a fresh approach, there is a fresh look at detail and colour, and there is fresh design. Ito suspended the entire sevenfloor structure from 13 strangely twisted, expanding and contracting tubes. Hatakeyama compares the architecture to a ship and was surprised to find that the workmen involved in the construction actually came from a shipyard in his hometown. This is a book that is full of a sense of achievement, progress, and optimism. In a sense it is similar to Kimura’s  ‘In a shipyard’. The design of the book by Matsuda Yukimasa is superb. The front board is reinforced with strong cardboard, allowing for a beautiful handlin g of the book.

34 HAYASHI (Tadahiko).

Kasutori Jidai [The period of cheap liquor].

Showa 21nen, Tokyo, Nihon. First edition. Numerous photographic plates. Text in Japanese. 4to. Original cloth in decorated slipcase (slightly rubbed), decorated endpapers. A very good copy. 126, [ii], 14, [ii]pp. Tokyo, Asahi Sonorama, 1980. This is Hayashi’s most famous work. ‘Kasutori’ was a type of smelly, cheap liquor that was available (and affordable) at the time. Hayashi documents the decade after the end of the war when Tokyo lay in ruins: Demobilized soldiers returning, street kids smoking discarded cigarette butts, shoe-cleaners below the school-age, G.I.s, cheap bars and prostitutes show the ability of Tokyoites to adapt and cope with the dire conditions. The over-riding impression is one of being glad to be alive. When Hayashi looked through the images prior to this publication he was himself surprised to find that he had captured history. Only two copies in OCLC.

35 HIBIKI PHOTO STUDIO. IDE (Denjiro). Nagasaki - Souvenir du Nagasaki. First edition thus. 114 photographic plates (several tipped in and

fold-out) and numerous illustrations with facing tissue guards. Folio. Japanese text, ca. Original decorated velvet binding (slightly stained) in original cardboard box, a very good copy. [viii], 53; 114ff. Nagasaki, Hibiki Photo Studio, dated: Showa 3 [i.e. 1928]. This book is not identical to a work of th e same title published in the previous y ear. The first part of the present work is a commemorative album for graduates of the Medical School of Nagasaki University. While being a wide-ranging introduction to the University with its departments, clubs and societies, as well as an illustrated history of Nagasaki, many of the images bear the hallmarks of the ‘geijutsu shashin’ movement. The style of this book is reminiscent of the work by Iida Kosaburo entitled ‘Kohoku Ingashu’ (Privately published, 1914) which is regarded amongst the first artistic photobook to have been published in Japan: Both use a variety of papers in different colours and textures to produce an interesting artistic effect - more of a record of memories in the form of an album than a documentary depiction of the city. Little is known about the Hibiki Shashinkan, apart from the fact that it was a commercial studio run by Ide Denjiro in Nagasaki during the 20s and 30s. He experimented with the various printing techniques to produce the soft, hazy, and emotionally laden images that the pictorialists aspired to. No copy in OCLC.

36 HODO SHASHIN - NEWS PHOTOGRAPHY. Dai Toa senso hodo shashin-roku [A Photographic News Record of the Great East Asia War]. First edition. 40 photographs mounted on cardboard with Japanese

tipped-in letterpress on verso. Large 8vo. Preserved in original cloth box with cardboard slipcase, a very good copy. [ii](text)pp. Tokyo, Yomiuri Shimbunsha, dated: Showa 17 [i.e. 1942]. I appears that every newspaper was expected to publish a photographic account of unfolding events in the Pacific War. The present collection of photographs was includes images of Pearl Harbour, the advance on the Malayan peninsula, the fall of Singapore, the Philippines, the island of Corregidor, etc. The loose sheet of printed text reprints the Declaration of War released in the name of the Emperor. This text was reprinted in newspapers throughout the war on the eighth day of each month to re-affirm Japanese resolve.

SIGNED PRESENTATION COPY TO HENRY MILLER  37 HOSOE (Eikoh).  TAKIGUCHI (Shuzo), text.   Kamaitachi [Weasel’s Slash]. First edition. No. 458 of a limited edition of 1000 copies. 34 double-

page photographic plates. Text in English and Japanese. Folio. Original decorated cloth in acetate dustwrapper (partly damaged) and slipcase (lacking outer cardboard box), but overall a very good copy, signed by the dancer Hijikata Tatsumi on the front free endpapers. [x](text)pp. Tokyo, Gendai Shichosha, 1969. Photographs of the Butoh dancer Hijikata Tatsumi (1928-1886) returning to his hometown in Akita Prefecture. “It will be almost impossible to define Tatsumi Hijikata, between the terrestrial or the aerial as one of his own attributions, but, before speaking of that, the significant fact is that our dancer has rushed like a gust of wind to the farm village, especially to the district of rice crops, where the most contradictory and irrational facts of social reality in Japan today still remain. He appears there abruptly, just like an eagle flying down to earth, or a sudden kidnapper from heaven.” (Introduction). This book captures the meeting of tradition and modernity with superb book-design by Tanaka Ikko. Each of the plates folds out from the gutter. This copy was presented by Hijikata Tatsumi to the famous American writer Henry Miller (1891-1980) and his fifth wife Hoki Tokuda, who he had married in 1967. Hijikata Tatsumi signed very few books, and this is an important association copy.

SIGNED COPY  38 INAKOSHI (Koichi).  HASEGAWA (Kei) text.   Maybe, maybe.

First edition. Numerous photographic plates. Text in Japanese and English. 4to. Original boards in dustwrapper and (slightly worn) slipcase, a very good presentation copy signed by the photographer on front free endpaper. Unpaginated. Tokyo, Kyuryudo, 1971. Inakoshi Koichi was born in 1941. He became a freelance photographer in 1970 and the present is his first work, a collection of images of New York. The text by Hasegawa Kei seems to be a short play in four acts entitled ‘The Window’, ‘The Road’, ‘The chair’, & ‘The Sea’, slightly reminiscent of Beckett’s work. The high-contrast photographs have a feeling of profound loneliness. Only seven copies in OCLC.

39 INOUE (Atsumu). Asu no Sekai Bunka - Kogata Kamera ni yoru Nyu Yoku Bankoku Hakurankai Shashinshu [World Culture Tomorrow - A Photobook of the New York Expo]. First edition. 94 photographic

plates. Japanese text. Folio. Original boards (lacking dustwrapper). Overall a very good copy. 37(text)pp. Tokyo, Bancho Shobo, dated: Showa 15 [i.e. 1940].  A superb photographic record of the New York World Fair held in 1939 at Flushing Meadows under the modernist theme of ‘World of Tomorrow’. It was one of the largest world’s fairs of all time and over 44 million people came to visit. Many countries participated including the USSR and Japan. It was in itially organised by a group of retired NYC po licemen to help the city overcome the Great Depression of 1935. This Japanese record of the fair is very rare. No copy in OCLC. Only 2 copies in NACSIS.

SIGNED COPY  40 ISHIDA (Hirokazu). Beijing Biyori - Beijing Weather.

First edition. Numerous photographic plates. Japanese text. 4to. Original boards in dustwrapper and obi, a fine copy signed by the photographer. Unpaginated. Tokyo, Sokyu-sha, 2006. Ishida was born in Beijing in 1943, so in some ways this could be called a homecoming. Most of the images show what the Chinese call ‘laobaixing’ (lit. ‘old 100 names’, i.e. the  ‘common man’) . For somebody who has visited the country in the last twenty years there is a certain amount of nostalgia in these images.

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

photographic plates. 4to. Original flexible boards (light dust-staining), still a very good copy. Unpaginated. Tokyo, Shashin Hyoronsha, 1971. Ishida Hirokazu was born in 1943 in Beijing. In 1964 he graduated from the Tokyo Photography College, followed by an apprenticeship with Nagano Shigeichi. The present is his first book-publication: Ishida visited India several times between 1967 and 1970 and the present is a strong, sombre, (and painful) record of li fe and death in India. Much of t he book focuses on the abject poverty. The style of the images is reminiscent of Tomatsu’s work in Afghanistan (Saramu Areikomu, Shaken 1968). Rare. Only two copies in OCLC.

