Japanese Prints

Symbolism in Japanese Prints

2
The Mysterious Sharaku
Although Toshusai Sharaku was a master of the Japanese woodcut art form, his true identity represents
one of the great mysteries of the art world. Little is known about him, besides his Ukiyo-e, floating world
prints. Even more improbably, Sharaku’s active career as a woodblock artist lasted a mere ten months,
from the middle of 1794 to early 1795. He emerged out of nowhere, already with his own style, signalling
a complete and immediate departure from all other Japanese artists of the period. He then disappeared with
equal abruptness.
This exceptional and very rare woodblock print by Sharaku depicts the Kabuki actor Matsumoto Yonezaburo
in the role of Keisei Shiratama, one of two sisters whose father is murdered and becomes a courtesan
in order to obtain revenge on the assassin. The serious expression in her eyes reveals that she is lost in deep
contemplation as she smokes a pipe. This highly exaggerated portrait of the kabuki actor was executed in
the great Sharaku’s characteristic style. The print bears the artist signature, Toshusai Sharaku Ga, and publisher
seal on the top right of the image.
As is typical of Sharaku, he used a ground known as unmo, or mica, which is a mineral contained in large
amounts in granite. He sprinkled this on the paper to create an unusual silver-black or purple sheen in the
background.
One theory is that Sharaku was not an individual, but a collective launched by a group of artists to help a
woodblock print-house that had aided them. The name Sharaku is taken from sharakusai, “nonsense,” and
may be an inside joke by the artists, who knew that there was no individual of that name. In his short career
Sharaku went through four distinct stylistic changes, lending credence to the claim that he was a collective
rather than an individual. At this time it was quite common for five to ten artisans to work together on woodblock
prints.
It has been suggested that the great printmaker, Katsushika Hokusai, author of the iconic print The Great
Wave of Kanagawa is the man behind Sharaku. Between 1792 and 1796, the time when Sharaku’s work
starts to appear, Hokusai disappeared from the art world. However, there is little evidence to support this
theory, other than explaining Hokusai’s absence from the art scene. The name of Jurōbei Saitō, a samurai
turned Noh actor, has also been put forward however there is now some doubt around this theory.
The mystery surrounding this artist, the rarity of his prints and his unusual technique and elegant style has
helped to secure his place in Japanese art history as one of the most prominent and important artists.

Henry Sotheran Limited 3
1. Kabuki Actor Matsumoto Yonezaburo Playing the Role of Keisei Shiratama. Sharaku (active 1794-1795). Original woodblock
print, Japan, 1794-1795. 370 x 248mm. £69,000

4
LAndScApES
2
3
2. Suzukawa. Hiroshi Yoshida (1876-1950), 1935. 175 x
275mm. £1,680
3. Mountains of Komagatake. Hiroshi Yoshida (1876-1950),
1928. 245 x 380mm. £1,650

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4
5
4. Mount Fuji from Yoshida. Hiroshi Yoshida (1876-1950), 1926.
245 x 380mm. £1,200
5. Mount Fuji from Yamanaka. Hiroshi Yoshida (1876-1950),
1937. 245 x 380mm. £2,350

6
LAndScApES
6 7
8 9
6. Mount Fuji and Pine Tree. Koitsu Tsuchiya (1870-1949), early
20th c. 240 x 360mm. £350
7. View of Mount Fuji from Hakone. Hiroaki Takahashi (1871-
1945), 1920. 240 x 360mm. £170
8. Mountain over Pine Forest. Koichi Okumura (1904-1974), 20th
c. 245 x 365mm. £250
9. Mountain at Sunset. Imao Keisho (1902-1993), 20th c. 335 x
380mm. £650

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10
11 12
10. Early Spring in Azumino.Toshi Yoshida (1911-1995), 20th c.
220 x 320mm. £500
11. Mt Fuji and Lake Kawaguchi. Okada Kouichi, 20th c. 360 x
240mm. £225
12. Mount Fuji after Snow. Hasui Kawase (1883-1957), 20th c.
365 x 240mm. £2,550

8
LAndScApES
13
14
13. Nocturne Blue and Gold. After James Whistler (1834 - 1903),
c.1910. 255 x 190mm. £450
14. Boat with Lantern, under a Pine Tree at Taro-inari Shrine,
Asakusa. Kiyochika Kobayashi (1847-1915), c.1910. 248 x
180mm. £220

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16
15
15. High Bridge and Sailing boat.Yoshimune Arai (1873-1945),
c.1920. 256 x 190mm. £180
16. Torii Gate with Lanterns at Miyajima in the Rain. Hasui
Kawase (1883-1957), 1941. 390 x 260mm. £850

10
LAndScApES
17 18 19
20 21 22
17. Futamigaura Sacred Rocks with Ropes. Koho Shoda (1871-
1946), c.1920. 255 x 190mm. £290
18. Kokedera (Moss Temple) Gate. Masao Maeda (1904-1974),
1965. 485 x 390mm. £450
19. Path with Torii Gate in the Full Moon. Kiyochika Kobayashi
(1847-1915), c.1910. 250 x 190mm. £220
20. Bamboo of the Summer. Shiro Kasmatsu (1898-1992), 20th
c. 365 x 240mm. £180
21. Pagoda in the Woods.Yuhan Ito (1882-1951), c.1920. 370 x
255mm. £680
22. Sagano Bamboo Grove.Teruhide Kato (b. 1936), c.1990. 320
x 130mm. £170

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23 24
25 26
23. Pagoda with Full Moon.Teruhide Kato (b. 1936), c.1990. 320
x 130mm. £170
24. View of Bridge with Cherry Blossom, Janome, Roji.
Teruhide Kato (b. 1936), c.1990. 320 x 130mm. £170
25. Kurama Temple with Cherry Bloom by Moonlight.Teruhide
Kato (b. 1936), c.1990. 315 x 130mm. £105
26. Cherry Blossom Dance in Moonlight. Teruhide Kato (b.
1936), c.1990. 130 x 320mm. £170

12
LAndScApES
27
28
27. Shinobazu Pond with Torii Gate and Willow. Shiro Kasmatsu
(1898-1992), c.1950. 360 x 250mm. £800
28. Shuzenji Hotspring with Cherry Blossom in Spring. Shiro
Kasmatsu (1898-1992), 1937. 375 x 255mm. £900

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29
29. Cave Temple of Kannnon in the Iwai Valley with a Waterfall and Pine Trees. Hiroshige Ando (1797-1858), december 1853. 340
x 230mm. £1,500

14
LAndScApES
30 31 32
33 34 35
30. Toshogu Shrine at Ueno with Cherry Blossom. Shiro
Kasmatsu (1898-1992), 20th c. 365 x 240mm. £180
31. Tree in Full Moon. Shiro Kasmatsu (1898-1992), 20th c. 365
x 240mm. £180
32. Hot Spring at Semi with Cherry Blossom. Shiro Kasmatsu
(1898-1992), 20th c. 365 x 240mm. £180
33. Moon and Pine Tree at Matsushima. Shiro Kasmatsu (1898-
1992), 20th c. 365 x 240mm. £180
34. Sailing Ship. Shintaro, 20th c. 360 x 235mm. £225
35. Night Scene of Kitano Shrine. Takeji Asano, (1900-1999),
20th c. 360 x 235mm. £225

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37
36
36. Hirosaki Castle in Moonlight. Shuncho Mori (active c.1940-
1950), 1930. 380 x 250mm. £980
37. Glittering Sea by Moonlight. Hasui Kawase (1883-
1957),1926. 370 x 250mm. £1,400

