Type d'article
Etat
Reliure
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Evaluation du vendeur
Edité par Kodansha International, 1975
ISBN 10 : 0870110667ISBN 13 : 9780870110665
Vendeur : Strand Book Store, ABAA, New York, NY, Etats-Unis
Livre
Paperback. Etat : Good.
Edité par Phaidon Press, 1961
ISBN 10 : 0714819743ISBN 13 : 9780714819747
Vendeur : Strand Book Store, ABAA, New York, NY, Etats-Unis
Livre
Oversized Hardcover. Etat : Good. Utamaro (illustrateur).
Edité par The Metropolitan Museum of Art, New York / The Viking Press, a Studio Book, 1981
ISBN 10 : 0670220094ISBN 13 : 9780670220090
Vendeur : The Old Sage Bookshop, Prescott, AZ, Etats-Unis
Livre Edition originale
Hard Cover with Slipcase. Etat : Fine. No Jacket. First Edition. Green cloth hardcover with accordian-style pages and no spine. Book in fine or like-new condition. Slipcase is very good plus with a little spotting. Second ISBN : 0870992805. Size: 4to - over 9¾ - 12" tall. Book.
Edité par Futami bunko, 1989
ISBN 10 : 4576890514ISBN 13 : 9784576890517
Vendeur : Sunny Day Bookstore, SINGAPORE, Singapour
Livre
Etat : Fine. Size: Size (cm): 19.8 x 14 x 3.7 Number of books: 1.
Edité par Futami bunko, 1989
ISBN 10 : 4576890514ISBN 13 : 9784576890517
Vendeur : Sunny Day Bookstore, SINGAPORE, Singapour
Livre
Etat : Fine. Size: Size (cm): 19.8 x 14 x 3.7 Number of books: 1.
Edité par Futami shobo, 1989
Vendeur : Sunny Day Bookstore, SINGAPORE, Singapour
Etat : Fine. The book is in fine condition.
Edité par Futami bunko, 1989
Vendeur : Sunny Day Bookstore, SINGAPORE, Singapour
Etat : Fine. Size: Size (cm): 19.8 x 14 x 3.7 Number of books: 1.
Vendeur : RARE ORIENTAL BOOK CO., ABAA, ILAB, Aptos, CA, Etats-Unis
[Japan, ca.1780's].Four Utamaro prints, Hosoban, size about: 34 x 7.5 cm.,color woodblock printed, on "toned" paper,a bit browned,one rubbed two with 3-4 old small mended worm holes, 3 re-backed,else very good and solid examples.OBSCURE ITEMS . *** **** *** . . A SUITE OF VERY EARLY AND RARE UTAMARO . . . SHIKISHI COLOR WOODBLOCK PRINTS . . *** Utamaro was one of the most famous and successful artists of his time. He produced a large number of superb polychrome woodblock prints and illustrated books. . A substantial number of "aspiring" artists copied & mimicked his work, not all were great copyist ! . Because he enjoyed popularity during his life time, Utamaro had lots of 'students' and fakers. . While we are not 100% sure, the look and feel of these four prints may be in the realm of those who admired the master's work. We are unsure, priced accordingly. The first, second and fourth are possible for his actual work. The paper quality has 'toned' and browned, indicating use of a Washi that was susceptible to darkening which is unusual in Japanese prints of the middle 18th and early 19th centuries. . Per the list below, numbers 1, 3 & 4 are the best in the group. They are nicely printed, colored and executed. The 2nd has some rubbing to the small bird and the signature of no. 2 is rubbed. . We are unsure as to the true nature of the artist or printing techniques. They have a somewhat different look to traditional Utamaro work. Also the color of the paper being dark also contributes to the whole affect. . It is possible these are some kind of copy or period work by a Utamaro student or look-alike. There are no publisher's seal, nor Kiwame [censor's seal], but they are surely late 1780's to early 1800's. . *** DESCRIPTION OF EACH PRINT: . 1. Color woodblock printed, sprig of bamboo and morning glories with a bird, size 7.3 x 34.8 cm. Near center mild fold, clear signature "Utamaro Hitsu." . This is the best of the lot, with nice colors: black, brown, green & grey. Nicely executed, good signature, fairly good work, 7.5 x 35.8 cm., not re-backed, old center fold. . * 2. Black, white & gray, a bird perched on long grass is looking down at flowers, size is 6.9 x 33.4 cm. Signature "Utamaro Ga," first Kanji [Uta] unclear, else clear. . There are 3 small mended holes, re-backed, some surface rubbing, done in brown, black & grey. 6.8 x 33.5 cm. . * 3. Black, white & gray, a bird perched on long grass looking down, 7.3 x 34 cm. Near center mild fold, three old worm hold mended from the verso, signed "UTAMARO GA," Kanji a bit less than perfectly clear. . With 3 old mended and a few tiny pin holes, all mended by re-backing, hint of an old center fold [now very mild]. Signature less than crystal clear, a bit of old rubbing to top and right, else solid, firm example. Size 7 x 34 cm, very feint hint of old center fold. . * 4. A Samurai sporting a "Sho" [small] sword eating a large watermelon, he is standing by a old Oki [wooden bucket], size 7 x 34 cm. There are 3 large and a few tiny mended pin holes, accomplished by re-backing. These holes nearly match those in #3 above, wit a clear signature "Utamaro Ga." . By large the most interesting of the group, The man shows a animated stance, expertly drawn and depicted. He is wearing Wara Zori [rice straw sandals], typical of the time and has what looks like a Furoshiki [silk wrapping cloth] bundle behind him. He looks like a traveler taking a rest break on the road. . *** CONDITION: Three of the four have old re-backed Washi paper, each is also "toned" browned paper. There is a mild stain at the top and bottom which appears on the images we post. All now firm and stable. . Each has some poem or lucid comment at the top half in Oshuji [calligraphy], with the lower half an illustration. . Please review photos posted to our website. . *** THE ARTIST KITAGAWA Utamaro [1753-1806]: Utamaro was a Japanese painter & woodblock print artist. He is one of the most highly regarded designers of Ukiyo-e woodblock prints and paintings, and is best known for his Bijin okubi-e [large-headed pictures of beautiful women] of the 1790s. He also produced nature studies, particularly illustrated books of insects. . Little is known of Utamaro's life. His work began to appear in the 1770s, and he rose to prominence in the early 1790s with his portraits of beauties with exaggerated, elongated features. He produced over 2000 known prints and was one of the few Ukiyo-e artists to achieve fame throughout Japan in his lifetime. In 1804 he was arrested and manacled for fifty days for making illegal prints depicting the 16th-century military ruler Toyotomi Hideyoshi and died two years later. . Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the "Japanese influence" among these artists often refers to the work of Utamaro. . *** REFERENCES: .