42 ISHIGAME (Yasuro). Kokoni Kodomotachi ga iru, koe ga suru [There are children here and they make noise]. First edition. Numerous

photographic plates. Text in English and Japanese. Small folio. Original cloth in dustwrapper (minor defect to lower spine) and (slightly scuffed) slipcase, still a very good copy. Unpaginated. Tokyo, Mihara Shobo, 1971. This is a superb study of children living in the old neighbourhoods of Naples. The title refers to a previous publication entitled “So there were no children [Soshite kodomotachi wa inai]” published in 1968. Ishigame has published over a dozen books on children. No copy in OCLC.

43 ITAGAKI (Takao). Geijutsuteki Gendai no Shoso [Aspects of  Artistic Modernity]. First edition. 12 photographic plates. Japanese text.

Original cloth in (damaged) slipcase, overall a very good copy. Decorated endpapers. 400pp. Tokyo, Rokubunkan, dated: Showa 6 [i.e. 1931].  An important collection o f essays by the art critic and theorist Itagaki Takao (1894-1966) advocating modernist trends in general and the aesthetics of the machine in particular. Itagaki had spent time in Europe and was influenced by the visual language of the German New Objectivity (Neue Sachlichkeit, the name of an exhibition in Mannheim in 1925) movement represented by the likes of Dix, Schad, and Grosz. This movement had a strong political content and often identified with socialist aims. The cover of ‘Aspects of Artistic Modernity’ shows a collage of European Communist publications photographed by Horino Masao who was strongly influenced by Itagaki and worked with him on several projects. Only one copy in OCLC.

44 JAPAN PHOTO LIBRARY. HARA (Hiromu).  Japan Today Education. First edition. 3 vols. Numerous photographic illustrations. Text

in English, Indonesian, and Malay. Folio. Original decorated wrappers, minor staining to covers, but overall still a fine set. Unpaginated. Tokyo, Board of Tourist Industry, dated: Showa 17 [i.e. 1942].  “... Japan never for a moment lost sight of the intrinsic value of her own traditional culture. She now considers that her period of learning from the West has ended, and that the task cut out for her is to create an ideal state of civilization” (Introduction). This is a rare example of three identical issues of a propaganda magazine published in English, Indonesian, and Malay. Includes contributions by Kimura Ihei. No copy in OCLC.

45 KANSAI SHASHINKAI. Kansai Shashin Kaishi Tokugo [Special Number of the Kansai Photography Club Journal]. First edition. 19

collotype plates. Japanese text. 8vo. Original printed wrappers (minor wear to spine) minor fingerstaining, but overall a very good copy. 18(text)pp. Osaka, Kansai Shashinkai, dated Meiji 36 [i.e. 1903].  An exceedingly rare collection of wo rk by t he Kansai Photography Club which was based in Osaka. The collotype plates show examples of early pictorialism in Japan. Unrecorded. No copy in OCLC or NACSIS.

46 KARAFUTO-CHO. Karafuto Shashin-cho [A photographic Album of Sachalin]. First edition. 198 photographic plates. Folio. Original silk-

covered boards in dustwrapper, a very good copy. 186pp. Tokyo, Karafutocho, dated: Showa 11, [i.e. 1936].  A very rare title published by the Sakhalin Public Office, presumably to encourage immigration. Colonization of Sakhalin (‘Kita-Ezo’) go back to the late 17th century. After the Russo-Japanese War the southern part of the island below 50° N was ceded to Japan. The book commences with images of a newly constructed Shinto Sh rine near the capital of Toyohara (now Yuzhno-Sakhalinsk) followed by images of government buildings, as well as farming, logging, fishing, mining, and ot her industries. The last part of the album shows natural scenery and past-times, like skiing, sledging, fishing etc. No copy in OCLC. Three records in NACSIS.

47 KATO (Kyohei).  Choukai Boraku - Kato Kyohei Isaku-shu [Collapse of the Morning’s Opening - A Posthumous Album of Kato Kyohei]. First edition. Numerous photographic plates (incl. several colour

plates). Japanese text. 4to. Original cloth in cloth slipcase, a fine presentation copy signed by his wife. 144pp. Tokyo, Privately Printed, 1987. Kato Kyohei (1909-1983) was one of the pioneers of the hodo shashin (photo reportage) movement. He was a founding member of the Keio Camera Club and was a member of the Research Associations of Young Photojournalists which had been founded in 1938 by Domon Ken, Hamaya Hiroshi, and Tamura Shigeru. Later he worked for Shashin Shuho, and during the war he was based in Peking. The present isaku-shu is the only monograph of his work and it is very rare. It was edited by his friend Hayashi Tadahiko. No copy in OCLC.

48 KIMURA (Ihei).

Japanese School Life Through the Camera. First edition, a very rare variant issue with 50 tipped-in loose photographic plates. Text and printed captions in English, French, and German. Folio. Original printed folding case (slightly worn), overall still a very good copy. 6 loose sheets with introduction and table of content. Tokyo, Kokusai Bunka Shinkokai, 1937. Kimura’s third publication and the very rare issue with loose plates in a folding envelope.  “The photographs contained between the covers of this album are intended to illustrate by means of the camera the road to learning and culture as it passes through the schools in Japan.” (Introduction).

49 KIMURA (Ihei).  KAN (Itsuo).  Jugosei Ichimura Uzaemon butai shashinshu [A photobook showing stage photographs of the fifteenthgeneration Uzaemon Ichimura]. First edition. Numerous photographic

plates. Japanese text. Large 8vo. Original printed boards in dust-wrappers (minor dust-staining), but overall a very good copy. [98], [xxii]pp. Kyoto, Wakei Shoten, dated: Showa 26 [i.e. 1951]. Photograph collection of the fifteenth-generation Uzaemon Ichimura (1874-1945). All of the images were taken before the war. This is the last in a three volume photobook series on noted Kabuki performers published by Wakei Shoten in Kyoto. It is also one of the rarest Kimura items from the 1950s. Only two copies in OCLC.

50 KIMURA (Shohachi).  SUZUKI (Yoshikazu) photographer.   Ginza Kaiwai & Ginza Hacho [Ginza Neighbourhoods & Ginza 8-chome].

First edition. Text volume with folding colour woodblock frontispiece, one further woodblock print, three photographic plates, and numerous maps and illustrations. Japanese text. Square 8vo. Original decorated boards in glassine wrapper and decorated slipcase. Bessatsu (orihon) containing large foldout panorama (measuring 395x18cm) both preserved in original cardboard box with title-slip. Minor spotting, but overall in very good condition. 334pp. Tokyo, Toho Shobo, dated Showa 29 [i.e. 1954].  An extraordinary and charming production: The work i s ostensibly an illu strated history of the Ginza, one of the most upmarket shopping districts of Tokyo. The name is derived from a silver-coin mint which was located here during the Edo period. In the Meiji era it was developed as a shopping and entertainment district with a Western flair and became famous for its department stores, bars, and coffeehouses during the early 20th century. Large parts were destroyed during the firebombing in 1945. However, Tokyoites retained their affection for the place and it was soon rebuilt. Of particular interest is the panorama which accompanies the book recording every building on Ginza 8-chome from Shinbashi bridge to Kyobashi bridge. The photographer Suzuki Yoshikazu (dates unknown) worked from November 1953 until spring of the following year to take over 200 images having to make sure that weather and light conditions would be more or less the same in order not to affect the overall homogeneity of the panorama. Interestingly, Suzuki added an element of photomontage, placing extra cars (and possibly pedestrians) at intersections to heighten the sense of drama. In 1966 Edward Ruscha undertook a similar project in ‘Every building on the Sunset Strip’. Rare. None of the 4 records in OCLC appear to have the separate panorama.