16
LAndScApES
38 39 40
41 42
38. Moon Light in Yasaka Pagoda. Takeji Asano, 20th c. 360 x
235mm. £225
39. Pagoda in Kyoto. Toshi Yoshida, 1932, signed in pencil by the
artist. 240 x 170mm. £270
40. Moon Light in Wakanoura. Wakayama. Takeji Asano, 20th
c. 360 x 235mm. £225
41. Temple with Cherry Blossom in the Spring. Koitsu Ishiwata
(1897-1987), 20th c. 360 x 240mm. £180
42. Golden Pagoda with Pine Trees in the Snow. Koitsu Ishiwata
(1897-1987), 20th c. 365 x 240mm. £180

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43 44
45 46
43. Full Moon with Pine Trees at Akashi. Koitsu Tsuchiya (1870-
1949), c.1950. 360 x 240mm. £350
44. Birds in the Woods.Tamami Shima (1937-1999), 1959. 380 x
530mm. £250
45. Rainbow and Pine Tree. Takeji Asano (1900-1999), 20th c.
360 x 240mm. £180
46. Zen Rock Garden. Junichiro Sekino (1914-1988), 20th c. 430
x 240mm. £550

18
LAndScApES
48 47
49
47. Bamboo Tree of the Friendly Garden. Toshi Yoshida (1911-
1995), 1980. 500 x 250mm. £1,500
48. Pine Tree of the Friendly Garden. Toshi Yoshida (1911-1995),
1980. 500 x 250mm. £1,500
49. Plum Tree of the Friendly Garden.Toshi Yoshida (1911-
1995), 1980. 500 x 250mm. £1,500
£4,200 for the set of three

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50 51
52
53
50. Gion in Kyoto. Kiyoshi Saito. numbered 59/100, signed by
the artist in pencil, Japan, 1963. 385 x 525mm. £1,950
51. Pagoda in Snow. Junichiro Sekino (1914-1998), 20th c. 300 x
450mm. £550
52. Boat at Night. Anonymous, 19th c. 83 x 250mm. £75
53. Autumn Sunshine Afternoon. Miyamoto Shufu (b. 1950),
1992. 300 x 450mm. £480

20
KIMOnOS
Anonymous. Original woodblock prints, from Seasonal Kimono Design, published by Yamada Unsodo, Japan,
c.1890. 160 x 110mm each.
54 55 56
57 58 59
60 61 62
54. Plum Blossoms Floating. £75
55. Flower by Stream. £75
56. Bamboo in Snow. £75
57. Water Mill Under Pine Tree. £70
58. Cherry Blossom Through the Clouds. £70
59. Pine, Bamboo and Plum Blossoms. £70
60. Wysteria Flower by the Gate. £70
61. Plover Bird above the Ocean. £70
62. Plum Blossom and Bamboo. £70

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63 64 65
66 67 68
69 70 71
63. Shishi Lion Dance. £45
64. Bridge Under the Clouds. £70
65. Chrysanthemum Flower Arrangement. £45
66. Morning Glory Flowers. £65
67. Balloon Flower and Pampas Grass. £65
68. Plum Blossom Tree. £65
69. Boat and Bamboo. £65
70. Boats Made of Leaves and Paper. £65
71. Plum Blossom. £55

22
KIMOnOS
72 73 74
75 76 77
78 79 80
72. Gentleman’s Kimono. £55
73. Fishing Net and Bamboo Leaves. £55
74. Maple Leaf and Floating Log. £55
75. Wisteria Flower and Wave. £55
76. Iris Flower Garden. £55
77. Paulownia Flower and Bamboo. £55
78. Narcissus Flower. £55
79. Morning Glory Flowers. £50
80. Boat and Bamboo. £50

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81 82 83
84 85 86
87 88 89
81. Cherry Blossom. £50
82. Kimono Fabric with Bamboo in The Wind. £40
83. River. £50
84. Fan Over The Water. £50
85. Wishing Board with Cloud Design. £45
86. Japanese Bush Clover, Bamboo and Water Pipe. £45
87. Kites in the Wind. £45
88. Village in the Rain, with Bamboo. £45
89. Feather Fan and Tree. £45

24
KIMOnOS
90 91 92
93 94 95
96 97 98
90. Hagoita Racke, with Bamboo. £45
91. Gentleman’s Hats. £45
92. Plum Blossom on the Verandah. £45
93. Pine Tree and Wisteria Flowers above the Waves. £45
94. Plover Bird and Cloud Pattern. £45
95. Plant Arrangements. £45
96. Bobbin Pattern. £45
97. Sparrow and Rice Plant. £45
98. Bridge Seen Through Clouds. £45

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99 100 101
102 103 104
99. Shinto Decoration with Bamboo. £45
100. Treasure Boats of Good Fortune, with Rice and Bamboo. £45
101. Plum Blossom, Bamboo and Pine Needles. £70
102. Decorative Mirrors with Good Luck Symbols of Bamboo,
Crane, Pine, Cherry Blossom and Paulowina. £55
103. Decorative Curtain with Butterfly Motif. £65
104. Kimono Design of Famous Poets. Yamashita Kosen, from The
Hanakata series, by Miyata Toyamado, 1900. 155 x 220mm. £305

26
fLOWErS
105
106
107
105. Plum Blossoms. Jakuchu (1716-1800), 20th c. 240 x
240mm. £160
106. Iris. Jakuchu (1716-1800), 20th c. 240 x 240mm. £160
107. Plum Blossom. Jakuchu (1716-1800), 20th c. 240 x
240mm. £160

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108 109
110 111
108. Full Moon and Cherry Blossom. nakamura Shundei (1905-
1966), c.1950. 360 x 240mm. £350
109. Peony Flowers and Butterfly. Kyozo, c.1920-1930. 280 x
410mm. £290
110. Glory Flower. nakamura Shundei (1905-1966), c.1950. 360
x 240mm. £280
111. Summer Fans. Kamisaka Sekka (1866-1942), 1899. 355 x
240mm. £230

28
fLOWErS
112
113
114
115
112. Hydrangea Flower. Gakusui, 20th c. 240 x 360mm. £380
113. Iris. Toyokazu Kohno (b. 1914), 20th c. 375 x 460mm. £650
114. Basket with Peony Flowers. Kamisaka Sekka (1866-1942),
1899. 240 x 355mm. £205
115. Iris Garden. After Korin (1658-1716), 20th c. 232 x
175mm. £250

Henry Sotheran Limited 29
BEAUTIES And WArrIOrS
116
117
116. Courtesan Hanaogi of the Ogiya. Utamaro II (c.1830),
c.1831. 350 x 252mm. £1,600
117. Courtesan Having her Hair Adjusted by her Attendant.
Utamaro Kitagawa (1753-1806), c.1800. 378 x 246mm. £4,500

30
BEAUTIES And WArrIOrS
118 119 120
121 122 123
118. Courtesan Izumiya from Hiraizumi-ya Pleasure House in
Shin-Yoshiwara District. Kunichika (1835-1900), november
1865. 335 x 225mm. £230
119. Courtesan Nakagawa from Nakamanjya Pleasure House
in Shin-Yoshikawa District. Kunichika (1835-1900), november
1865. 335 x 225mm. £230
120. Courtesan Imamurasaki from Daikokuya Pleasure House
in Shin-Yoshikawa District. Kunichika (1835-1900), november
1865. 335 x 225mm. £230
121. Courtesan in Shishi Patterned Kimon. Kunichika (1835-
1900), January 1865. 335 x 225mm. £220
122. Young Samurai Viewing Cherry Blossoms. Gekko (1859-
1920), c.1890. 325 x 215mm. £175
123. Courtesan Under Cherry Blossoms. Kunichika (1835-1900),
January 1865. 335 x 225mm. £220