Edité par Tokyo, Adachi Inst. of Printmaking / Ukiyo-e Print Publication Assoc., Showa 45 (1970)., 1970
Vendeur : C O - L I B R I , Bremen - Berlin ; Deutschland / Germany ., Berlin, Allemagne
24 sheets of "ancient-method pure handrail woodblock print", under passepartouts and with explanatory sheets, in printed envelopes; all in a japanese cloth-folder with calligraphic title-strip (ca. 45 x 35 x 6 cm, >5 kg.). *** [Endgültig ausklingender FRÜHLINGS-VERKAUF / Ultimately fading SPRING-SALE: um über 40% REDUZIERTER PREIS bis Montag 06.05.2024, 24 Uhr (PRICE REDUCTION of over 40% until Monday, May 6th 2024); ursprünglicher Preis / originally EUR 4.650,-] --- FIRST EDITIONS, LARGESIZE TRADITIONALLY PRINTED ORIGINALS; with all elobarate publisher's packages. - Few sheets with shallow foxing; A BEAUTIFUL, RARELY COMPLETE SET.
Vendeur : Jonathan A. Hill, Bookseller Inc., New York, NY, Etats-Unis
Edition originale
15 double-page woodblock-printed color illustrations. 9.5 folding leaves & colophon page; 8.5 folding leaves & colophon page. Two vols. 8vo (255 x 189 mm.), orig. blue patterned wrappers (gajo jitate-style, somewhat rubbed), with slightly oxidized silver pigment decoration, orig. block-printed labels on both covers (labels a little worn). [From Vols. I & II colophons]: Edo: Tsutaya Juzaburo, [ca. 1791 or 1792]. First edition, of the utmost rarity, the final installment in Utamaro's trilogy, considered the pinnacle of Japanese book illustration. Following The Insect Book [Ehon mushi erabi] (1788) and The Shell Book [Shiohi no tsuto] (ca. 1789/90), this intricately printed work, devoted to birds through the seasons and paired with kyoka poetry, was published in the early 1790s. In an article posthumously published in 1997, Jack Hillier wrote: "His achievements in yet another sphere, that of the album or picture-book, demonstrate the breadth of Utamaro's genius. [The three books] form a trilogy in a genre in which no other ukiyo-e artist, except Shigemasa, competes."-"A Second Look at Utamaro," Impressions, No. 19 (1997), p. 53. "For the 'Bird Book', Momo Chidori Kyoka Awase, undated but, judging by the publisher's advertisements contained in it for books by Utamaro and Shigemasa dated 1790 and 1791 respectively, probably published in 1791, a return was made to the 'Fifteen Verse Pairs' pattern, the framework for the 'Insect Book'. The two volumes comprising the work contain a total of fifteen prints of birds with flowers, and on each print there are two kyoka, transcribed by the poets, according to the fanciful preface, from the songs of the birds themselves. "There is a quieter, more subdued kind of colour-printing in this album than in the 'Insect Book' or the 'Shell Book', but it is none the less remarkably beautiful. The plumage of the birds is rendered with a downy softness and by the very nature of the subjects, there is a quicker tempo, a greater liveliness, in the compositions. In one instance, a double artifice of the print-makers achieved the sort of subtle effects that can only be appreciated by viewing the original itself. In this print, a cormorant is diving and its half-submerged body and the fish it is chasing are in a shadowy grey tone, whilst the tail-end of the body is in clear-cut line and bright colour; two snowy herons are wading nearby, their forms in white reserve on the pale ground, and their plumage rendered by gauffrage. Other prints lend themselves better to reproduction: the confrontation of a woodpecker on a pine bole and an hawfinch on a branch leads to an electric alertness in the perched birds; the owl and the jay, on the other hand, are back to back on a leafless branch, little colour being used and the ruffled feathers of the owl conveyed with astonishing economy. The 'Bird Book' was probably published in 1791."-Hillier, The Art of the Japanese Book (1987), pp. 411 & 422-24 (pictured on pp. 422-23). Fine copy of a book that we have been looking for over several decades. The plates and text leaves in Vol. II have nearly invisible expert and minor repairs, mostly in blank portions, because of worming. Housed in a chitsu and a contemporary wooden box, with two handwritten labels. â § Louise Norton Brown, Block Printing & Book Illustration in Japan (1924), p. 169-70-(she records the two volumes as separate publications due to both having colophons). For a superlative translation of the poems in this book, see the Metropolitan Museum of Art's copy, as presented on their "The Met Collection" page.