51 KOISHI (Kiyoshi). Satsuei - Sakuga no shin giho. [A New Method First edition. Numerous photographic illustrations. of Photography].

Japanese text. 8vo. Original decorated cloth in (slightly worn) slipcase, but overall still a very good copy. [ii], 294, [xiv](ads.)pp. Tokyo, Genkosha, dated: Showa 13 [i.e. 1936]. Published three years after ‘Shoka Shinkei’ the present photographic manual explains his theories and techniques, incl. multiple exposure, camera movement, solarisation, infrared photography, and montages. Koishi had been criticised for indulging in the ‘grotesque’ imagery and the nature of this manual is of course more commercial and less avant-garde than his previous book. But it shows him to be constantly pushing the frontiers of new techniques. Particularly famous is the composite image entitled: ‘Feeling of Fatigue’ which shows three clocks staggering across a night sky over a modern city has a surrealist feel (p. 240), as well as an image of Mt. Fuji with a cloud formation seemingly mirroring its shape (p. 183). A wonderful photomontage of a girl with a cocktail and the Grand Palace neon lights is an iconic modernist image of the 30s. Very rare. No copy in OCLC.

52 KOKOKUSEI HENSHU-BU. EDITORIALSECTION OF ADVERTISING WORLD. Shin Kanban Zuan Kosakushu [The Design and Manufacture of New Shopsigns]. First edition, second printing. Numerous photographic

illustrations as well as 17 colour lithograph plates. Japanese text. 8vo. Original cloth in slipcase, a very good copy. 193pp. Tokyo, Seibundo Shinkosha, dated: Showa 13, [i.e. 1938].  A charming publication about design and manufacture of shop-signs, including neon-light signs. This book is full of modernist sensibilities showing night-time images of clubs and shops in Tokyo as well as numerous examples of illuminated free-standing advertising signs. Also includes images from Paris, Berlin and London. Unrecorded in any edition. No copy in OCLC. No copy in NACSIS.

53 KOKUSHO KANKOKAI. Nihon Shashin-shi no Shihou - Complete set of six facsimile reprints of important treasures relating to Prewar Japanese photography. Limited edition. Japanese and English text.

 Various sizes, and binding techniques, all in publisher’s cardboard box, a fine copies. Each volume comes with a leaflet by Izawa Kotaro and Kaneko Ryuichi providing scholarly background information. Tokyo, Kokusho Kankokai, 20052007. 1. Yasui Nakaji shashin sakuhin-shu [1942]. One of a limited edition of 500 copies. 2005 2. Koishi Kiyoshi: Shoka Shinkei [1933]. One of a limited editio n of 600 copies. 2005 3. Horino Masao: Kamera me x tetsu kosei [1932]. One of a limited edition of 480 copies. 2005 4. Kimura Ihei: Japan through a Leica [1939]. One of a limited edition of 400 copies. 2006 5. Tampei shashin Club: Hikari [1940]. One o f a limited edition of 400 copies. 2006 6. Fukuhara Shinzo: Paris and the Seine [1922]. One of a limited edition of 300 copies. 2007 7. Bessatsu - Koga kessaku-shu. Supplement - Masterpieces from ‘Koga’ magazine [193233]. 2006

 VERY RARE 54 KONO (Toru). Wadachi - Kono Toru Shashin-shu - [Tracks] The Works of Tetsu Kono. Second revised edition. Numerous photographic

plates. Japanese text. Large 4to. Original cloth in decorated slipcase, occasional minor foxing, overall still a very good copy. Together with a separate list of plates, as well as a printed letter by Kono Toru, stamped with Kono’s name and his new address. 124pp. [Kobe], Privately Printed, dated: Showa 52 [i.e. 1977]. Kono Toru (1907-1984) was born in Osaka. He started photographing as a hobby in 1927 and became a member of the famous Tampei photography club in 1931. He was influenced by Yasui Nakaji and accompanied him on the ‘Wandering Jew’ project in Kobe in 1941.  After the war he continued to photograph in an avant-garde tradition and was a founding member of the Spiegel Photographers Association, a subsidiary of the Tampei Club. It is most curious that Kono should have republished a privately printed book just one year after the first edition: The difference between the two is very slight: One image on page 41 ‘Erosion on a Rock’ (shinshoku sareta iwa) has been replaced with another one of the same title. Furthermore the bibliographical notes on the last page have been cut by half. In the letter Kono apologises to the reader for the mistakes of the first edition but does not explain the circumstances. We can only speculate that another member of the Tampei Club complained about the inclusion of this image and forced Kono to make amends, a very costly exercise for a book of this size. No copy in OCLC.

55 MATSUGI (Fujio). Hodo Shashinshu - Kaijun Heigakko [An  Album of News Photography - The Naval Academy]. First edition.

Numerous photographic plates. Japanese text. Large 8vo. Original cloth in dustwrapper (Minor damage to top corner). A very good copy. 134pp. Tokyo, Bancho Shobo, dated: Showa 18 [i.e. 1943]. Matsugi Fujio was born in 1903 in Kyoto. During the early Showa period he won various prizes in photographic magazines and from 1935 onwards he became a freelance photographer. His main strength was in the field of portraits and human studies. The present book is his first documenting the training of Naval cadets during the early 40s and represents one of the best examples of so-called ‘news-photography’ (hodo shashin) in the  ‘patriotic’ vein. There is something shockingly beautiful in these polished images of men brimming with illusions of grandeur. Only one copy in OCLC.

56 MATSUGI (Fujio). Gakuto Shutsujin - kaigun yobi gakusei no kiroku [Departure of Students for the Front - A Record of Student Marine Reservists]. First edition. Numerous photographic plates. Japanese

text. Large 8vo. Original cloth in dustwrapper, and obi (lacking plastic wrapper).  A very good copy. 153pp. Tokyo, Asahi Shimbunsha, dated: Showa 41 [i.e. 1966]. The present book published some twenty years after the war shows the training of Naval cadets during the early 40s and represents one of the best examples of ‘patriotic photography’. No copy in OCLC.

57 MATSUGI (Fujio). Kaiheidan - Teikoku Kaigun suihei no kiroku [Marine Corps - A record of a Imperial Naval Sailors]. First edition.

Numerous photographic plates. Japanese text. Large 8vo. Original cloth in dustwrapper, obi, and plastic wrapper. A very good copy. 127pp. Tokyo, Asahi Shimbunsha, dated: Showa 41 [i.e. 1967]. This is Matsugi’s second volume of ‘patriotic photography’ about the training of Naval cadets during the 40s. No copy in OCLC.

58 MIDORIKAWA (Yoichi). Yoroppa no fukei - Sketching Tour in Europe. First edition. Numerous photographic plates (several in colour, 4

folding). Japanese text. Folio. Original cloth in cardboard slipcase. A very good copy. Unpaginated. Tokyo, Geibi Shuppansha, dated: Showa 35 [i.e. 1960]. This publication was supported by Shigemori Koen as well as Canon. The tour project covers Egypt, Greece, Switzerland, France, Holland, Denmark, and Norway. Book Design by Awazu Kiyoshi.

59 MIKI (Shigeru).  YANAGITA (Kunio), text.   Yukiguni no Minzoku [People of the Snow Country]. First edition. 367 photographic illustrations

and one colour lithograph map. Japanese text. Large 8vo. Original boards in dustwrapper (minor damage), overall still a very good copy. Decorated endpapers. 64(text)pp. Tokyo, Yotoku-sha, dated: Showa 19 [i.e. 1944].  An important photographic item illustrative of the strong interest during the war-years in folklore studies. The book is a comprehensive overview of the types, dress, customs, housing, and products of Akita Prefecture. Yanagita Kunio (1865-1972) is widely regarded as the father of ethnology. After graduating from Tokyo Univ ersity he became an official in the Ministry of Agriculture. His work allowed him to travel widely and he became fascinated with different village customs in various parts of Japan. The film-maker Miki Shigeru (19051978) selected the images from over 2000 photos taken as part of a documentary film entitled ‘Living of the land’ (tsuchi ni ikiru, 1940). 2 records in ALC.