Henry Sotheran Limited 31
124 125
126 127
124. Chapter 14: Maburashi the Wizard. Utagawa Kuniyoshi
(1797-1861), from Ukiype comparison of the cloudy chapters of
Genji, c.1845. 353 x 230mm. £415
125. Daoist Priest Nyuunryu Kososho. Utagawa Kuniyoshi,
(1797-1861), 1830. 360 x 255mm. £1,095
126. Portrait of Sasaki Ganryu. Utagawa Kuniyoshi (1797-1861),
1845-46. 356 x 240mm. £330
127. Samurai on Horseback Descending Stairs among Cherry
Blossom. Gekko (1859-1920), 1896. 350 x 225mm. £210

32
BEAUTIES And WArrIOrS
128
129
130
131
128. Kabuki Actor Nakamura Ganjiro. Kunichika (1835-1900),
c.1880. 340 x 660mm. £255
129. Kabuki Actor Ichikawa Yonezo and Nakamura Jusaburo
Playing the Role of Hunter. Kunichika (1835-1900), c.1880. 340
x 220mm (each). £200
130. Imperial Beauty with Festive Ornaments. chikanobu
(1838-1912), dptych, c.1890. 340 x 220mm (each). £230
131. Apparition of a Dragon in Front of the Monk Nichiren.
Utagawa Kuniyoshi (1797-1861), 1831. 230 x 345mm. £900

Henry Sotheran Limited 33
132
133
132. Ohizamoto-Ladies in Waiting at the Reception in the
Palace. chikanobu (1838-1912), triptych, March 1895. 700 x
350mm. £405
133. Beauty Enjoying Japanese Sweets Ohagi. chikanobu (1838-
1912), triptych, October 1895. 700 x 350mm. £440

34
BEAUTIES And WArrIOrS
134
135
134. Geisha Entertaining. Toyokuni III ( 1786-1864), triptych,
April 1857. 350 x 740mm. £635
135. Festive Workmen.Yoshitora, c.1867. 335 x 720mm. £805

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136
137
136. Pleasure House in Shin Yoshiwara. Utagawa Kuniyoshi,
(1797-1861), pentatyche, c.1850. 370 x 1300mm. £5,995
137. Playing Football. chikanobu (1838-1912), triptych, from Men
of the Chiyoda Palace, September 1897. 700 x 350mm. £750

36
cHrYSAnTHEMUMS
Keika Hasegawa (active 1893-1905). Original woodblock prints, from One Hundred Years of Chrysanthemums, Japan, July
1893. 300 x 205mm each.
138 139 140
141 142 143
144 145 146
138. Chrysanthemum. £200
139. Chrysanthemum. £120
140. Chrysanthemum. £200
141. Chrysanthemum. £200
142. Chrysanthemum. £180
143. Chrysanthemum. £180
144. Chrysanthemum. £180
145. Chrysanthemum. £180
146. Chrysanthemum. £180

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147 148 149
150 151 152
153 154 155
147. Chrysanthemum. £180
148. Chrysanthemum. £180
149. Chrysanthemum. £180
150. Chrysanthemum. £180
151. Chrysanthemum. £180
152. Chrysanthemum. £180
153. Chrysanthemum. £180
154. Chrysanthemum. £180
155. Chrysanthemum. £180

38
cHrYSAnTHEMUMS
156 157 158
159 160 161
162 163 164
156. Chrysanthemum. £120
157. Chrysanthemum. £180
158. Chrysanthemum. £120
159. Chrysanthemum. £160
160. Chrysanthemum. £160
161. Chrysanthemum. £120
162. Chrysanthemum. £160
163. Chrysanthemum. £140
164. Chrysanthemum. £140

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165 166 167
168 169 170
171 172 173
165. Chrysanthemum. £140
166. Chrysanthemum. £140
167. Chrysanthemum. £140
168. Chrysanthemum. £140
169. Chrysanthemum. £120
170. Chrysanthemum. £120
171. Chrysanthemum. £120
172. Chrysanthemum. £120
173. Chrysanthemum. £120

40
cHrYSAnTHEMUMS
174 175 176
nankoku Ohsawa (b.1844). Original woodblock prints, Japan, early 20th century. 385 x 100mm each.
177 178
179
174. Chrysanthemum. £100
175. Chrysanthemum. £100
176. Chrysanthemum. £120
177. Vine and Blue Robin. £100
178. Morning-Glory and Bee in August. £100
179. Plum-Blossom and Flycatcher. £100

Henry Sotheran Limited 41
Keika Hasegawa (active 1893-1905), 1893. 430 x 270mm each.
180
181
182
180. Large Chrysanthemum. £250
181. Large Chrysanthemum. £180
183
182. Large Chrysanthemum. £200
183. Large Chrysanthemum. £220

42
BIrdS
184
186
185
187 188 189
184. The Shrike Perched on a Tree. Hiroshige III, c.1880. 155 x
220mm. £90
185. White Herons in Snow. Gakusui, 20th c. 365 x 230mm. £350
186. Rooster. Anonymous, c.1890. 310 x 420mm. £195
187. Crane at Sunrise. After Okyo Maruyama, 20th c. 232 x
175mm. £170
188. Cranes by the Stream. After Ogata Korin (1658-1716), 20th
c. 225 x 165mm. £225
189. Cranes. Maruyama Okuyo (1733-1795), 18th century. 230 x
170mm. £170

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190 191
192 193
190. Dipper Amongst Iris Flowers. rakuzenkyo, c. 1930-1940.
335 x 480mm. £110
191. Owls. Kaoru Kawano (1916-1965), 20th c. 260 x
380mm. £400
192. Great Tits Perched on Plum Blossom Tree. nakamura
Shundei (1905-1966), c.1950. 360 x 240mm. £300
193. Long-Tailed Tits on a Nandin Plant. nakamura Shundei
(1905-1966), c.1950. 360 x 240mm. £300

44
cATS
195
194
196
194. Cat with Ring. Seiji (Masaharu) Aoyama (1893-1969), 20th
c. 390 x 270mm. £400
195. Cat. Bairei, 20th c, 233 x 359mm. £150
197
196. Cat. Anonymous, c.1890. 255 x 345mm. £280
197. Cat. Seicho Hasegawa (1916-2004), 20th c. 390 x
270mm. £405

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198
199
200
201
202 203
198. Cat. Sadanobu Hasegawa (b. 1914), 20th c. 190 x
257mm. £175
199. Sitting Cat. Shunsen natori, 20th c. 380 x 250mm. £480
200. Cat. Sadanobu Hasegawa (b. 1914), 20th c. 260 x
193mm. £175
201. Cat. Sadanobu Hasegawa (b. 1914), 20th c. 190 x
257mm. £150
202. Cat. Sadanobu Hasegawa (b. 1914), 20th c. 215 x 145mm. £90
203. Cat. Sadanobu Hasegawa (b. 1914), 20th c. 256 x
191mm. £150

46
AnIMALS
204 205
206
207
204. Horse. Koseki, 20th c. 340 x 261mm. £190
205. Horse. nisaburo Ito, 20th c. 350 x 235mm. £160
206. Monkey Reaching for the Moon. Gekko (1859-1920), 1910.
247 x 260mm. £350
207. Monkey. Anonymous, c.1890. 310 x 420mm. £230

