On 29 March 2019, a box with 26 Japanese books went missing in Salt Lake City, UT.  The books had been exhibited at the ARLIS/NA conference and were packed and sealed in a brown cardboard box, heavily taped and labeled, that was to be shipped by UPS Freight to Boston, MA.  The box was issued a UPS Freight tracking number that was never activated.  A list of the missing material is below. Please contact Boston Book Company if you have any information about the package or its contents: 617-522-2100 or office@rarebook.com
 
  
1. [ARCHITECTURE] MORIGUCHI Tari, editor. HYÔGENSHUGI KENCHIKU ZUSHÛ. Tôkyô: Kyôyôsha, Taisho 12 [1923] 25.4 x 18.8 cm. A portfolio, tied, of some 60 plates, on the topic of "EXPRESSIONIST ARCHITECTURE". Wonderful modernist designs, real and proposed, from the cutting edge of the architectural design of the period. The covers are a bit worn. The overall condition is good or better. A very unusual larger portfolio from the Kyôyôsha, the most central architectural publishing house of the day in Japan. (Inventory #90

2. [AVANT GARDE] ITAGAKI Takao, et al. SHINKÔ GEIJUTSU [Complete run] Tôkyô, Geibun-shoin. A complete six-issue set of the periodical 'Shinko Geijutsu', in 5 volumes (issues five and six were published together in one volume). 'Shinko Geijustu', translated as 'the new arts', or 'the avant-garde arts', was a magazine created by Itagaki Takaho (1894-1966), a Japanese art critic who pioneered Japanese cinema and photography study and influenced trends in modernism in the Showa period. The magazine featured articles on film, art, architecture, theatre, and so on, by some of the leading specialists of the day, including Iwasaki Akira and Sakakura Junzo. The wrappers for the issues were designed by Yoshida Kenkichi (1897-1982), who was heavily inspired by Zelvos's design for the 'Cahier d'Art' magazine. The spine-dates of the issues read Showa 4 (year 1, no.1-3) - Showa 5 (year 2, no.1- 2/3). Only six issues were ever published, all of which are now difficult to find in the original wrappers. A rare complete set, in very good condition. Original wrappers, extremities very lightly chipped, foxed and worn, pencil scribble to upper wrapper of issue 5/6. Occasional small chips and bumps to page extremities, one or two small marks to text, ex-ownership stamps and light pencil notes to recto of lower wrappers. Spine of issue 5/6 chipped off. Otherwise in very good condition. 5 volumes, complete. [1], 78 p. + 5 unnumbered p. of illustrations ; [1], 106, [1 of ads] p. + 12 unnumbered p. of illustrations ; [1], 66 p. + 10 unnumbered p. of illustrations ; [1], 156 p. + 8 unnumbered p. of illustrations ; [1], 98, [1 of ads] p. + 8 unnumbered p. of illustrations. 21.2 x 18 cm. Text in Japanese. (Inventory #90322)
 
3.[AVANT GARDE] ITAGAKI Takao. KIKAI TO GEIJUTSU TO NO KÔRYÛ. Tokyo, Iwanami Shoten, Shôwa 4 [1929], 1st printing. 8vo., decorated cloth covers. One of the most important works of criticism by Itagaki, the man who "invented" avant garde photography in Japan. This examination of the CONFLUENCE OF ART AND THE MACHINE is not only an intellectual achievement of great importance, it is a wonderful piece of book design, as well. Itagaki and the important avant garde photographer, Horino Masao, collaborated to create this interesting and heavily illustrated work. Without the cardboard slipcase but otherwise complete. A very scarce work, especially the first printing. (Inventory #88938)
 