60 MINAMI (Minoru) editor.   Geijutsu Shashin Kenkyu [Art Photographic Studies]. First edition. Vol. I, no. 1. Numerous photographic

plates. Japanese text. Large 8vo. Original decorated flexible boards, overall in very good condition. 40(text)pp. Tokyo, ARS, dated: May, Taisho 11 [i.e. 1922]. During the first half of the 1920s this magazine represented the most important trends in Geijutsu photography. Having published the successful ‘Geijutsu Shashin no Kenkyu’ Minami Minoru (1887-1948) launched the present monthly magazine, promoting a new artistic approach to pictorialism. Many of the images were taken with a popular Vest Pocket Camera that lent itself to production of popular hazy images. However, one can clearly detect a shift in the subject matter, often away from landscape photography. And even the landscapes began to be seen in a different context, with abstract shapes of light and shadow playing an increasingly important role. This rare first issue includes works by Takeda Baitei, Murai Tominosuke, Shindo Seinosuke, Minami Minoru, and the German photographer Alfred Enke. Very rare. No copy on OCLC, one record in ALC.

61 MORATH (Inge). Panpurona no matsuri - Fiesta in Panplona.

First edition. Numerous photographic illustrations, several in colour. Text in English and Japanese. 8vo. Original printed boards (minor wear to spine), still a very good copy. [iv], 40, [viii]pp. Tokyo, Heibonsha, dated: Showa 32 [i.e. 1957]. Inge Morath (1923-2002) was a member of the Magnum photo agency. During the 50s she lived in Paris and worked with Ernst Haas and Erich Lessing. This work was first published in Zurich in 1955. Only one copy in OCLC.

SIGNED COPIES 62 MORIYAMA (Daido).

Kiroku - Record No. 1-11. Facsimile edition of 1-5. First editions of 6-11. 11 volumes. Numerous photographic plates. Japanese text. Small folio. Original flexible boards in original cardboard portfolio. A fine set signed by the photographer. Unpaginated. Tokyo, Akio Nagasawa, 2006-09.  ‘Kiroku’ was originally published between 1972-73. It was privately published by Moriyama who thought of it as a personal selection of favourite images. The project came to a halt in 1973 when the oil-crisis resulted in a doubling of printing costs in Japan. After a break of over 30 years Akio Nagasawa persuaded Moriyama to bring ‘Kiroku’ back to life. It is difficult to detect any change in the scenery or the objects that were the hallmark of Moriyama’s work in the early 1970s. The main difference is in our reaction to the work. We have grown used to them, they don’t shock any more, on the contrary, they seem to be infused with a sense of nostalgia. Particularly impressive are the night-scenes. Each issue of ‘Kiroku’ contains a short personal postscript by Moriyama.

63 NAGANO (Shigeichi).  TANIKAWA (Shuntaro), text.   Yoru no byoin - The Hospital at Night. First edition. Numerous photographic plates.

Japanese text. Large oblong 8vo. Original decorated flexible boards, a very good copy. [32]pp. Tokyo, Fukuinkan, 1979. Little Yutaka has come down with an inflamed appendix. He is rushed to hospital and operated on in the same evening. This fabulous reportage realistically captures the drama of the occasion. Pain and worry of the parents is contrasted with the calm professionalism of the doctors and nurses. The image of the scalpel about to make the incision into the stomach is followed by a beautiful shot of a pair of pliers holding two threads at the end of the successful operation. There is a cinematic quality to the sequence of images and it all couldn’t be more poignant. Published as vol. 9 in the children’s book series ‘Kodomo no tomo’ by Fukuin-kan, one o f the leading publishers of children’s books. A hardcover version was issued in 1983. No copy in OCLC.

SIGNED COPY  64 NAGANO (Shigeichi).

Toi Shisen Shisen - A Strange Strange Perspective in Tokyo.

1980-1989. First edition. 42 double-page plates. Japanese text. Large folio. Original decorated cloth in slipcase, a fine copy signed by the photographer. [xii](text)pp. Tokyo, Inter Press Corporation, 1989.  A strange perspective indeed: Office workers taking a mid-day nap on artificial grass in the Ikebukuro Sunshine building, somebody sunbathing in the bushes, a used car salesshow in Shinjuku, a policeman watching from a bridge, drunken day workers sleeping on the pavement in front of Takadanobaba station, a boy sitting inside a coin locker, the ruins of a public bath, a chicken on a banister in a school yard, all of the scenes become significant through the angle, the moment, and t he size. While being slightly absurd, there is a palpable sense of the security, confidence, and contentedness of the late 80s. Only one copy in OCLC.

65 NAKAFUJI (Takehiko).

Enter the Mirror. First edition. Numerous photographic plates. Large folding poster measuring ca. 69x102cm. Japanese text. Small folio. Original flexible boards, together with a folded sheet of text (8pp.), in slipcase. A very good copy. Unpaginated. Unpaginated. Tokyo, Mole, 1997.

 A moriyama-esque record record of New York, Amsterdam, Paris, London, Hong Kong and Tokyo, with an introduction by... Moriyama Daido: “... a ceaseless unyielding challenge to his own self as well as oncoming imaginary foe.” The title itself may be a reference to the close relationship between Nakafuji and Moriyama. Only one copy in OCLC.

66 NAKAMURA (Yoshinobu).  Setouchi no hitobito [People of Seto]. First edition. Numerous photographic plates. Japanese text. Small

folio. Original decorated flexible boards in dustwrapper and (slightly rubbed) slipcase, a very good copy. 195pp. Tokyo, Shakai Shiso Shaken, dated: Showa 40, [i.e. 1965. Nakamura Yoshinobu was born in 1925 on Naoshima, one of the islands of the famously picturesque Japan Inland Sea (Seto Naikai). He became a professional photographer in 1955 and in 1958 won the Japan Photography Association’s newcomer prize. Throughout the 50s he travelled around the islands of photographing villages that seemed to be lo st in the past. He focuses on colourful individuals, a midwife, a postman, a doctor, a po liceman, a primary school teacher, he lovingly portrays their life in the local community. In its focus on individual characters this charming book is strongly reminiscent of Kinoshita Keisuke’s popular film ‘Twenty-four Eyes’ (Nijushi no hitomi, 1954) that was also filmed on one of the islands. It is in the best tradition of documentary photography. No copy in OCLC.

NANIWA SHASHIN KURABU. Koga-shu. No. 6. Containing 28 tipped-in collotype plates, captioned on tissue guards. Japanese text. 8vo. Original flexible boards (some wear, occasional light foxing), but overall in good condition. 20(text)pp. Osaka, Naniwa Shashin Club, dated Showa 3 [i.e. 1928]. 67

In January 1904 Kuwata Shozaburo and Ishii Kichinosuke founded the Naniwa Phot ography Club whose membership was essentially composed of serious amateur photographers who determined the theme of pictorialism in the Meiji, Taisho, and early Showa era. Prominent members included Kometani Koro, Yokoyama Kinkei, Koishi Kiyoshi, Hanawa Gingo, Yasui Nakaji, Umesaki Ori, and Fukumori Hakuyo. Unrecorded. No copy in OCLC, no copy in ALC, no copy in NACSIS.

