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VENDUTO

Réf : 65944

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Jean de LA FONTAINE

Hanko KAJITA & Tomonobu KANO & Shûsui OKAKURA & Kyôsui KAWANABE & Sadahiko EDA

Fables choisies (ou) Choix de fables de La Fontaine illustrées par un groupe des meilleurs artistes de Tokio, sous la direction de P. Barboutau

Imprimerie de Tsoukidji-Tokio pour E. Flammarion, Tokyo 1894, 15,3x19,7cm, 2 volumes brochés sous étui.

Fables choisies (or) Choix de fables by La Fontaine illustrated by a group of the best artists in Tokyo, under the direction of P. Barboutau
 
Imprimerie de Tsoukidji-Tokio for E. Flammarion, Tokyo 1894, 15,3 x 19,7 cm, 2 paperbound volumes in a slip-case
 
First edition illustrated with 28 color prints, one of the rare numbered copies on smooth paper and reimposed in large hanshibon size, yamato-toji stitching.

Not advertised in the details, this printing in traditional Japanese format without mention of the publisher Flammarion undoubtedly constitutes the first print run of the edition reserved for Japanese clientele.
Remarkable union between the traditional Japanese print and a monument of French literature, these Fables choisies make up an exceptional work, significant of Japan's opening up to the exterior world and of western interest in this culture.
It is on Hasegawa Tojiro's initiative, specialist in publishing translated Japanese books destined for Europe, and that of Pierre Barbouteau, French publisher living in Japan, that this ambitious project of the Fables comes to fruition. A meeting of two cultures, the book addresses an exclusively western audience, highlighted by the choice of an exemplary text of French Belles-Lettres literature, presented in its original language, the Fables having not yet been translated into Japanese.
Hanko Kajita, Tomonobu Kano, Shûsui Okakura, Kyôsui Kawanabe et Sadahiko Eda are the master successors of the ukiyo-e tradition, a print movement that was considered obsolete in Japan, which, on the contrary, exerts an important fascination with Westerners in the late 19th century, then in search of new aesthetic emotions.
This distinctive enthusiasm, permitted by the Meiji Restoration that marks the opening of the country in 1868, is mentioned in Pierre Barbouteau's preface: "Our aim [...] is to make known to those who are involved in this interesting field of the Art of Drawing, the genre for which we are absolutely forever grateful to this host of Japanese artists including Séshiou, the Kanô, the Kôrin in the past; the Ôkio, the Outamaro, the Hokousaï, the Shiroshighé, in time nearer to us, all of which are the coryphaeus, and their remarkable works are more and more appreciated by artists from every country and every school."
The Fables are an opportunity to honour the Japanese fauna and flora as well as a transposition of a fabulist world into the shintô
universe, central to Japanese culture, which stands out in the figures of the fox, considered to be an animal of divine essence, and the presence of torii, porticoes at the entrance of the temples. The finesse of the line, the rendering of the colors, enabled by polychrome printing, the references to typical Japanese landscapes, amongst which Enoshima island stands out, represented in Hiroshige's famous prints, and the omnipresent Mount Fiji which dominates several illustrations, are all subtleties of the print art that is appreciated by the admirers of this movement.
This edition is directly related to the history of the illustration of la Fontaine's Fables, the influence behind Chauveau's drawings in 1665 is distinguished in the print of the Oak and the Reed, similar in their production.
Exceptional piece of bibliophilic art, the Fables choisies are the fruit of the intellectual and artistic union of faraway countries, at the crossroads of tradition and modernity, the Japonism influence paving the way for Art Nouveau that spills over into the 20th century.
One of the very rare copies of the Japanese tirage de tête reimposed in hanshibon size.



 

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