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208 209
210 211
208. Portrait of Dragon. After Okyo Maruyama, 20th c. 233 x
171mm. £190
209. Portrait of Tiger. After Okyo Maruyama, 20th c. 235 x
172mm. £150
210. Horses. Anonymous, c.1890. 310 x 420mm. £175
211. Dragon. Anonymous, c.1890. 310 x 420mm. £280

48
AnIMALS
212
213 214
212. Two Carp. Matsumoto choko (b. 1902), 20th c. 375 x
460mm. £650
213. Snake. Anonymous, c.1890. 310 x 420mm. £175
214. Snake. Takeuchi Seiho (1864-1943), c.1900. 355 x
485mm. £140

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Kodo Kawarazaki (active c.1830). Original woodblock prints, Japan, 1935. 252 x 58mm each.
cLOUdS
215 216 217
218 219 220
215. Cloud. £90
216. Cloud. £80
217. Cloud. £90
218. Cloud. £90
219. Cloud. £90
220. Cloud. £90

50
cLOUdS
221 222 223 224
225 226
227 228 229 230 231 232
221. Cloud. £50
222. Cloud. £50
223. Cloud. £50
224. Cloud. £50
225. Cloud. £50
226. Cloud. £60
227. Cloud. £60
228. Cloud. £60
229. Cloud. £60
230. Cloud. £70
231. Cloud. £70
232. Cloud. £70

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233 234 235 236 237 238
239 240 241 242 243 244
233. Cloud. £70
234. Cloud. £70
235. Cloud. £70
236. Cloud. £70
237. Cloud. £70
238. Cloud. £70
239. Cloud. £70
240. Cloud. £70
241. Cloud. £90
242. Cloud. £80
243. Cloud. £80
244. Cloud. £90

52
MAnGA ILLUSTrATIOnS
Original manga illustrations, 1986-1998.
245
246
245. Dragon. 225 x 350mm. £300 246. Dragon Ball Z. By clamp. 200 x 350mm. £800

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247
247. Eating Tiger. 215 x 230mm. £200 248. Card Captor Sakura. By clamp. 200 x 260 mm. £350
248

54
ScrOLLS
249 250
249. Koi Carp. fukuda Heihachirou. Original hand-painted
design, on silk, 20th c. Image: 1060 x 410mm.; overall 1810 x
527mm. £600
250. Rising Dragon. nakazumi douun. Original pen and ink
drawing, c.1950. Image: 1270 x 300mm; overall: 1740 x
405mm. £300

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251 252
251. Blossoms of the Night Moon. Yamamoto ryudou. Original
pen and ink drawing, Japan, 20th c. Image: 1203 x 360mm; overall:
1910 x 488mm. £700
252. Blue Tit on Maple Tree. Ogata Yousui. Original pen and
ink drawing, 20th c. Image: 1090 x 418mm; overall: 1830 x
545mm. £700

56
BAIrEI'S FlOWerS AND BirDS
Original woodblock prints, from Album of Flowers and Birds, published by Okura, Japan, 1899. 335 x 215mm each.
253 254 255
256 257 258
253. Hill Myna Birds and Roses. £200
254. Azure-Winged Magpie on Akebi Tree. £200
255. Plovers and Lillies. £225
256. Woodpecker on a Cherry Blossom Tree. £250
257. Shrike on a Plum Blossom Tree. £200
258. Pheasants and a Blossoming Peach Tree. £225

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259 260 261
262 263 264
259. Peacocks on a Flowering Crab Apple Tree. £275
260. Cherry Blossoms and Seagulls. £200
261. Cormorant and Flowers by River. £225
262. Herons and Iris flowers. £225
263. Ducks and Lily Flowers. £225
264. Blackbirds and Lily Flowers. £200

58
BAIrEI'S FlOWerS AND BirDS
265 266 267
268 269 270
265. Ducks and Peony Flowers. £200
266. Waxwing on a Pear Tree. £200
267. Cocks and Hydrangea Flowers. £225
268. Pheasants and Peony Flowers. £200
269. Grosbeak and Passion Flowers. £225
270. Cranes and Peony Flowers. £200

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271 272 273
274 275 276
271. Pigeon on Wisteria Branches. £250
272. Rooster, Hen and Chrysanthemum Flowers. £225
273. Quail and Azalea Flowers. £200
274. Water Rails and Camelia Sasanqua in the Full Moon. £225
275. Cuckoo and Camellia Flowers. £225
276. Poppy Flower and Pigeons. £200

60
rELATEd BOOKS
278
277
277. [JAPANESE ENAMELS]. BOWES, James. Japanese
Enamels With Illustrations from The Examples In The Bowes
collection. liverpool, Printed for Private Circulation, 1884.
together with notes On Shippo. A Sequel To Japanese Enamels.
Kegan, Paul, Trench, Trübner & Co. limited, 1895. £265
Small folios (280 x 194 mm.)The first work bound in the original
full dark blue gilt-lettered bevelled cloth, endpapers sympathetically
renewed, top edges gilt; x + [2], contents + 111 + [1]pp., advert, 20
plates of which 18 are either after drawings or photos and 2 are
chromolithograph plates, including frontis; a bright, clean copy. The
second work bound in quarter green linen over decorative papercovered
boards, top edges gilt; xii + 109 + [1]pp., 7 b/w plates and
numerous b/w text figures; a little worn at the extremities otherwise
a bright clean copy.
first editions.
278. BUXTON, L. H. Dudley. The Eastern road. london:
Kegan Paul, 1924. £75
8vo. Original cloth, gilt; pp. xii, 268; frontis., 18 photo. illusts.;
slight spotting, else very good.
first edition. This is a narrative of a journey taken in 1922 while
travelling on the Albert Kahn fellowship. Although the award
required Buxton to voyage throughout the world, Buxton dedicated
his travels exclusively to Japan and china. china was then in
turmoil, and Buxton records his impressions both at this time and
in the aftermath.

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279. DENTSU INC. 100 Seasonal paintings of Japan. Japan.
Dentsu inc. 1991. £98
folio, original green silk lettered in gilt on spine with paper label
on upper board. 100 colour illustrations. Text in Japanese and
English. A fine copy in original slipcase.
first edition. printed to celebrate the 90th anniversary of the
founding of dentsu Inc, publishers of calenders depicting
reproductions of famous works of art. A lavish promotional volume
with many folding plates.
280. EVANS, Robley D. An Admiral’s Log. Being
continued recollections of naval Life. New York and london:
D. Appleton and Company, 1910. £45
8vo. Original cloth, gilt, coat of arms in gilt and silver to upper
cover; pp. xi, 467; photo. illusts.; cloth slightly marked on upper
cover, a little dusty, else very good.
first edition. The author had previously written a volume of
autobiography entitled A Sailor’s log, to which the present volume
is a sequel. Evans’ service included audiences with the Emperor of
Japan and the Empress dowager of china, when he was stationed
in china. There are several chapters on Evans’ time in Asia
(including a voyage up the Yangtze, and a visit to the philippines),
as well as on the West Indies and South America.
281. GILL, Stephen. European Eyes on Japan. Japan Today
vol. 9. Tokyo, eU-Japan Fest Japan Committee, 2007. £28
Small 4to. Three vols. Original stiff card wrappers, presented in a
card slipcase, fine.
first edition. photograph essays by cuny Janssen, Stephen Gill and
nicu Ilfoveanu, taken between October 2006 and March 2007.
commenced in 1999 the project “European Eyes on Japan” takes
as its theme “contemporary people and the way they live”. Each
volume is devoted to a different city or prefecture from the
viewpoint of a European photographer or photographers - the focus
of the present volume is Kagoshima
281
279 280