68 NARAHARA (Ikko).

First edition. Numerous Tokyo, the 50s. photographic plates. Text in English and Japanese. Folio. Original boards, a fine copy. 50pp. Tokyo, Mole, 1996. This book documents the extraordinary first steps that Narahara Ikko took with a camera.  “I breathed photographs on Tokyo street corners the way I breathed air. In my viewfinder those street corners changed into ‘streets in my photographs’. Whenever I released the shutter, I seemed to hear the beat of modern jazz, which I loved so much” (postscript).

69 NARAHARA (Ikko). Shometsushita Jikan - Where Time has  Vanished. First edition. 101 photographic plates (one in colour). Text in

English and Japanese. Square folio. Original decorated cloth in slipcase and outer cardboard box, a very good copy. [xx](text)pp. Tokyo, Asahi Shimbunsha, 1975. In 1972 Narahara drove across the U.S. in a Chevrolet and came up with an extraordinary series of iconic images in the best Narahara tradition. One of the most famous is “Two garbage cans, Indian village - New Mexico” in an Acoma Indian reservation called ‘Sky City’. The garbage cans were suspended in order to prevent coyotes from getting to the waste. ‘Sky through twin windows, Colorado’, is an artificial image with a crucifix and the wing of a bird. Many of the images show reflections or manipulation of perspective to strange effect. In the accompanying essay entitled ‘A Sea without Water’ Narahara compares this effect to a negative energy holding electrons in a vacuum. Book-design by Katsui Mitsuo. Five copies in OCLC.

70 NARAHARA (Ikko). Supein: Idainaru Gogo - Espana Grand Tarde Fiesta Vaya Con Dios. First edition. 2 vols. Numerous photographic plates.

Folio. Original decorated boards in decorated slipcase and outer cardboard box, a close to fine copy. Together with a folio booklet of Japanese & English text. Decorated endpapers. 239; [44]pp. Tokyo, Kyuryudo, 1969. It must have been an act of serendipity that brought Narahara to Spain in the early half of the 1960s. As he explains in the preface, he felt drawn to Europe on account of being born in Nagasaki, the city to first open its doors to the “Southern barbarians” (nanbanjin) from Spain and Portugal. Narahara spent two long summers driving around Spain with his wife and he got to know the country well. The present record, produced - as he insists - unintentionally, is the best book of photographs on Spain. This is a book full of Spanish passion, Spanish sensibilities, and of course the Spanish “dance to the cult of the smell of blood” [bullfighting] features prominently in the first chapter. “As death, which every one must meet ultimately in his life, is not in itself the purpose of life, the death of the bull is never the purpose of this drama of bullfighting.” The final chapter of the book is entitled  “Vaya con Dios”. Here Narahara finds the void of timelessness. One can feel the heat, one can smell the ham, and the deep humanity in spite of - if not because of - the poverty. Five copies in OCLC.

71 NIHON SHASHINKAI. Nihon Shashinkai Kaiho [Journal of the Japan Photographic Society].  Vol. 1, no. 1. 4 collotype plates, 1 colour

plate and several illustrations in the text. Japanese text with English table of content. Large 8vo. Original printed wrappers, minor wear and spotting, but overall a very good copy. 90pp. Tokyo, Japan Photographic Society, dated: Meiji 40 [i.e. 1907].  A very rare issue (possibly the only one) of an early incarnation of the Japan Photographic Society. Two of the collotype plates show small portraits of 21 members of the Society including the foreign minister Count Hayashi, Asanuma Tokichi, Konishi Rokuemon, Nakashima Matsuchi, Maruki Riyo, Ogawa Isshin, and Tamamura Kozaburo. Unrecorded. No copy in OCLC, ALC, or NACSIS.

72 NISHIYAMA (Kiyoshi). Purezanto Kurabu 40 Kinen Shashinshu - Pleasant Club 40th Anniversary Album. First edition. No. 46 of a limited

edition of 1000 copies. 119 photographic plates. Japanese text. 4to. Original cloth in plastic dustwrapper and slipcase, slightly warped, but overall a very good copy. 24(text)pp. Tokyo, Privately Printed, 1961. The Pleasant Club was founded in Tokyo in October 1921. It was headed by Nishiyama Kiyoshi (1893-1983) and held its first exhibition in May 1923. Kubokawa Tokusaburo was a prominent member. The club was dedicated to amateur photography but it did not restrict itself to a particular style. The present is a very rare retrospective of the activities and achievements of its club members. Printed in photogravure the book includes articles by Inagaki Koichi, Ichiba Tokutaro, Oki Igusa, and Shimada Kiichiro as well a chronology of the club’s activities. Unrecorded. No copy in OCLC or NACSIS.

73

NORTH CHINA PHOTOGRAPHERS ASSOCIATION.

YOSHIDA

(Jun), editor.   Tairiku no Fubo - Genchi Sakka Shashinshu [The Face of a Continent - A Photobook by Local Photographers]. First edition. Numerous photographic plates. Japanese text. 4to. Original cloth in slipcase (lacking dustwrapper), minor wear, slightly shaken, but overall a very good copy. 150pp. Peking, Hokushi Shashin Sakka Shudan, dated: Showa 16 [i.e. 1941].  ‘Local’ should here be interpreted in the broadest sense, as all of the photographers are Japanese... The North China Photographers Association was established to control photographic output in the areas under Japanese control. As usual, there is very little in these images to hint at a bitterly fought war. ‘China, the beautiful’ could be the subtitle of this book. Yoshida Jun (1908-2003) features prominently amongst the contributors. Rare. Only one copy in OCLC. No copy in NACSIS.

74 OGAWA (Hiroshi). TANAKA (Ikko), designer.  Kami no forumu 1 & 2 [The Form of Paper]. First edition. 2 vols. Numerous photographic plates

and illustrations. Japanese text. Large 8vo. Original boards in dustwrapper (damage to vol. 1) and slipcases, overall a good set. 166, [vi]; 186, [vi]pp. Tokyo, Kyuryu-do, 1967-76.  “This book inquires into the quintessence of forms which paper can be given” (Introduction by Hara Hiromu). It is divided into two parts the first being black and white photographs by Kurihara Minoru showing examples of Ogawa’s paper art. The second part gives examples of various cutting and folding techniques. Works 041.The very rare first edition of this work. Works 041. The second volume of paper sculptures follows the pattern of the first. Black and white photographs - mostly by the artist himself - are arranged under three chapters, namely ‘face’, ‘band’, and ‘volume’. Rare. Only one copy in OCLC. Works 106.

75 OSAKA ASAHI SHINBUNSHA. Shashin Shuho - Semi Annual Pictorial. First edition. One folding frontispiece and 200 photographic

plates. Japanese text. Oblong folio. Original decorated flexible boards, minor wear throughout, but overall still a good copy. Unpaginated. Osaka, Asahi Shimbunsha, dated: Taisho 11, 11-gatsu, [i.e. November 1922]. Osaka Asahi Shimbunsha was at the forefront of sponsoring amateur photographers in the Kansai area. To celebrate the acquisition of a photogravure printing press in 1919 and the subsequent publication of weekly photographic magazine ‘Asahi Graphic’ the newspaper organised an open photography competition that would be judged by members of its staff. Shashin Shuho presents the results of the 3rd All-Kansai Photography Competition that was held on October 31st. 200 works were selected from contributions throughout the Kansai area. It includes work by Kometani Koro (1889-1947), Umesaka Ori (1900-1965), and Fukumori Hakuyo (1887-1942). Rare. No copy in OCL C.

76 SAKATA (Minoru). Zoukei Shashin 1934-1941. - Structure in Photography; Minoru Sakata’s Anthology. First edition. 22 photographic

plates and several illustrations in the text. Japanese text. Small folio. Original cloth in dustwrapper and obi, a fine copy. 166pp. Nagoya, Arumu, 1988. Sakata Minoru (1902-1974) was one of the most important proponents of the surrealist school of constructivist photography. Born in Aichi Prefecture, Sakata worked for the Mainichi Newspaper in Osaka before opening a photographic supply store in Nagoya in 1934. He became a founding member of the Nagoya Avant-garde Club, a federation of poets, painters, and photographers. The present booklet is his first and only pre-war publication. Sakata advocated going close to natural objects and while showing their innate beauty he at the same time tinges the structure of the object with a surrealist meaning. The present is a re-edited version of the booklet that was originally published in 1941, containing additional material. Published in a small edition in Nagoya, this work is hard to find. No copy in OCLC.

