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1850. [EHON] UEDA KOCHO. SUI-UN RYAKUGA. Edo & Osaka, Yamashiroya Sahei, Kawachiya Kiyoshichi, Kawachiya Kihei. Kaei 3 [1850]. 23 x 17 cm, Blue-grey covers with printed paper title label, string- bound fukuro-toji. Designs from Ueda Kocho's work selected and published by his student, Tankatei, as a drawing guide to the "abbreviated style" [ryakuga]. The bottom of the title label is missing, some cover soiling, vg overall. See Mitchell p. 507 for more on this work.
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SUI-UN RYAKUGA
by [EHON] UEDA KOCHO
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[Ise Jingu 伊勢神宮 - Priest And Attendant] [Fan Painting]
by Ueda Kōchō 上田公長, artist
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18. [Ise Jingu 伊勢神宮 - Priest And Attendant] [Fan Painting] Ueda Kōchō 上田公長, artist. Fan painting of an Ise Shrine priest and attendant by Ueda Kōchō 上田公長, artist with Japanese calligraphy and artist hanko in red ink. Original color and sumi painting on fan-shaped heavy paper (unmounted) by Ueda Kōchō 上田公長 (1788-1850), the important and prolific Shijō school (Shijō-ha 四条派) artist and illustrator of the first half of the 19th Century. (See Mitchell 102 for the extensive list of his book contributions). Ise Jingu 伊勢神宮 is a well-known shrine located in Ise, Mie-ken and is dedicated to the goddess Amaterasu. The shrine was originally built approx 2,000 years ago and is considered the seat of the Shinto religion. Interestingly, the shrine is rebuilt every 20 years, keeping traditional building techniques alive. Clean and handsome.
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[Shrine Priest with Maple Branch]
by Ueda Kōchō 上田公長, artist [fan painting]
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18. Ueda Kōchō 上田公長, artist [fan painting] [Shrine Priest with Maple Branch] [Fan Painting] Ueda Kōchō 上田公長, artist. Painting of a shrine priest with maple branch and Japanese calligraphy with red hanko. Original color and sumi painting on fan-shaped heavy paper (unmounted) by Ueda Kōchō 上田公長 (1788-1850), the important and prolific Shijō school (Shijō-ha 四条派) artist and illustrator of the the first half of the 19th Century. (See Mitchell 102 for the extensive list of his book contributions). Clean and handsome.
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Untitled "EIGHT VIEWS OF NAGASAKI
by [CREATIVE PRINT MOVEMENT] Matsuzaki U-ichi
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[CREATIVE PRINT MOVEMENT] Matsuzaki U-ichi. Untitled "EIGHT VIEWS OF NAGASAKI" 8 oblong oban size prints, tipped onto sheets and overlain by English and Japanese bilingual descriptions of the scenes depicted. The sheets are 30.5 x 38.2 cm. Matsuzaki [1895-1972] did these prints in the early 1950s. He had attended Tokyo Bijutsu Gakko and was an art professor in Nagasaki through and after the Pacific War. An almost unheard of group of lovely landscape prints of a city devastated by the atom bombing, which is mentioned but the effects of which are never depicted. If one didn't know by the text, one might think it a pre-Ware production and, indeed, perhaps it was, and unpublished, was repurposed for a much different audience. Just a guess, but may bear more research. The prints and folders are in very good condition, despite their apparent fragility.