62
282
282. HILLIER, Jack. The Art of the Japanese Book.
Sotheby’s. 1987. £498
folio 2 volumes in original cloth with dust wrappers, preserved in
original slipcase. Illustrated with reproductions of over 900 prints.
A fine set.
first edition of Hillier’s magnum opus, the definitive work on the
Japanese Book. This copy inscribed by Hillier to his son “for Bevis
from his fond father. not the least of his benefactions”.
283. HOMMA, Takashi. Tokyo. New York, Aperture, 2008. £30
royal 8vo. (253 x 180 mm) photo-illustrated stiff card wrappers
with flaps; 239, [1]pp., illustrated throughout with colour photos;
fine.
first edition.
283
284
284. [JAPAN.] A Japanese Lacquer photograph Album. c.
1890. £1,750
Oblong folio (approx. 14 x 10?”). Original lacquered boards, upper
cover with image in gilt, colour and ivory onlays showing boatman
ferrying a woman across a river, original morocco spine, gilt-ruled
raised bands, a.e.g; containing 50 photographs, each approx. 206 x
265, the majority coloured, captioned in English and numbered in
the negative; very slightly rubbed, one small chip to edge of upper
board, some tissue-guards torn, else a splendidly preserved example
of the genre, contained in a purpose-made cloth box (worn).
This wonderful album and others like it were produced in Japan as
souvenirs, the photographs being selected from the studio catalogue
purposely for the album. The present excellent copy contains images
of scenes at Yokohama (the railway station and a boys’ parade),
Asakusa Tokyo, cherry blossom, iris gardens and maple trees in
Tokyo, Enishima, temples at nikko and the Inland Sea, views at
Hakone, another of Mount fuji, portraits of geishas, silk-weavers,
rice-planting, a grocer’s shop, a street-dancer, and a group portrait
of soldiers dressed in Samurai armour.

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285. [JAPAN - PAPERMAKING]. [Tokyo celluloyd
company Memorial Album]. [Tokyo, Taisho 8 i.e. 1919]. £148
Oblong 8vo. Original decorated cloth, ties; pp. [ii, text in Japanese]
+ 28 photographic plates + [iv, Japanese] text; some wear and
soiling to cloth, internally very clean.
An interesting photographic record of a paper-manufacturer
established in Tokyo in 1917. Included are images of the
laboratories, manufacturing facilities, dining hall and various
company premises, as well as portraits of the company president
and employees. The text and photograph captions are in Japanese.
Industrial production of paper began in Kobe in 1872 and in the
early c.20th demand for paper rose dramatically.
285
286. JAPAN. palaces Of Japan. Tokyo, 1928. £1,250
Oblong folio (267 x 372 mm), bound in jade green silk, with paper
title label to the upper cover, gilt-flecked endpapers, preserved
within the original hand-stencilled linen-backed chemise with ivory
tags and a paper title label to its upper cover; 76 phototypes, frenchfolded,
each with a leaf of descriptive text (Japanese); wear to the
extremities of the chemise, a few dust marks on the covers, the book
itself very bright and clean.
A visual survey of the imperial palaces and offical residences in and
around Tokyo. The images include many interiors and gardens.
286

64
287
287. [JAPANESE PEONY CATALOGUE]. [Yokohama
Ueki Kabushiki Kaisha]. paeonia Moutan, a collection of
50 choice Varieties. Yokohama. [ca. 1900]. £4,000
Oblong folio, 300 x 410 mm. original blue Japanese ripple-grained
paper wrappers with lithographed paper label on upper cover, stabstitched
with yarn ties; 25 full-page chromolithographs, printed on
rectos and versos of 13 leaves, copyright leaf at end; fine.
A fine copy of one of the special nursery sample catalogues issued
by the Yokohama nursery company, a consortium of Japanese
nursery owners who dominated the lucrative market of flower
export at the height of the Western vogue for Japanese gardens.
Earlier catalogues from the nursery (notably their Maple
catalogues) used pochoir (stencil-coloured) illustrations; the present
catalogue, showing the stunningly bright blossoms of various
different species of peonies, makes effective use of the full range
of tones offered by chromolithography. The flowers are shown
close up, most life-size or larger, against a background of green
leaves and pale green sky; the effect is extraordinarily dreamlike.
Two varieties are shown in each lithograph; each has a small
rectangular caption with the catalogue number in Arabic numerals,
and the name of the flower in Japanese with English transcription
or Latin name. The copyright or colophon leaf at end, entirely in
Japanese except for the words “copyright reserved,” may supply the
date.
The nursery issued catalogs until about 1922, which are collected
as much for their aesthetic beauty as for the detailed evidence they
provide of flower and exotic plant imports at the turn of the century.
Individual trees (including bonsais) and shrubs from the Yokohama
nursery can still be found in the Arnold Arboretum and the
Brooklyn Botanic Garden, and among the cherry tree plantings in
Washington, d.c. This is a spectacular example of one of the rarer
flower catalogues issued by the nursery. Two small abrasions to
lithograph no. 35-36, tiny marginal tears to lower edge of first plate;
corners a trifle bumped, some fading to covers, else a fine, bright
copy.
Five copies are listed in rliN and OClC, of which four in America.
288. [JAPAN AND CHINA]. KNOX, Thomas W.
(author). Adventures of Two Youths in a Journey To Japan
And china. The Boy Travellers in the far East. New York;
Harper & Brothers, Publishers. 1880 [1879]. £128
Large 8vo. Original rich red cloth very strikingly decorated in black,
gilt, and silver to both covers and spine, pictorial green endpapers,
plain edges; pp. [ix], 10-421 + [ii]; with coloured frontispiece
guarded by tissue and a host of fine steel-engraved illustrations
printed as full-page plates and vignettes on almost every page;
externally a near fine, and beautiful, copy exhibiting none of the
usual fading to cloth, just one minute (2mm) closed split at base of
spine; internally also very clean and crisp with cracking to endpaper
at inner upper hinge and previous owner’s de luxe (donald S.
Stralem), and small, leather booklabel to front pastedown, otherwise
immaculate.

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290
288
289
first edition. A highly detailed, and diverse, account of the author’s
travels across the far East planted in a fictional context, but firmly
rooted in fact. The work includes a 16-page account of a whaling
voyage, along with descriptions of many major cities, famous
natural and man-made features such as Mount fuji and the Great
Wall, and observations on all aspects of local life including religion,
traditions, amusements, clothing, childish pastimes, rural life, the
role of women, modes of torture, manufacture, tea-drinking and
kite-flying, to name but a few.
289. [LEACH, Bernard]. Yanagi SOETSU. (editor).
Kogei. no. 53. May 1935. Tokyo, Nippon Mingei Kyokwai, May,
1935. £425
8vo. (224 x 152 mm.). Original plaid cloth covered wrappers; [iv]
+ 41 + [1] + [68]pp. + 10 leaves, each with a photo plate mounted
at large, of which 5 are coloured + [4]pp.; text in English and
Japanese; a particularly fine copy of a scarce title.
Edited by Yanagi Soetsu the founder of the Mingei (folk craft)
Movement in the 1920s, this issue of Kogei contains three essays
by his life-long collaborator, Bernard Leach, just prior to his return
to England after fourteen years living and working in Japan.
The concern of Soetsu was to draw attention to the high quality and
beauty of artisan crafts, including pottery, being subsumed by
growing urbanisation and mass-production.
290. MILLER, Dorothy C. and William S.
LIEBERMANN. The new Japanese painting and Sculpture.
New York, The Museum of Modern Art, 1966. £45
Square 4to. Original red cloth, the title stamed in white to the upper
board and spine, photographic dustjacket; 116pp., illustrated
throughout with b/w photo plates; a particularly fine copy in a fine
dust jacket.
first edition.
291. ONAKA, Koji. Slow Boat. Cologne, Schaden, 2008.£55
Small 4to (233 x 265 mm). White paper covered boards, photoillustrated
dust jacket; 84 b/w photographs.
first German edition. Initially published in Japan in 2003.
291