4. [AVANT-GARDE] KANAMARU Shigene. SHINKÔ SHASHIN NO TSUKURIKATA. Tôkyô, Shinkôsha, 1932. 4to., 27 x 19.8 cm Bound western-style in decorated boards. The book design and covers are by Onchi Kôshirô, perhaps the most important book designer of the 20th century in Japan. This volume, "THE MAKING OF AVANT GARDE PHOTOGRAPHY" and his famous "HIKO KANNO [THE SENSATION OF FLIGHT]" are considered masterpieces. In addition, one may not ignore the fact of this work's great impact on Japanese photographers of the day, The text and selected images published herein provided a new artistic vocabulary for an entire generation. There is a bit of fading to the spine, else the book itself is very clean and even includes an order form and advance advertisement for the book laid- in. The rare slipcase, though faded and browned by age and sunlight, is whole and present. A remarkable copy of a remarkable book in the history of world photography. (Inventory #89729)
 
5.[CREATIVE PRINT MOVEMENT] KANAMORI Yoshio. KOZAN. Nihon Aishokai, Shôwa 45, signed by Kanamori. Number 132 of 150 copies. Huge western bound folio, 45.9 x 31.7 cm. Each of the 15 color woodblock illustrations is double page - and are in consequence remarkably large and therefore difficult to print. Quite a tribute to the ongoing skill of the woodblock printers in Japan, even 25 years after the end of the war. Very fine condition throughout, in the dustwrapper. In a custom made wooden enclosure (supplied by original purchaser?). A lovely book. (Inventory #90279)
 
6.[DESIGN] Furuya Kôrin, designer. SHASEI SOKA MOYO 2 vols. Kyoto: Unsôdô, Meiji 40 [1907]. Folding orihon albums, 24.9 x 18 cm. Printed paper over card covers, each volume with 25 double page color woodblock prints of vegetal and flower designs by the important designer Kôrin. Lavishly printed and overprinted in metallic inks and mineral pigments to create a remarkably ornate surface. Perhaps the most unusual and sought-after of Furuya Kôrin's works, here in very good printing and good condition with some browning of the paper and wear to the printed covers. Complete in two volumes, in a fitted clasped chitsu case. (Inventory #90181)
 
7.[EHON - TEN BAMBOO HALL] JÛCHIKUSAI SHOGAFU. N.P.,N.D. [Kyôto, Hishiya Magobei, c. 1831]. 16 volumes. An early printing of the recut 19th century Hishiya Magobei version of the SHIH-CHU-CHAI SHU HUA P'U, 10 BAMBOO HALL PAINTING STUDIO. 25.2 x 14.7 cm. Printed title slips on covers. In a red cloth covered clasped case with broken hinges. I have relied upon the extensive research done by Thomas Ebrey in his paper on the bibliography of the TEN BAMBOO STUDIO, comparing page borders, etc.. Very good color and good condition, early impressions on very thin and strong paper. One closed tear of a print, a bit of worming.
The collation of editions of the TEN BAMBOO HALL is extraordinarily difficult even for the Chinese editions. [See Paine's article in the ARCHIVES OF THE CHINESE ART SOCIETY OF AMERICA, 1951 and Thomas Ebrey "The Editions, Superstates, and States of the Ten Bamboo Studio Collection of Calligraphy and Painting" in Princeton University's The East Asian Library Journal 14, no. 1 (2010): 1-119] and Japanese editions are even less explored. This Japanese edition of the TEN BAMBOO HALL is interesting for its effort to capture the delicate colors and quiet beauty of "Chinese style" as seen from Japanese eyes. A very lovely set. (Inventory #88377)
 
8.[EHON] Fujiwara Masaomi, author; Kita Busei, artist. KASEN KASHÔ. n.p., preface dated Bunka 7 [1810]. 19.7 x 29.3 cm., string-bound Japanese-style, fukuro toji, original covers with original printed title label. See Ryerson 396 for a defective copy. Our copy is complete with 3 preliminary sheets and 20 sheets of color woodblock illustrations of the 36 poets. Interesting colors, well-printed. In very good condition with slight soiling but very pleasing effect overall. By no means common either in Japan or abroad. In a clasped chitsu case. (Inventory #89404)
 