SIGNED COPY  77 SHINOYAMA (Kisshin).

Shinorama New York. First edition. 25 loose triple-page colour plates each measuring 105x23cm, as well as 2 composite posters measuring 105x67cm. Japanese text. Oblong folio. Loose in d ecorated folding case and original plastic cover, minor spotting, a very good copy signed by the photographer on the title. Tokyo, Bungei Shunju, 1983.  Very much a product of the 80s this is Shinoyama Kisshin’s take on New York. Brooklyn Bridge, Wall Street, Staten Island Ferry, Broadway, Coney Island, the Subway, China Town, the Yankee Stadium, the Village Vanguard Jazz Club, all iconic images, and yet Shinoyama’s images have a special feel to them. This is the first book publication to show his invention of Shinorama, using t hree cameras to produce a composite panoramic image. No copy in OCLC.

78 SHIOTANI (Teikoh). Shiotani Teikoh Meisaku-shu. Album 19231973. First edition. 128 photographic plates. Japanese text. 4to. Original

boards in dustwrapper, with remnants of obi, occasional light dust-staining, but overall still a good copy. Unpaginated. Tokyo, Nihon Shashin Shuppan, dated: Showa 50 [i.e. 1975]. Shiotani Teikoh (1899-1988) grew up in the small town of Akasaki (Tottori Pref.) located between Tottori (Ueda Shoji’s hometown) and Matsue on the western coast of southern Honshu. Like Ueda he found ample inspiration in his local environment. Under the guidance of Nakajima Kenkichi he developed an instantly recognisable individual style using the popular the popular Kodak Vest-Pocket (besutan) Camera and practicing the techniques of ‘deformation’ and ‘rag-wipe’ (zokin-gake) for printing. At the age of twenty he even founded the Akasaki Vest Club in his hometown and had his photographs published regularly by Camera, Asahi Camera, and Photo Times, where it became noted for his highly individual and yet artistic approach. Much of his best work focuses on the particular characteristics of the windy and sparse seashore of Akasaki taken during extreme weather conditions. Shiotani also practiced still lives as well as portrait photography. His portraits are often taken against a plain background highlighting the individuality of his subjects. His work is sensitive and sometimes moody. Shiotani was a member of the constructivist Japan Photography Association (Nihon Koga Kyokai). Rare. No copy in OCLC. Only one copy in NACSIS.

COMPLETE SET OF HIS WORKS 79 SUZUKI (Kiyoshi). Nagare no Uta - Soul and Soul; Buraman no Hikari - The Light that has Lighted the World; Tenmaku no machi Mind Games; Yume no hashiri - S Street Shuffle; Gusha no Fune - The Ship of Fools; Tenchi Giho; Shura no Tani - Finish Dying; Durasia. First

editions. 8 vols. Numerous photographic plates. Japanese text. 8vo. Original bindings, complete in all respects. Tokyo/Yokohama, Privately Printed, 19721994. Suzuki Kiyoshi was born in 1943 in Iwaki city (Fuku shima Prefecture). In 1969 he graduated from the Tokyo School of Photography. But shortly after his debut in Camera Mainichi he changed jobs to become a shop-sign/advertising painter and henceforth pursued photographic activities as an amateur. He died of cancer in 2000. Of the eight books that he published in the course of his life seven were privately printed. A superb set of fine copies charting the achievements of a lifetime together with a catalogue of recent retrospective of Suzuki’s work (Suzuki Kiyoshi – Soul and Soul). Detailed descriptions of each title available on request.

SIGNED COPY  80 SUZUKI (Kenji) Suzuki Kenji Shashinshu - The Photography of Kenji Suzuki. First edition. Numerous photographic plates. Text in English

and Japanese. Small folio. Original cloth in dustwrapper (slightly rubbed). Still a very good copy signed by the p hotographer on front free endpaper. 150pp. Tokyo, Nihon Kamera-sha, dated Showa 48 [i.e. 1973].  “Art is the attempt t o communi cate one’s psychological reactions to components of th e physical world. It is through making the attempt that the means of creation is discovered.” This is an outstanding work by a little known photographer. Suzuki Kenji (1916) was a medical doctor who operated his own paediatrics clinic in Hiroshima City after the war. He was a keen amateur photographer and a member of the Nikakai Photography Club. The present is his only publication. His work is clearly inspired by the experiences relating to the  Atomic bomb, hovering somewhere between the abstract and the subjective mold. He may have been influenced by Tomatsu and Kawada and yet he has clearly developed his own language. The images are printed in superb photogravure and the photographer provides a running commentary giving valuable insight for his work. Only 4 copies in OCLC.

81 TAKANASHI (Yutaka). Machi [Town].

First edition. Numerous (mostly double-page) colour plates. Large folio. Original cloth in plastic dustwrapper, cardboard slipcase, and obi. A fine copy. [190]pp, together with 12pp. supplement explaining the locations. Tokyo, Asahi Shimbunsha, 1977. The definitive photographic work on Tokyo’s ‘shitamachi’ (old down-town areas). Although not intended as a documentary this book captures the charm and humanity of the last vestiges of ‘Edo-life’ in the increasingly concrete jungle of the sprawling metropolis. Takanashi concentrates on the exterior and interior of old houses, showing the jumble and the order of accumulated bits and pieces of daily life resonating warmly in the glow of the afternoon sun. Only three copies in OCLC.

82 TAKANASHI (Yutaka).

Chimeiron - Genus Loci, Tokyo. First edition. Numerous photographic plates. Japanese text. Small folio. Original boards in dustwrapper and obi, a fine copy. 168pp. Tokyo, Mainichi Communications, 2000. This book demands a certain amount of effort from the viewer, as if one eyes have to get used to the darkness and should be seen as part of a series starting with ‘Machi’ (1977) and ending with ‘Nostalghia’ (2004). All of these books focus on human traces within architecture, documenting the change in the ‘skin’ of the city, actually without showing humans. No copy in OCLC.

83 TESHIGAHARA (Sofu).  KAMEKURA (Yusaku) book-design.   Sofu Zokei - The Art of Sofu. First edition. Numerous colour photographic plates.

Large folio. Original decorated cloth in drop-back cloth box and original outer cardboard case (minor wear), overall a fine copy. 259pp. Tokyo, Shufunotomosha, 1978.  A superb monograph of the artistic oeuvre of Teshigahara Sofu (1900-1979) the founder of the Sogetsu School of Ikebana flower arrangement. The books covers ikebana, sculpture, calligraphy, and painting. Photographs by Domon Ken, Ishimoto Yasuhiro, Otsuji Kiyoshi, Kitadai Shozo, and Fujimori Takeshi. Book-design by Kamekura Yusaku. Only two copies in OCLC.

84 TOKYO ASAHI SHIMBUN-SHA. Kokusai Kokoku Shashin Tensen-shu [A Selection of Images from the International Exhibition of Advertising Photography]. First edition. Numerous photographic plates

and illustrations. Japanese text. Large 8vo. Original decorated flexible boards, a close to fine copy. 134, 37(text)pp. Tokyo, Asahi Shimbun-sha, dated: Showa 5 [i.e. 1930]. In Japan advertising photography turned out to be the prime medium where modernist tendencies were successfully explored. The present catalogue documents the enormous range of visual language as well as the innovative force that swept through the country.  Asahi Newspaper presented the first International Advertising exhibitio n in To kyo in A pril 1930. The newspaper had a natural interest in promoting photography in general and advertising in particular. Although it was called international most contributions actually came from Japan. The first prize went to Nakayama Iwata for his famous work ‘Fukusuke Tabi’, a beautifully clean and modern composition advertising one of the most traditional pieces of clothing, namely Japanese-style socks. Includes essays by Narusawa Reisen and Koishi Kiyoshi. Very rare. No copy in OCLC.