66
THE rArE fIrST LATIn EdITIOn Of AccOUnTS Of
JApAn And cHInA BY rOdrIGUES And rIccI
292
292. RODRIGUES, João and Matteo RICCI. Litterae
Japonicae anni M. dc. VI. chinenses anni M. dc. VI. & M.
dc. VII. Illae à r. p. Ioanne rodriguez, hae à r. p. Matthaeo
ricci... transmissae ad admodum r. p. claudium
Aquavivam... Latinè redditae à rhetoribus collegii Soc. Iesu
Antuerpie. Antwerp: Officina Plantiniana, the widow and sons of
Jan Moretus i [i.e. Martina, née Plantin and Balthasar i and Jan
ii], 1611. £6,950
12mo. contemporary netherlandish vellum over boards [?for the
publisher], yapp fore-edges, alum-tawed pigskin fore-edge ties,
spine lettered in manuscript by an early hand and further titled by a
[?]19th-century hand; pp. 201, [1 (privilege)], [2 (plantin device,
verso blank)], woodcut device on title, woodcut head- and tailpieces
and initials; covers slightly warped and discolored, ties slightly
rubbed and discolored, one missing a small section, light browning,
a few spots, small paper-flaw on A2 affecting one letter, nonetheless
a very fresh copy in a contemporary binding, retaining the final
leaf with the plantin device; provenance: the Plantin-Moretus
family (vide infra).
First Latin edition of two important Jesuit letters to the General of
the Society of Jesus, claudio Acquaviva (1543-1615, generally
considered the most effective administrator of the Society since St
Ignatius Loyola, and the creator of the ‘ratio Studiorum’). The
translations were undertaken at the Jesuit college in Antwerp under
the direction of Herman Hugo (1588-1629), and the various
translators of different passages are credited in shoulder- or sidenotes
besides the text. The work contains an introduction by Jacob
de cater (1593-1657), and the two letters are prefaced by laudatory
poems, respectively on the undertakings of the Jesuit missionaries
in Japan — ‘r[everen]dis patribus Societatis Iesu in Iaponia pro
fide laborantibus plausus’ by de cater (p. 8) — and on the Jesuit
missionaries in china by Jean Gaspard Gevaerts (1593-1666):
‘r[everen]dis patribus Societatis Iesu in china agentibus gratulatio’
(p. 129).
Although the first letter is often thought to be by the portuguese
Jesuit João rodrigues Girão (1558-1629), the provincial of Japan
and author of a number of letters from Japan in the first quarter of
the seventeenth century, d.f. Lach and E.J. van Kley state that it
was ‘apparently’ written by the portuguese Jesuit João rodrigues,
‘The Interpreter’ (?1561-1633), the procurator of the Jesuit mission
in Japan (Asia in the Making of europe (chicago and London: 1965-
1993), III, p. 370); certainly, the evidence of the title-page seems to
support this, since the provincial’s name usually appeared in its full
form (rather than as here). João rodrigues was born in Sernancelhe
in northern portugal (ironically also the origin of the Marquis de
pombal’s family) and sailed from Lisbon for nagasaki in about
1575, arriving in Japan in 1577 as a teenager, where he remained
(apart from a brief visit to Macao in 1596) until 1610. during this
time rodrigues was based at nagasaki, where he ‘rose rapidly in
power and influence because of his obviously superior command of
Japan’s language and customs. As a portuguese, and one of the very
few portuguese then working in the Jesuit mission of Japan,
rodrigues occupied a unique position as “interpreter”. Increasingly
he was called upon to act as a personal intermediary between the
nagasaki Jesuits and the political authorities of Japan’ (op. cit. III,
p. 170). rodrigues was also responsible for the pioneering Arte da
lingoa de iapam, which was published in nagasaki in 1608, and

Henry Sotheran Limited 67
was ‘one of the finest products of the Jesuits in Japan’ (r.J.
Howgego encyclopaedia of exploration to 1800 (potts point, nSW:
2003), p. 900); this remarkable work contains a grammar and guide
to pronounciation, a treatise on Japanese literature and a guide to
literary style, together with practical advice on the culture and
society of Japan, and was followed by the Arte breve da lingoa
iapoa (Macao: 1620). rodrigues’s letter for the year 1606 was first
published in Italian in rome by Bartolomeo Zannetti in 1610, and
gives an overview of events in 1606, discussing the death of
Allessandro Valignano, the superior of the mission to the East, at
Macao in 1606, the progress of colleges and residencies, and
political matters. following the rise to power of Ieyasu, who
appointed rodrigues his personal commercial agent at nagasaki in
1601, the Jesuits felt that their fortunes were improving, and the
number of converts appears to have increased enormously, from
300,000 in 1600 to 750,000 in 1606 (cf. Lach and van Kley, III, p.
172); however, 1606 saw greater restrictions on proselytising, with
the warning that only Japanese of the non-noble classes could be
converted, and a gradual increase of anti-christian feeling, which
culminated in the ‘Great persecution’, shortly after rodrigues’s
departure from Japan for china in 1610.
The second letter printed here is from the celebrated Jesuit sinologist
Matteo ricci (1552-1610), and was first published in Italian in
rome in 1610 by Zannetti. ricci studied in rome, before travelling
to Goa in 1578, where, apart from a period at cochin, he remained
until he travelled to china via Macao in 1582. ricci, together with
Michele de ruggieri and other missionaries, gradually penetrated
further into mainland china and established residences at
chaoch’ing in 1583 and Shaochow in 1589. from 1589, at the latter
residence, ricci adopted the dress of an educated chinese and, due
to his proficiency with Mandarin, dispensed with the services of
interpreters. despite various setbacks, ricci’s knowledge of the
sciences, astronomy, and geography became appreciated by the
authorities, and in 1600 ricci was invited to enter peking by
Emperor Wan-li. ricci arrived in the city in 1601, and a residence
was established there in 1606, where ricci was based until his death
in 1610. during this period he translated a number of works into
chinese (including the first six books of Euclid), which both
enhanced his reputation in cultivated chinese circles and served to
propagate christian theology; however, his reputation stems
principally from his letters and his journal, which was posthumously
published under the title De christiana expeditione apud Sinas
(Augsburg: 1615), edited by the Jesuit nicolas Trigault, who
brought the manuscript back from china to Europe. This work
‘became the most influential description of china to appear during
the first half of the seventeenth century [... and] provided European
readers with more, better organized, and more accurate information
about china than was ever before available’ (Lach and van Kley,
III, pp. 512-513). ricci’s ‘Litterae chinenses’ published here follow
the traditional format, and recount the mission’s activities in sections
relating events at the residences of Shaochow (established in 1589),
nanch’ang (1595), nanking (1599), and peking.
This first Latin edition of these two important accounts — in the
language through which they would become best known — is
rare on the market, and no other copy can be traced in ABpc
since 1975. This copy is particularly remarkable for its
provenance: it was previously in the collection of the plantin-
Moretus family, and was retained by them as a duplicate,
following the sale of the family collections and property to the
city of Antwerp in 1876 by Jonker Edward Moretus; it therefore
seems most probable that this is the original binding.
Cordier, Japonica col. 257; Cordier, Sinica col. 806; le Pagès
‘Supplément’ p. 26; Simoni, low Countries 1601-1621, r-89 (noting
2 copies in the Bl, one lacking final leaf); Sommervogel i, col. 447.
293
293. SARGENT, W. R. The copeland collection. chinese
and Japanese ceramic figures. Massachusetts: Peabody
Museum of Salem, [1991]. £35
4to. Original cloth in dustwrapper; pp. 287; numerous colour
illustrations from photographs; as new.