9.[EHON] Kawamura MINSETSU, artist. HYAKU FUJI. Kyôto, Ôsaka & Edo, Meiwa 8 [1771]. 17.3 x 27.1 cm.String-bound, Japanese-style, fukuro-toji. The original edition in four volumes with blue-grey covers and printed horizontal lines and original printed title labels. A bit of thumbing to the covers. Clean inside, with a few very faint stains, good impressions. A lovely sketchbook on the theme of Fuji, and an inspiration for Hokusai's great FUGAKU HYAKKEI, [Kerlen 591; Ryerson 399] The collation matches the example in Kerlen exactly, and each mountain scene is identified and has a verse. (Inventory #88541)
 
10.[EHON] Ôishi Shûga, artist [& Hokusai?]. SAN-Ô SHINKEI. Bunsei 5 [1822] N.P. 17.1 x 24.7 cm. Orihon folding album in the original blind-patterned covers with a brushed paper title label. 3 page preface, signed Shunyô Yûjin Môhitsu, who appears to have been the editor. The first illustration of Fuji is signed Ôishi Shûga hitsu and Katsushika Hokusai hitsu. Our version has 34 double page images of Fuji. This interesting book of views of Fuji throughout the seasons exists in many varieties. Most have but 31 or 32 images, some have no postscript, others a two page preface signed by Kobayashi Chôshû. Mitchell lists a volume with the same title, but different content. Kerlen lists two different variations at page 573. The Ravicz copy described at Hillier 872 appears to be incomplete with only 15 views. The copy at hand here, however, is a very lightly printed version which credits Hokusai, as well as Ôishi Shûga, although our opinion is that Hokusai was not involved in the production in any way. It is a bit rumpled and a few pages are marred with a few small ink spots but overall the condition is good, by no means a common book. (Inventory #88721)
 
11.[EHON] Tani BUNCHÔ, artist. NIHON MEISAN ZUE 3 vols. Kyôto, Osaka, Edo, [n.d, c. 1807]. 25.7 x 18.7 cm. String-bound, fukuro-toji, original printed paper title labels, b+w woodblock depictions of the "Famous Mountains of Japan." A work justly famed for its accurate representation of the mountains in question. According to Mitchell, this is the second printing, done in Bunka 4 [1807], identical to the copy from his own collection which he catalogued at p. 435. Printed with great skill and subtlety, and in very good impression, it retains the freshness and vigor of line for which the book is known. The covers are a bit worn, and there are 10 pp. with slight worming near the end of volume 3 affecting both illustrations and text, but its condition is very good overall. (Inventory #87844)
 
12.[EHON] Wang Kai, et al. KAISHIEN GADEN. Kyoto, 1753. 5 vols., 27.1 x 18.2 cm., original printed title labels and blindstamped patterned blue-green paper covers, string-bound Japanese-style fukuro toji. These volumes represent the first collection (shû) of the Japanese edition of the Chinese classic of illustrated book publication, the Mustard Seed Garden Manual [Chieh-tzu-yuan Hua-chuan], originally published in China in the mid-17th century. This is the first appearance in Japan of "collection one" of the Mustard Seed Garden Manual, titled as such, following a printing, also in Kyoto, of selections from all three series 5 years earlier. One of the earliest examples of color printing in Japan. This copy is extraordinarily clean throughout. Close comparison of this set to that illustrated online: http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm? parent_id=744245&word= by the NYPL, detailing the entire contents of their set from the Spencer collection, reveals some differences.....
Our copy has the identical blind-stamped dragon pattern on the grey green covers throughout and the same initial 7 sheets as the NYPL example in volume one, and two page table of contents for volume one. The NYPL version then has the volume two (?) 2 pp contents pages inserted, which ours has in the correct spot in volume two. Again both sets follow along for the following 21 sheets of text but then the NYPL volume is missing sheets 22 through 27. Volume two is identical in the two versions. In volume three, identical. Volumes 4 and 5 have the same contents in both examples. Also, these last two are the volumes with color illustrations and our colors are employed with very little bokashi shading and a much milder palette was used. Not all seals are the same. Overall, the NYPL copy appears to have earlier, better impressions, though ours are quite good overall. Ours does not attribute the booksellers who handled the book. It would seem that Harvard/Yenching library has a single volume of the GARDEN, published by Yoshida Kanbei in Kansei 12 [1800]. I would assume our example was issued some time at the end of the 18th century before the Bunka era editions appeared in Kyôtô.. It should also be noted that this copy is printed on quite heavy "Japanese-style" paper rather than the usual thin "tôshi" employed when printing Japanese versions of Chinese publications. A very lovely and important example illustrative of the influence Chinese aesthetics had on Japan in the 18th century, despite the absence of much official contact as Chinese painters and printed painting manuals were absorbed into the Japanese art world. (Inventory #88911)
 