85 TOKYO ASAHI SHINBUN-SHA. Kokoku Shashinten Sakuhinshu - Photo Publicite 1933. First edition. Numerous photographic plates.

Japanese and French text. Large 8vo. Original spiral-bound flexible boards (slightly spotted), but overall still a very good copy. 111pp. Tokyo, Seibundo, dated Showa 8, [i.e. 1933]. Catalogue of a prize-winning exhibition of advertising photography held by Asahi Newspapers in 1933, the 4th in a series of int ernational advertising exhibitions. The catalogue is divided into four sections, namely cosmetics, pharmaceuticals, food & drink, and various (mostly electronics and socks) and prizes were awarded for each section. Modernist trends are clearly visible with photographers employing the latest techniques in photo-montages and vying with each other for sharp angles and high contrasts. The appendix gives a list of photographers in the whole of Japan together with their addresses. No copy in OCLC.

86 TOKYO NICHINICHI SHIMBUNSHA. OSAKA MAINICHI SHIMBUNSHA. Teikoku Kaigun no Iyo [The dignified appearance of the Imperial Navy]. First edition. Numerous photographic plates. Japanese

text. Large oblong folio. Original decorated cloth in slipcase, a very good copy. Unpaginated. Tokyo, Tokyo Nichinichi Shimbunsha/Osaka Mainichi Shimbunsha, dated Showa 17 [i.e. 1942].  An unusually large-format publication for do mestic consumption. The work is divided into two chapters, namely ‘the basics’ which is chiefly concerned with naval training, while the second chapter deals with the unfolding course of the war, being a record of Japanese successes from Pearl Harbour, Malaya, New Guinea, and other parts of South East Asia. The use of a bold typeface combined with the heavy use of black ink give a menacing aspect to the publication which (at least in hindsight) somehow undermines the dignity referred to in the title. None of the images are credited to a particular photographer but it includes work by Matsugi Fujio and (possibly) Kimura Ihei. Rare. No copy in OCLC.

[TOKYO PHOTOGRAPHIC 87 TOKYO SHASHIN KENKYUKAI RESEARCH SOCIETY]. Kenten Gashu. [Research Exhibition Catalogue]. No. 20. Numerous photographic plates (one in colour). Japanese text. Large 8vo. Original flexible boards in cardboard case (with ownership inscriptions by Matsui Eiichi), a very good copy. Unpaginated. Tokyo, Tokyo Shashin Kenkyukai, dated: Showa 4 [i.e. 1929]. The Tokyo Photographic Research Society grew out of the art photography group called  Yutsuzusha which had been founded in 1904 and was at the forefront of pictorialist photography. In March 1910 they organized the first Tokyo Photographic Research Society Exhibition that subsequently became dubbed ‘Kenten’ (a short form of Kenkyu Tenran-kai). This exhibition has been regarded as the first art-photography exhibition in Japan. It was only on the 20th anniversary of the society’s foundation that they decided to publish an official annual catalogue. The present issue includes works by Matsuura Koyo, Kanemaki  Akira, Tanaka Kikusui, Nagata Niryu, Suzuki Rokusanro, Tano Yasuhiro, Nishikawa Sentaro, Nishiyama Kiyoshi, Very rare. No copy in OCLC.

[TOKYO PHOTOGRAPHIC 88 TOKYO SHASHIN KENKYUKAI RESEARCH SOCIETY]. Kenten Gashu. [Research Exhibition Catalogue]. No. 29. Numerous photographic plates. Japanese text. Large 8vo. Original flexible boards (minor staining, staples broken, lacking folding case), but overall a good copy. Unpaginated. Tokyo, Tokyo Shashin Kenkyukai, dated: Showa 13 [i.e. 1938]. By the late 1930s the Pictorialist movement with its strong emphasis on the beauty of nature and light was beginning to find it difficult to reinvent itself. However the present issue includes strong works by Shimada Itsuzan, Ito Rokuro, Matsuura Koyo, Kobayashi Hidejiro, Matsubara Seiichi, and Imai Yasumichi. Very rare. No copy in OCLC.

[TOKYO PHOTOGRAPHIC 89 TOKYO SHASHIN KENKYUKAI RESEARCH SOCIETY]. Kenten Gashu. [Research Exhibition Catalogue]. No. 23. Numerous photographic plates. Japanese text. Large 8vo. Original decorated flexible boards (minor dust-staining), lacking slipcase, but overall still a very good copy. Unpaginated. Tokyo, Tokyo Shashin Kenkyukai, dated: Showa 7 [i.e. 1932]. Kenten Gashu became famous for the quality of its reproductions. The present issue includes work by Matsuura Koyo, Nagata Niryu, Kawano Ryutaro, Iketani Keitaro, Kaifu Masaya, Teraoka Tukiji, Matsudaira Tadaaki and many others. No copy in OCLC.

90 TOKYO SHASHIN KENKYUKAI. AKIYAMA (Tetsuzuke).  Misuzu Shashin Gashu [Misuzu Album of Photographs]. Dai 1-kan. Numerous

photographic plates with Japanese captions on facing tissue guards. Large oblong 8vo. Original decorated flexible wrappers, minor damage to spine, but overall a very good copy. Matsumoto, Misuzu Shokai Shashinbu, dated: Taisho 11, [i.e. 1922]. Misuzu Shokai was a photo supply store in Matsumoto City (Nagano Pref.) who sponsored an exhibition as well as the present publication. It is a rare tribute to the enthusiasm and skills of Nagano amateur photographers with a wide range of interesting contributions. Works were selected by Akiyama Tetsuzuke (1880-1944) of the Tokyo Shashin Kenkyukai which dominated art photography during the Taisho period with their emphasis on the pigment-printing process. Unrecorded. No copy in OCLC. No copy in ALC.

91 TOKYO SHASHIN SENMON GAKUIN. TOKYO COLLEGE OF PHOTOGRAPHY. Kamitsu [Congestion]. First edition. Diagrams, maps,

and numerous photographic plates. Japanese text. 8vo. Original decorated boards, minor staining, light damage to 8ff. of lower margin, still a very good copy. 76pp. Tokyo, Privately Printed, dated: Showa 49, [i.e. 1974].  A fascinating and rare record of a student assignment to photograph problems of congestion and overcrowding on Tokyo’s streets, trains, and in housing. The results are a tribute to the maturity of the students at the Tokyo College of Photography. This is no. 6 of the News Photography Campaign Series, and part two on the Capital. We have not been able to find records of any previous or subsequent publications of the school. Unrecorded. No copy in OCLC. Not in NACSIS.

92 TOMATSU (Shomei) Juichi-ji ni-fun Nagasaki [Two Minutes past 11 - Nagasaki]. First edition, second issue. Numerous photographic plates.

Japanese text. Small 4to. Original boards, a very good copy preserved in custom-made cloth slipcase. Unpaginated. Tokyo, Shaken, 1968.  About the present book T omatsu said that Nagasaki has two times: Aug. 9, 1945, 11:02 (when the bomb exploded) and the time since then during which the suffering continued.  “Both times must not be forgotten.” His pictures document the double aspect of misery intertwined with the city’s post-war prosperity. The boo k includes facts about the bombing, diary excerpts, as well as essays by a few of the survivors. All of the images were taken some twenty years after the event: The wristwatch that stopped exactly at 11:02, broken statues of angels from Urakami Cathedral, a helmet with skull fragments fused to it’s inside, a brazier whose surface was blistered by the heat of the blast, the blotched arm of Fukuda Sumako as she combs her hair, and the keloid face of Kataoka Tsuyo (keloid is abnormal growth of scar tissue). There is a surprising solemnity about the book, yet at the same time it is less optimistic than Domon’s Hiroshima published eight years previously. This book is a re-issue of a work printed by Shashin Tojinsha in 1966. Tomatsu acquired the remaining stock, reprinted the title and the final page with the imprint, and pasted a label on the back of the spine, i.e. this book is the remainder of and in all other ways identical to the 1966 issue. No copy in OCLC.