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NAGASAKI KIKO^ SHASEICHO
by KAWAMURA UKOKU
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1866. KAWAMURA UKOKU. NAGASAKI KIKO SHASEICHO 42 double page [image size 25.3 x 29.2 cm] paintings in sumi with slight color, painted by Ukoku in 1866. There are also 8 double page paintings in a different hand and one double page of calligraphy dated to Taisho 11 [1922]. Ukoku [1838-1906] was born a member of the samurai class and became an important member of the Meiji government. He was known as a teacher of nanga-style art later in life, but this scroll depicts scenes from a journey he took on behalf of the Bakufu in the closing days of the old Tokugawa regime in the late 1860's. His "sketchbook" of the journey is dated the third month of 1866. We know from his biography that he was sent on a mission to Nagasaki at that time. Besides having many students, fulfilling the Nanga amateur painter ideal, he also eventually served as a justice in the Japanese Supreme Court. His life is a superb example of the interaction of tradition and modernity, vocation and skilled avocation of a truly cultured…
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CRISIS AND HOPE IN AMERICAN EDUCATION
by ULICH, Robert
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1951. ULICH, Robert. CRISIS AND HOPE IN AMERICAN EDUCATION. Boston: Beacon Press, 1951. First edition, inscribed by the author "to the beloved co-author." 8vo., black cloth. Near fine, in a rather chipped and edgeworn dust jacket, with a touch of soil and sun; ink correction to the author's bio at the rear flap.
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ATLAS DER PHYSIOLOGISCHEN UND PATHOLOGISCHEN HARNSEDIMENTE
by ULTZMANN, R.
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1872. ULTZMANN, R. & K. B. HOFMANN. ATLAS DER PHYSIOLOGISCHEN UND PATHOLOGISCHEN HARNSEDIMENTE. Vienna: Wilhelm Braumuller, 1871 (cover says 1872). x + [6] + 44 plates, each with facing text page. Quarter brown cloth stamped in gilt, yellow paper covered boards. Spine chipped, detached; front board through p. vi detached, block splitting in several places. Bookplate to front pastedown, obscuring the publisher's advertisements. Illustrations of microscope views: Urinary sediment pathology. As is.
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Bungei Shijō 文藝市場
by Umehara Hokumei 梅原北明, Murayama Tomoyoshi 村山知義, et al.
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Umehara Hokumei 梅原北明, Murayama Tomoyoshi 村山知義, et al. Bungei Shijō 文藝市場. Tokyo. Shōwa 2 [1927]. [Avant Garde]. 21.7 x 15cm literary markets magazine in paper wrappers. July issue,169 pages. First published in November of 1925, this issue of July 1927, towards the end of its run, unleashed its mordant humor on the literary world of Japan. At first solidly left wing and immersed in the avante garde, the magazine lasted for 19 issues, when Umehara Hokumei 梅原北明 (1901-1946) took his interests into even more scandalous avenues and began publishing Grotesque magazine, the heart of the ero-guro (エログロ) movement. This particular issue hints at the direction of Grotesque, with images and essays that explore topics that combine the erotic and the bizarre. Wrappers are dust soiled. Spine heavily chipped with loss of text.
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FORNICON
by UNGERER, Tom
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1969. UNGERER, Tom. FORNICON. New York: Grove Press, (1969). First trade edition. 4to., black cloth. Near fine in a rubbed dust jacket with light wear to edges and a bit of abrasion on the back panel. A book of cartoons. Not for the squeamish. Overall a an attractive copy.
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DISCOVERY OF AMERICA
by GRAND UNION HOTEL
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1883. GRAND UNION HOTEL. THE DISCOVERY OF AMERICA. An out-growth of the conquest of the Moors by the Spaniards. New York: Grand Union Hotel, (1883). Wrappers, string-bound, 24pp. Black and white illustrations. Very good.
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THE HOUGHTON LIBRARY 1942-1967: A SELECTION OF BOOKS AND MANUSCRIPTS
by HARVARD UNIVERSITY
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1967. [HARVARD UNIVERSITY] THE HOUGHTON LIBRARY 1942-1967: A SELECTION OF BOOKS AND MANUSCRIPTS IN HARVARD COLLECTIONS. Cambridge: The Harvard College Library, 1967. 255 pp. + [1] pp. Folio, black cloth with gilt spine and cover lettering, cover stamped in blind. Fine. Illustrated: photo reproductions in color and halftone. Indexed. Arranged in sections by subject matter.