13.[KATAZOME] OKAMURA Kichiemon. NARADA NO TAFU. Shôwa 35 [1960]. String-bound Japanese-style, privately printed in 50 copies. 31.1 x 19.7 cm., Okamura (1916-2002) was a student of Serizawa Keisuke and embraced his interest in traditional Japanese folk arts, papermaking and stencil printing (katazome). This lovely monograph on Japanese bark-cloth from the town of Narada in Yamanashi Prefecture has two samples and is illustrated throughout with colorful and lively katazome. Signed by the author and artist, Okamura. Fine condition, in the original folding case with printed title label. Under which the owner carefully inscribed in rather pleasant kanji: "kurozurihon." (Inventory #90089)
 
14.[KATAZOME] SERIZAWA Keisuke. Katazome KOZARA MOYÔ HINAGATA. Tôkyô, Gohachi, Shôwa 46 [1971]. The publisher's own copy, #1 of 100 cc, with his bookplate done by Kawakami Sumio. Remarkable association copy. 28.7 x 25.6 cm. Printed on and bound into Japanese handmade paper. Lovely stencilled designs of small dish patterns in color throughout. In fine condition in the original wraparound case. (Inventory #90009)
 
15.[MAVO] HAGIWARA Kyôjiro. SHIKEI SENKOKU. Tokyo, Taishô 14 [1925]. Prelims, 11pp, 6pp., 161pp., 5pp., finals. Profusely illustrated throughout in linocuts by Okada Tatsuo, Toda Tatsuo, and Yabashi Kimimaro. Wrappers designed by Okada. Without the Okada-designed slipcase. Perhaps the most important Mavo-inspired volume, and, in its first edition, as here, quite scarce. Far more difficult to find than the second edition. The cornerstone of any MAVO collection. Neither the Pompidou nor the Uruwa Museum catalog illustrate the first edition, even without its slipcase - they both show the second edition with the red on blue background second-issue slipcase. In quite good condition overall, unsophisticated with a bit of rubbing and loss to the fragile spine. In a custom fitted clasped chitsu case. (Inventory #88834)
 
16.[NARA EHON]. UTSUHO MONOGATARI. (NARA EHON) UTSUBO MONOGATARI [TALES OF THE HOLLOW TREE]. 23.1 x 17.1 cm. Green brocade covers. Hand calligraphed manuscript bound Yamato-toji style, on torinoko paper. The style of the illustrations and the calligraphy date the work to the early Tokugawa period (mid-17th Century). The unfinished manuscript of this classical tale consists of 45 leaves (each double-sided), of which 37 are calligraphed in an elegant hand, with 4 single page and 1 double page richly colored paintings in a skilled Yamato-e manner. The manuscript is underpainted with flowers and grasses in gold throughout. This copy is remarkably well preserved, with but slight wear to the cloth covers. Internally, it is bright and clean. From the collection of the photographer, Roman Vishniac. (Inventory #88840)
 
