Les échanges artistiques entre le Japon et la France à partir de 1854 furent parmi les plus fructueux de l’histoire des arts. La fascination qu’exercèrent les arts orientaux sur les écrivains français et la capacité d’assimilation des techniques occidentales par les artistes japonais ont été à la source d’une formidable créativité donnant naissance à de nombreux chefs- d’œuvre, prisés par les collectionneurs depuis près de deux siècles.
Collected edition of the French translation, no deluxe copies issued.
Boards slightly and marginally soiled, two small spots on the edges not affecting the leaves.
Very rare presentation copy signed and inscribed in Arabic by Mahmoud Darwish, the poet of the Palestinian condition, on the half-title page.
Illustrated edition with 38 original engravings by Ling Chou, copper-engraved and hand-printed in sanguine, printed in 134 nominative and numbered copies on double Yu-Pan China paper.
The book, separated into two fascicles hand-sewn and covered in green moiré silk, is protected by two black lacquer plates and laces, work of the master lacquerer Tchou-Tze-Tsin.
The whole is contained in a moiré silk case closed by two ivory clasps, following the illustrator's design.
The case is partially and lightly discolored, with a light stain at the head of the first board of the case, handsome copy.
Signatures of Ling Chou, of the president and vice-president of the Societ
First edition, illustrated with 32 color illustrations by Sureda and engraved by Aubert (full-page, headpieces and fine lettering), many of which are enhanced in gold or silver ink.
Limited edition of 400 copies. This one, marked H. C. V, is one of the rare first paper copies on the finest Japon (only 15 copies), containing every engraving in double state on Vieux Japon and Japon Impérial of all the woodcuts, covers and spine.
Signed and inscribed on the title page from the authors: "What a pleasure it is for you, O reader, if you enjoy La Fête arabe !" Jérôme and Jean Tharaud. December 1928."
First edition complete with its 72 pages of Japanese texts in colors bound at rear.
Contemporary binding in half blue shagreen, spine with five raised bands richly decorated with grotesque compartments, double gilt fillet on marbled paper boards, top edge gilt retaining deckled edges. Corners bumped (one slightly cracked) and surface wear.
Rare.
An album containing 14 gouaches on silk, including 12 erotic paintings. The first painting on each side of the folding shows a bird and on the other side maple leaves, thus masking on each of the first pages the erotic aspect of the collection. Shunga is the generic Japanese term that designates erotic art, it literally means Spring Image, spring being a euphemism and figure of style expressing sexuality. The term Shunga having been reserved for a long time for prints, collections or albums have often been designated by the appellation Pillow Books, or notes for the pillow, etc. (Utamaro: The Song of the Pillow, 1788).
Japanese accordion album covered with damask silk with flowers and
Rare suite of woodcuts by Itchô Hanabusa (英一蝶) on Japanese folk tales, printed in black ink. Only one volume of a three-volume set, possible 19th-century reprint.
Bound in Japanese style, pages bound by a seam, blue soft cover with title label, folds, small stains and lacks of blue paper to corners, ink stain in title piece not affecting the text.
Itchô Hanabusa was part of the Kanō school and studied under Kanō Yasunobu, however he rejected this training to become a renowned painter and calligrapher.
Illustrations of Japanese legends with genre scenes, animals and flowers. The technique of Ukiyo-e, or Japanese printmaking, is very close t