68
294
294. [SINO-JAPANESE WAR, 1894 5.] A Japanese Meiji
print of the Sino-Japanese War, 1894-5. Tokyo, 1895. £250
Oban triptych coloured woodblock print (730 x 380 mm), sometime
joined together, brown discolouration visible along vertical joins
where glue applied, else in very good condition.
A print depicting the aftermath of a land battle on the Liaodong
peninsula. The victorious Japanese stand on a defensive wall,
Japanese flag flying as their trumpeters herald success. It is called
picture of the Second Army occupying Jinzhou castle and was
issued in January Meiji year 28 (A.d. 1895) by the publishers
Kichijiro Inoue who had it engraved by Watanake Yatarou, also
known as Horiyata, an eminent engraver of the Meiji period. The
Liaodong peninsula on which Jinzhou is located was a major battle
site during the conflict. Its capture by the Japanese crippled the
chinese, who after the war were forced to cede it to Japan in the
Treaty of Shimonoseki (17 April 1895).
“By 1894 Japan was ready to prove to the world that her recent
efforts at modernization were more than skin-deep. Ironically, the
best demonstration that she was a fully civilized country was to
wage war. Although brief in duration, lasting less than a year from
August 1894 until May 1895, the Sino-Japanese War galvanized the
entire nation with patriotic fervor and a thirst for territorial
expansion. It also gained her the measure of respect she sought
from Western nations . “The war naturally stimulated documentary
photography and gave rise to a steady stream of illustrated
newspaper articles, but the woodcuts, which for the most part had
only a tenuous basis in fact, provided large-scale, colourful images
that must have satisfied a deep-seated aesthetic impulse at the same
time that they pandered to national pride”
(Meech-pekarik, World of the Meiji print p. 200, 201).
295. STANTON, F.M. Album of watercolour botanical
drawings. [No place, probably england] [ca. 1818-28]. £16,000
folio-sized album, 439 x 355 mm, retrospective half green calf gilt
and contemporary red paper boards, contemporary green calf
lettering piece gilt on front cover, titled “Specimens of Oriental
Tinting,” preserved in modern green cloth folding box; 20 fine
paintings of flowers (ca. 380-395 x 297-315 mm), in watercolour
and bodycolour, all but one with captions in gold ink, 12 signed
“Tinted by f. M. Stanton” and 4 initialed “f.M.S.” Manuscript list
of contents (Latin plant names) on a quarto leaf tipped in at front,
listing 24 plants; the 20 present in the album checked off in later
pencil; fine.
A lovely nineteenth-century album of brilliant watercolour flower
paintings. The flowers include roses, dahlias, peonies and above
all American and other exotic species, including passion flowers,
the Aztec lily (amaryllis formosissima), persian pearl tulip (“Tulipa
Oculis Solis”), camellia Japonica, magnolias, dahlias, Jalap
bindweed (convolvulus Jalapa), and a purple poppy.
Vividly coloured, the original watercolours, presumably produced
by the same artist, are applied on thick wove paper and positively
glow. The stencil technique of “oriental tinting” used to produce
these paintings involved transferring a drawing using tracing or
“oriental” paper to surfaces such as wood, velvet, silk, marble or

Henry Sotheran Limited 69
paper, and working up the colours to the desired brilliancy.
In 1829, writing in his Art of drawing and colouring from nature,
the drawing-master nathaniel Whittock described Oriental tinting
as a method “now in general practice” and useful for “persons
unacquainted with drawing.” related to the American technique of
“theorem painting,” the technique produced splendid results: most
satisfying to amateurs, it was largely practiced by women, during
the period “when painting in watercolours was a necessary
accomplishment of every young lady who aspired to elegance and
taste” (Hardie, English coloured Books, p. 123).
The approximate date of this unique album derives from the
watermark of the manuscript list of flowers bound in at front, which
is dated 1828.
295

70
296
296. TAKAHASHI, G[oro]. Short Biographies of Emineni
[sic] Japanese in Ancient and Modern Times each with a
characteristic Illustration. Tokyo, Kyushundo, 1890. £2,000
8vo. 2 vols. Original wrappers, string ties, printed title labels to
upper wrappers; both vols. pp. [ii, English text including an
“Advertisement”] + [40] + [ii, Japanese text]; both vols. 10 doublepage
hand-coloured wood-engraved portraits, with ownership
inscriptions to the wrappers in chinese calligraphy of chiang Yee,
who wrote travel books as “The Silent Traveller”; slight soiling to
wrappers, else a near-fine copy.
first editions. Both volumes have the same advertisement stating
that this is the second volume of a run of 10 which would
complement another 10-volume series entitled “The pictorial
descriptions of a Hundred famous places of Japan”. However, the
text and the illustrations in each volume are different. We have been
able to trace only the first volume of the “Eminent Japanese” series
in other libraries (Yale and the British Library) and have been unable
to tell whether the series was ever completed, which makes this set
extremely unusual and interesting.
The biography for each person covers 2 leaves of text before and
after the illustration for that person. The illustrations themselves,
each signed by the Japanese artist, offer “characteristic” portrayals
by setting the person within a scene of importance in their life. The
subjects in the first volume comprise The Emperor nintoku, prince
Shotoku, Sugawara no Michizane, Taira no Masakado, Minamoto
no Yoritomo, Madenokoji fujifusa, Aoto fujitsuna, Murasaki
Shikibu, Iwakura Tomomi and Yui no Shosetsu. The second volume
describes Yamatotake no Mikoto, Jingu Kogu, Takenouchi no
Sukune, Wage no Kiyomaro, Minamoto no Yoshie, Taira no
Shigemori, Hojo Tokimune, Kusunoki Masashige, Kato Kiyamasa
and Saigo Takamori.
Not found in Wenckstern’s Bibliography of the Japanese empire.
297. THOMAS, Edward. Lafcadio Hearn. Constable and
Company ltd. 1912. £150
Small 8vo. publisher’s green cloth, gilt spine; pp. 91 + 5 [ads.],
frontispiece portrait of Hearn; very bright and clean indeed.
first edition, second impression. Scarce. One of many books of
literary biography produced by Thomas during this period, this is
nonetheless a well-researched and sensitively written account of the
life and work of the journalist and short story writer. Thomas is
particularly strong on Hearn’s role in introducing Western readers
to Japanese culture.
297