17.OKAMURA Kichiemon, artist. SAITORO-SASHI NO UTA. Privately printed. Shôwa 36 [1961]. 30.4 x 19.6 cm. Includes an english- language pamphlet with a translation of the text, produced by Far Eastern Booksellers of Tôkyô in 1961. The work, printed in stencil in color on handmade paper is string-bound, Japanese-style, fukuro-toji. Okamura was Serizawa's most important student and excelled at producing compelling livre d'artiste in the early post- War years. Very fine in the original publisher's wraparound case. (Inventory #89323)
 
18.ONCHI Koshirô, artist & MAEDA Sekibô, poet. Kashû SHINSHO^ FUJI [Collection of Poetry: NEW PRAISE, FUJI] Tokyo: Fugaku Honsha, Shôwa 21 [1946]. 28.7 x 20 cm. 2 full page color woodcuts designed by Onchi, 1 tipped-in page of printed calligraphy. Blue and white flexible covers, in a dustwrapper depicting Fuji which is also a print designed by Onchi. Dustwrapper lightly foxed and strengthened on reverse at center with a thin strip of paper that goes from head to heel. Onchi's designs are lovely. Very good. [See Sotheby's Schlosser Sale Item #302 for another copy; Hillier Vol. 2, p 1022]. (Inventory #87288)
 
19.[PHOTOGRAPHY - AVANT GARDE] KOISHI Kiyoshi. SATSUEI - SAKUGA NO SHINGIHO. Tokyo: Genkôsha, Shôwa 11 [1936]. Small square 8vo., cloth-bound, no jacket as issued, in a printed cardboard slipcase. Koishi was one of the most important photographers of Japan in the prewar period. His breakthrough photo book, EARLY SUMMER NERVES, is considered one of the finest works of avant-garde photography ever produced. Here Genkôsha has commissioned him to create a guide for creating photos with his new and experimental techniques of framing and development. Its 294 + pages are shot through from beginning to end with b+w reproductions of his experimental photography. Overall very good condition. Very unusual. (Inventory #89486)
 
 20. [PHOTOGRAPHY - JAPAN] ALBUM OF 85 SNAPSHOTS OF JAPAN 1916 - 1923, FUJIYAMA AND MORE, PLUS SIX LOOSE PHOTOGRAPHS AND A PHOTO POSTCARD. 5 1/2 x 8 inch flexible black cloth covers, cord-bound, with "Photographs" in gilt on front cover. Black paper mounts, neatly captioned in white ink, mostly in English with some Japanese. Images are b/w, sepia or color (only two are in color) and range in size from 2 1/4 x 3 inches to 4 x 6 inches. The majority (63) are the smaller size. The album is in good condition as are the page mounts, and the photographs are in very good condition. The loose photographs range in size from 2 1/4 x 3 inches to 4 x 6 inches and are sepia or b/w. They are captioned in ink on the reverse. Most of the album photos depict expeditions to climb Fujiyama and various of the Japan Alps, with scenes along the way of people and places - ecstatic pilgrims, the Imperial bodyguard, women's groups, schoolchildren and the photographer and his many climbing companions, foreign and Japanese. The owner is not identified, although some of his companions are: Arnold Bauer, Charles W. Copp, Harry Collins, Professor Fujimura, McKinnon etc., along with a group of boys from Matsumoto High School and several others. Excellent and interesting group of photos of the breathtaking mountain scenery of Japan. Mountaineering was and is a defining interest of the Japanese - there are still gods in those mountains. (Inventory #85172)
 
21.[PHOTOGRAPHY] KIMURA Sôhachi, text SUZUKI Yoshikazu. GINZA KAIWAI GINZA HATCHO. Tôkyô, Tôhô Shobô, Square 8vo., 2 volumes. Important and well known early postwar essay and photo-essay together. The text, embellished with woodblock prints and halftone illustrations, traces the history of the upscale Ginza shopping district, back to the beginning of the city of Edo [Tôkyô]. It was written by Kimura, a very important visual artist and essayist of the time. The photoessay is remarkably similar to Ruscha's famous EVERY BUILDING ON THE SUNSET STRIP, which he published some 12 years later. Photographed by Suzuki Yoshikazu, I would find it hard to believe that it did not provide the inspiration for Ruscha's later work. The buildings on the Ginza frame the conceptual "road" that lies between the two sides of the street, much as the buildings on the banks frame the river in Hokusai's iconic "Sumidagawa Ryôgan Ichiran". Complete, the text in its slipcase and both volumes enclosed in the original shipping box with title label. The outer box is worn, with a bit of foxing, as usual, very good overall. Complete, as issued. (Inventory #89730)
 