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THE TERCENTENARY OF HARVARD COLLEGE: A CHRONICLE OF THE TERCENTENARY
by HARVARD UNIVERSITY
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1937. [HARVARD UNIVERSITY] THE TERCENTENARY OF HARVARD COLLEGE: A CHRONICLE OF THE TERCENTENARY YEAR 1935-1936. Cambridge, MA: Harvard University Press, 1937. xiv + 492 pp. 8vo., recently rebound in half red morocco with gilt spine lettering and decoration, gilt rules and raised bands, over red cloth boards. TEG, red marbled endpapers. Owner's bookplate to front pastedown, else fine. Commemorative volume by fellows and faculty. Color frontispiece, b/w plates.
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OXFORD UNIVERSITY AND CITY GUIDE
by Oxford University
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1838. (Oxford University). THE OXFORD UNIVERSITY AND CITY GUIDE. Includes "A Guide to Blenheim," the seat of His Grace the Duke of Marlborough. Oxford: Henry Slatter, 1838. A new edition, with considerable additions. Illustrated, including a fold-out map. Small 8vo., white wrappers, title stamped to front panel. Ex-library; pencil erasure to front panel, blind-stamp to tp. Spine shows some edgewear and panels show light soil. Internally clean. A very good copy.
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METAL FORMS
by UNKNOWN
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1975. UNKNOWN. METAL FORMS. A Bicentennial Exhibition of Contemporary New England Craftsmanship. Brockton, MA: Brockton Art Center-Fuller Memorial, 1975. Wrappers. Ink markings. Very good.
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AFRIKANISCHE PLASTIK
by UNKNOWN
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1950. UNKNOWN. AFRIKANISCHE PLASTIK. Baden-Baden: Woldemar Klein, [1950]. Wrappers. Text in German. Very good plus. Art.
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CARNATION CULTURE IN SOUTH AFRICA
by UNKNOWN
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1946. UNKNOWN. CARNATION CULTURE IN SOUTH AFRICA. The Art and Practive of Success in Carnation Growing. Wynberg, Cape: Specialty Press of S.A. Limited, 1946. Very good.
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LITTERATURE FRANCAISE XIX ET XX SIECLE
by UNKNOWN
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19. UNKNOWN. LITTERATURE FRANCAISE XIX ET XX SIECLE. Primiere Partie. Paris: Office pour la Propagation du Livre Francais, [n.d., c.1920]. Wrappers. About very good.
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SHIKI NO HANA
by [UNSO^DO^] Sakai HO^-ITSU, Suzuki KI-ISU & Nakano
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1908. [UNSODO] Sakai HO-ITSU, Suzuki KI-ITSU & Nakano KI-MEI. SHIKI NO HANA. Kyoto, Meiji 41 [1908] 10 volumes [18.8 X 27.9 cm], complete, bound orihon style in stiff paper covers with printed paper title labels. There are 2 spring, 4 summer, 3 autumn and 1 winter volumes, with a grand total of 237 (232 of which are double page images, approx. 24 X 32 cm, within printed borders) color woodblock prints of Japanese flowers. Identified in the introduction to each season, there is no printed text to mar the lovely color plates. Delicately printed after designs by eminent 19th century Rimpa artists, printed by Unsodo while at the height of their considerable powers. This is a complete set in a worn clasped chitsu case. A wonderful set in excellent impression and colors (with bokashi) which is almost never found complete nowadays. a few starting page hinges, one of the nicer sets we have seen, free of the common pigment discoloration often seen.
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OUT ON THE MARSH
by UPDIKE, David
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UPDIKE, David. OUT ON THE MARSH. UNCORRECTED PROOFS. Boston: David R. Godine [n.d.] unpag. 8vo., green wraps. Very good, faint spot to front cover, ink mark in text pp. 1-2. Fifteen short stories by the son of John Updike; his first book, originally published in 1988.
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MIDPOINT
by UPDIKE, John
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1969. UPDIKE, John. MIDPOINT and Other Poems. New York: Alfred A Knopf, 1969. First edition. 8vo., beige cloth. Alfred A. Knopf, Jr.'s copy with his pencil ownership to ffep. One corner just bumped, else fine, in a dust jacket with some slight soil, touch of creasing at edges, one tiny closed tear to the front panel, and the author photo excised from the rear flap.
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