SIGNED COPY  93 UEDA (Shoji). Oto no nai kioku. [Memories without Sound] Shoji Ueda Sketch Album. First edition. Numerous photographic plates.

Japanese text. Oblong folio. Original flexible boards in dustwrapper and slipcase, a very good copy, signed by the photographer on the first page. 180pp. Tokyo, Nihon Camera-sha, dated: Showa 49 [i.e. 1974].  A record of travels throughout Europe between 1972 and ‘73. London, Rome, Madrid, Paris, Toledo, Barcelona, Copenhagen, Florence, Pisa, and Milan, it became a classic route for many Japanese tourists, but ‘Memories without a Sound’ is an intensely personal record that stays away from all touristic clichés. An air of melancholy and solitude pervades these often high-contrast black-an-white images. The book contains a short essay by the graphic designer Horiuchi Seiichi (1932-87) concerning his impressions of Europe in the ‘ 60s. Ueda’s own introduction is printed in the smallest possible type on the cover of the book where he states that he could not recall any sounds during the travels in these ‘strange countries’ (fushigina kuni). He was awarded the 25th Prize of the Japan Professional Photographers Society for this book. Rare. No copy in OCLC.

94

VARIOUS PHOTOGRAPHERS.

Sankai Juku Shashinshu 1&2.

First edition. 2 vols. Numerous photographic plates. Japanese and English text. Small 8vo. Original cloth-backed boards in dustwrapper (minor damage to dustwrapper of vol. 2). Overall a very good set. 46, [vi]; 56, [iv]pp. Tokyo, Shinya Sosho-sha, 1982- 1983. Sankai Juku was founded in 1975 by Ushio Amagatsu. It is one of the most famous Butoh theatrical troupes and in fact the only one still performing. The name “Sankai Juku” literally means “Mountain and Sea Studio” a name full of classical allusions. The present is one of the first photographic publications of the trou pe taken mostly during a European to ur. Very rare. Only two copies of vol. 1 in OCLC.

95 VARIOUS PHOTOGRAPHERS. Fukei Satsuei no Jissai. [Facts about Landscape Photography]. First edition. 2 volumes. Numerous

photographic illustrations. Japanese text. 8vo. Original decorated cloth in slipcase, a very good set. 265, [viii](ads.); 258 [vi](ads.)pp. Tokyo, Genkosha, dated: Showa 12-13 [i.e. 1937- 1938]. This is vol. 5 & 6 of the Shashin Jitsugi Dai Koza [Big Course in Practical Photography], published by Genkosha. With contributions by Yasui Nakaji, Watanabe Yoshio, Koishi Kiyoshi, Sakai Masajiro, and Tsukamoto Koji. Book-design by Onchi Koshiro. No copy in OCLC.

96 YAMAZAWA (Eikoh).

Enkin - Far and Near. First edition. Numerous photographic plates, several in colour. Japanese and English text. 4to. Original cloth in dustwrapper and slipcase, a very good copy. 120pp. Tokyo, Muraisha, 1962. Superb photogravures by Yamazawa Eikoh (1899-1995), one of the pioneering and formidable women photographers in Japan. Yamazawa was born in Osaka. Having graduated from the Tokyo Women’s School of Art she went to America in 1926 to pursue further studies in Fine Arts as well as an apprenticeship in photography. She returned to Japan in 1929 and two years later set up her own studio in Osaka. After the war she continued to work in the visual arts set up her own research institute in Osaka. She returned to America several times to hold various exhibiti ons. Her present first book includes images of New York, portraits of children, still-lives, as well as some abstract compositions. Very rare, no copy in OCLC.

97 YASUI (Nakaji). Yasui Nakaji Shashinshu, Photographer 19031942. First edition. Numerous photographic plates and illustrations. Japanese

text with English abstract. Small folio. Or iginal cloth in dustwrapper and obi, a fine copy. 321pp. Nagoya, Kyodo News, 2004.  Yasui Nakaji (1903-1942) was an amateur photographer who is regarded as one of t he important innovators during the 30s and early 40s. He was active in the Naniwa Club as well as the Tampei photography club - both as a contributor as well as a judge at their exhibitions. In 1927 he was a founding member of the Ginrei-sha, a club that sought to explore new techniques of art photography. His death due to kidney failure on March 15th, 1942 marked the end of Kansai photography during the war. Yasui exerted a profound influence on the post-war generation on such disparate figures as Domon Ken and Moriyama Daido, who hailed him as the father of Japanese photography. The catalogue was based on an exhibition at the Shoto Museum of Art in Nagoya.

98 YATO (Tamotsu). MISHIMA (Yukio) introduction.  Naked Festival. First

edition. Numerous photographic plates. Folio. Original cloth in dustwrapper (minor marginal tear), still a very good copy. Decorated endpapers. 177pp. New York/Tokyo, Walker-Weatherhill, 1969. This book is remarkable for the quality of the photogravures. Naked festivals (hadaka matsuri) are a genre of Japanese festival where participants wear a minimum amount of clothing, usually nothing more than a loincloth. These festivals are usually part of Shintoist purification rites and they are held throughout Japan every year, usually in the summer or winter. While being on the surface a book of anth ropological interest, Mishima’s involvement indicates that it is also about the cult of the body that he was so intimately involved with.

99 ZEN-KANSAI SHASHIN REMMEI - [ ALL-KANSAI ASSOCIATION OF PHOTOGRAPHIC SOCIETIES]. Dai 1-kai Shashin Dai Salon 1926 [First Japan Photography Grand Salon 1926]. First edition. 249

photographic plates, several tipped in. Japanese text. Large 8vo. Flexible boards with embossed vignette, a very good copy. 29(text)pp. Osaka, Asahi Shimbun-sha, dated: Showa 2 [i.e. 1927]. The First Japan Photography Grand Salon was held in the Asahi Kaikan in Osaka from November 26th until the December 2nd, 1926, shortly before the death of the Taisho Emperor. It was the organised by the All-Kansai Association of Photographic Societies, that would merge a few weeks later with the All-Kanto Association to form the All-Japan  Association of Photographic Societies (Zen Nihon Shashin Renmei). Umesaka Ori won the first prize of the competition with a shot of ‘Reeds’ on a shore. Other prizes went to Atsumi U’ichiro, Yasui Nakaji, Takao Jiro, Yoko i Tokutaro, Kadotani Mataichiro and Ogawa Gesshu.  Very rare. No copy in OCLC.

100 ZEN-KANSAI SHASHIN REMMEI - [ ALL-KANSAI ASSOCIATION OF PHOTOGRAPHIC SOCIETIES]. Nihon Shashin Dai Salon 1927 [Japan Photography Grand Salon 1927]. First edition. 209 photographic

plates. Japanese text. Large 8vo. Flexible boards, some light browning and minor foxing, overall still a very good copy. [vi], 8(text)pp. Osaka, Asahi Shimbun-sha, dated: Showa 3 [i.e. 1928]. This Second Japan Photography Grand Salon was held on November 6th 1927 at Asahi Newspaper’s Office in Osaka. Nagami Shun’ichi won the first prize of the competition with a portrait entitled ‘A Family’. Further prizes went to Morimoto Keiho, Narita Shunyo, Umesaka Ori, Tsunenari Shigeyasu, Kobayashi Meison, and Kato Tokutaro. Very rare. No copy in OCLC.