22.[PRINTMAKER'S SET]. SHOSO HANGACHO JURENSHU 9 vols. Tokyo: Aoi Shobô, 1941-3. Each volume 26.8 x 21.2 cm in printed wrappers. A complete set, 8 volumes are numbered 174 and the Oda Kazuma volume numbered 21. 250 copies. How this set was ever created on such exquisite paper during wartime rationing is doubtless a story in itself. Takei Takeo, Onchi Kôshirô, Oda Kazuma, Henmi Takashi, Hiratsuka Un'ichi, Kawanishi Hide, Kawakami Sumio, Sekino Jun'ichirô and Maekawa Sempan each contributed 10 original prints to their own volume, making a total of 90 original prints in the set. Even individual volumes are hard to find; so a set in such lovely overall condition is unusual. All are enclosed in a custom cloth chitsu clasped case. A remarkable work in very good overall condition. (Inventory #89431)
 
23. SERIZAWA KEISUKE. MASHIKO HIGAERI. This work was privately printed by Serizawa in 1943 in katazome stencil printing, bound fukuro- toji, string-bound Japanese-style. there are 23 full page colored stencil plates. The first 25 copies of A DAY TRIP TO MASHIKO were in full size, as here, 30.2 x 21.5 cm. There were another 25 copies rinted on half-sized sheets which present a different impression. Another 15 large paper copies were done by Serizawa the following year. This copy of the original large paper edition in 25 copies has its original printed fukuro dustwrapper. Obviously one of the rarest of all works by Serizawa, this copy is especially distinguished - Serizawa has numbered it number one. The craft community of Mashiko which Serizawa often lived at during the war was located quite far out from Tôkyô, which is fortunate. Serizawa's home and workshop in Tôkyô were utterly destroyed during the firebombings of 1945. It was just before and during the war that Serizawa refined his skills at stencil-printing, which would be recognized after the war when he was named a LIVING NATIONAL TREASURE. It was also the time that Serizawa cemented his relationship with the great founder of the Craft Movement in Japan, Yanagi Sôetsu, and became Mingei's most famous artistic practitioner. (Inventory #90301)
 
24.[SÔSAKU HANGA] OKAMURA Kichiemon, artist. IYOMANTE Kuma Matsuri AINU. A privately printed portfolio with a printed paper title label. 35.2 x 30.1 cm. Each of the 5 b+w woodblocks prints on washi is signed and sealed by Okamura, the group is further dated to 1958 and has a woodblock printed title page. One of 100 copies printed by Okamura. Well-printed depiction of the bear festival held in Ainu country. Very unusual. (Inventory #89328)
 
25.[SÔSAKU HANGA] OKAMURA Kichiemon, artist. MANYÔ SHIKI HANA ZUKUSHI. 32.3 x 20.3 cm Privately printed in the fall of Shôwa 19 [1944] by the artist using kappazuri stencil printing. String-bound Japanese-style, fukuro-toji. Printed paper title label. About fine condition. #42 of 100 copies. (Inventory #89493)
 
26.[STENCIL-PRINTING] OKAMURA Kichiemon. MINÔ KAMISUKI ISOMURA. Shôwa 33 [1958]. 34.6 x 28.5 cm, Privately printed, #12 of 30 special edition copies of 100 copies printed, total. Contains 6 full page stencil prints by Okamura. Quite a bit larger than his usual productions in scale. An unusual title by this important scholar/artist of Mingei, paper and fabric. Fine condition overall, as issued with the small bi-lingual explanation sheet. (Inventory #89830)

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