80 5126 Bairei 1844 1895

- Both (sl.) waterstained along top; (sl.) faded; w. binding holes in blank margin.

80/5127 Bankoku chishi ryaku

- One map edges frayed; two maps w. waterstain; one vol. trifle wormholed. One vol. probably a different ed.

= Three Japanese vols. from the Meiji period aimed at people studying to become teachers, briefly introducing the countries of the world.

80 5129 Chinese drawings Anonymous late 19th/ early 20 cent

- Vaguely waterst. = SEE ILLUSTRATION PLATE XLIV.

80/5130 Chinese export watercolours Man having a tea ceremony

- Some small tears/ cracks; sl. foxed.

80 5131 Chinese rubbings Lot of 11 rubbings showing animals

80 5131 Chinese rubbings Lot of 11 rubbings showing animals

= "For more than 1,500 years rubbings have been a vital medium for preserving China's art, culture, and history. These beautiful works are made by pressing thin sheets of wet paper into carvings or inscriptions cut in stone or other hard materials and carefully inking the surface to create a copy of the original. The resulting rubbing has white impressions where the paper was pressed into the carving surrounded by a typically black ink field. Because they are easily transported, rubbings quickly became the primary means to faithfully reproduce and share historical data, poetry, scholastic texts, calligraphy, and art throughout China. Due to the loss and deterioration of many original stones through the centuries, rubbings frequently are the sole remaining evidence of a significant portion of China's artistic and cultural heritage." (quoted from the website of the Field museum: https://www.fieldmuseum.org/collection/chinese-rubbings-collection).

80 5132 Chinese rubbings Lot of 11 rubbings showing seals

80 5132 Chinese rubbings Lot of 11 rubbings showing seals

= "For more than 1,500 years rubbings have been a vital medium for preserving China's art, culture, and history. These beautiful works are made by pressing thin sheets of wet paper into carvings or inscriptions cut in /stone or other hard materials and carefully inking the surface to create a copy of the original. The resulting rubbing has white impressions where the paper was pressed into the carving surrounded by a typically black ink field. Because they are easily transported, rubbings quickly became the primary means to faithfully reproduce and share historical data, poetry, scholastic texts, calligraphy, and art throughout China. Due to the loss and deterioration of many original stones through the centuries, rubbings frequently are the sole remaining evidence of a significant portion of China's artistic and cultural heritage." (quoted from the website of the Field museum: https://www.fieldmuseum.org/collection/chinese-rubbings-collection).

80 5133 Furuya Kôrin 1875 1910

80 5133 Furuya Kôrin 1875 1910

80 5133 Furuya Kôrin 1875 1910

- Occas. trifle foxed; a few leaves in one vol. sl. wormholed in inner margin, not affecting images. Contents fine. Edges sl. worn.

= Shima shima, or "Stripes", contains a lovely collection of vibrant multicoloured woodcut textile designs by Furuya Kôrin (1875-1910), showing, as the name suggests, mostly stripes. Kôrin was an artist, illustrator and designer active in Meiji period Kyoto. He was heavily influenced by Ogata Kôrin (1658-1716) of the Rinpa school of painting, to the point where he adopted the name Kôrin and referred to himself as "Kôrin of the modern age". SEE ILLUSTRATION PLATE XLIV.

80 5134 Gekko 1859 1920

- Sl. dustsoiled; w. contemp. manuscript annotation in Japanese in upper right corner.

= Gekko fan prints (uchiwa-e) are very rare, because they were usually used and laid down on fans.

80 5135 Harunobu 1724 1770

- Browned and faded; horizontal fold in the middle; (unobtrusive) crease along top-right margin. Verso shows traces of mounting; sticker pasted in lower left corner on verso; sm. repaired tear in the sleeve of the lower figure; reinforced section behind head of upper figure.

80 5139 Hiroshige 1797 1858

- Unobtrusive vague horizontal crease in left side of horizon. Both vertical edges professionally strengthened on verso (not visible on recto); publ. mark cut trifle short. A fine copy.

= From the series Meisho Edo hyakkei (One hundred views of famous places in Edo). SEE ILLUSTRATION PLATE XLIV.

80 5140 Hiroshige 1797 1858

- Four aitanzakuban mounted together under one passepartout. All in poor/ mediocre condition: partly dam., w. scratches, sl. foxed, partly yellowed/ browned. Sold w.a.f.

80 5141 Hiroshige 1797 1858

- Somewhat foxed; red colour faded.

= Part of the series of Kisokaidô rokujûkyû tsugi no uchi (Sixty-nine Stations of the Kisokaidô Road).

80 5142 Hiroshige 1797 1858

80 5142 Hiroshige 1797 1858

- Fine copy.

= The second state. From the series Meisho Edo hyakkei (One hundred views of famous places in Edo). Hiroshige's most famous print. SEE ILLUSTRATION ON THE FRONTCOVER.

80 5143 Hiroshige 1797 1858

- From a later recarved edition; sl. yellowed.

= Station no. 32 from the series Kisokaidô rokujûkyû tsugi no uchi (The Sixty-nine Stations of the Kisokaidô Road).

80 5144 Hiroshige 1797 1858 after

80 5144 Hiroshige 1797 1858 after

- Lacks the final woodcut. Album. dam. Contents occas. sl. wrinkled.