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298
299
298. TILLEY, Henry Arthur. Japan, the Amoor, and the
pacific; with notices of other places comprised in a Voyage
of circumnavigation in the Imperial russian corvette
“rynda” in 1858-1860. Smith, elder and Co., 1861. £1,250
8vo. Original green cloth gilt; pp. xii + 405 + 2 (ads.) + 16 (pubs.
list); 8 tinted lithographs; very slightly bumped, else a near-fine
copy.
first edition. The Englishman Tilley served as a language tutor
aboard the russian warship rynda. In September 1858 the corvette
sailed as part of a small russian squadron from Brest bound for the
russian Amoor. The squadron sailed round the cape to Batavia,
putting in at Manila and Shanghai before a lengthy stop in Japan.
Here Tilley was able to observe the recently formed russian enclave
at nagasaki, as well as Yedo (Tokyo). The rynda then sailed on to
the Amoor. Tilley remained there for 3 months and claimed to be
the first Englishman to land there. The rynda put in subsequently
at San francisco before continuing to Hawaii and Tahiti, of which
Tilley gives good descriptions. The squadron finally rounded South
America to reach portsmouth in May 1860. Tilley’s account
provides important early documentary records of the European
settlements in Japan and of the newly founded russian colony in
the Amoor.
Wenckstern i.105.
299. WITH, Karl. Buddhistische plastik in Japan. Wein,
Anton Schroll, 1919. £100
4to. 2 volumes. Original decorated boards, title laid down; pp. 207,
[8], containing 27 plates; 224 of additional plates.
An excellent pictorial scource book of Buddhist statuary.
300. YATES, Ronald E. The Kikkoman chronicles. A
Global company with a Japanese Soul New York. McGraw
Hill. 1998 £20
8vo., original cloth with dust wrapper. A fine copy.
first edition.
300

72
Glossary
Azalea
A symbol of temperance, passion and womanhood.
Bamboo
Growing wild throughout Japan, bamboo has long been used in a
variety of ways, from food source to building material. It is an
auspicious plant, and in the Orient is linked with confucian human
virtues. Its evergreen leaves connote ‘constancy’, the evenly spread
nodes signify ‘moderation’, and its bending in the wind implies
‘moral resilience’. combined with animals it has several meanings.
for example, bamboo and the sparrow together signify friendship,
while the bamboo and the tiger imply safety. An image of bamboo
reminds us to be resilient and to stand upright against obstacles.
Bat
A symbol of prosperity and happiness that was imported from
china. The characters for ‘bat’ and ‘good luck’ are pronounced alike
in chinese and Japanese.
Boat
It is said that sailing boats bring wealth from beyond the ocean. The
seven lucky gods are often depicted on a treasure ship, a symbol of
good fortune.
Bridge
Signifies a route blessed to take to salvation. A zigzag bridge
prevents evil spirits from crossing, since it was believed ghosts and
evil spirits could only move in straight lines.
Buddha Statue
represents mercy and enlightenment. Statues or images of Buddha
are used as talismans against evil.
Butterfly
Symbolising spring, they are associated with happiness and joy.
favoured for the dual nature of its delicate and elegant symmetry,
and its transcendent evolution from a lowly caterpillar to noble
insect, the butterfly also signifies metamorphosis or transformation.
In Japanese lore souls and spirits take the shape of a butterfly,
therefore they are seen as the personification of a dead or living
person’s soul. Often associated with traditional Shinto weddings,
two butterflies dancing about one another symbolise marital
happiness.
Camellia
The camellia is known as the flower that brings spring. It has long
been regarded as a symbol of longevity, love, happy marriage,
fortune, victory and happiness.
Camphor trees
Often gracing Shinto shrines, their stature, compelling aroma, and
long life provide an appropriate symbolic meaning of longevity and
good fortune.
Canna
The flower of passion and respect.
Carp
drawing on a chinese legend of a fish so strong and persistent that
it could leap a waterfall, the Koi’s determination to overcome
obstacles is held to be a fitting example of ambition, strength and
the will to overcome difficulties. With the power to fight its way up
swift streams, it symbolises persistence, bravery and strength as well
as surpassing expectations. It therefore embodies the attributes
desired in boys. The boys’ festival is celebrated on the 5th day of
the 5th month. Balloon carps are hoisted on a long pole set in the
garden or attached to the roof of the house. Usually a carp is flown
for each son. Koi swimming upstream are also interpreted as
showing the philosophy of non-conformism since they do not “go
with the flow”. This signifies independence of the mind. Since they
can live for centuries, Koi are also a symbol of immortality.
Castle
The castle demonstrated the political and military strength and
wealth of the samurais and feudal lords. It is now recognised as a
symbol of strength.
Cat
Statues or images of cats are often placed in Japanese shops and
businesses as a lucky charm, in the hope that the establishment will
prosper. The most popular kind of lucky charm in Japanese stores
is a figurine which has the shape of a cat waving its paw; the
“Maneki neko”. The cat whether it keeps away pests or attracts
customers, symbolises success and good fortune.

Henry Sotheran Limited 73
Cherry Blossom
The pride of Japan; the coronation of spring breaks out into pink
clouds of blossoms that gradually spread over the land in early April.
Stemming from ancient Shinto beliefs, cherry blossoms have been
historically revered by the Japanese. cherry blossom or “sakura” is
generally believed to be a corruption of the word “sakuya”
(blooming) from the name of a mythical princess who is enshrined
on the top of Mt fuji. Her name literally means “tree-flowersblooming-princess”,
because she dropped from heaven onto a cherry
tree. Ever since its close connection with Shinto, the cherry blossom
has been considered the most spiritually pure of flowers. They
transform the country into a fairyland which has given Japan its
floral name of “The Land of the cherry-Blossom”. As symbols of
the beauty and purity of life and of how quickly it fades away, they
remind us all to live and enjoy life to the full.
Chrysanthemum
Is one of the four noble flowers (the others being the plum blossom,
the orchid, and bamboo). The flower of autumn meditation and
fullness, it symbolizes not only a long life but also a complete and
content one. Since it blooms after summer, it is associated with
aspects of autumn such as relaxation after the harvest season and
periods of quiet contemplation. It can also symbolise sanctuary and
refuge. The chrysanthemum’s link to longevity draws from its
physical appearance. circular and symmetric with centric rays, it is
a solar symbol associated with life, longevity and Japan itself. As a
symbol of the nation, the emperor of Japan adopted it as his crest
and it is depicted on the Imperial Seal.
Cockerel
A symbol of potency and power because of its propensity for
fighting.
Crane
One of the three major mystical animals, together with the dragon
and the tortoise. Its chief symbolic meaning is long life. With their
lifespan of some thirty years, cranes were thought to live not just
decades but thousands of years, becoming virtually synonymous
with immortality. At Japanese weddings it is a symbol of loyalty.
Also associated with the qualities of honour and wisdom, cranes
were believed to be intermediaries between heaven and earth, a
messenger of the gods to humans, thus symbolising the spiritual
ability to enter a higher state of consciousness. furthermore, the
crane also represents a lasting soaring spirit, health, and happiness.
Their white bodies stand for purity and their red heads denote
vitality.
Crow
The crow represents filial devotion and is also associated with
chinese astrological and cosmic philosophy. It is said that a threelegged
crow (yatagarasu) lives in the sun. In Japanese art crows are
therefore depicted with the sun as a background. A white heron and
a black crow are symbolic of day and night.
Daffodil (Narcissus)
represents respect and hospitality.
Dahlia
represents dignity and elegance.
Dove
Although the dove is a messenger of the God of war (Hachiman), it
is also considered a symbol of peace as in the west. As messengers
of Hachiman they were sent out primarily to avert conflict.
Dragon
As symbols of wisdom, strength, goodness and longevity, an
impressive representation of a dragon can be of tremendous positive
benefit to the owner. first in the hierarchy of mythical creatures in
Japan, the dragon was one of the four animals symbolising the
cardinal points associated with the east; the dragon stood for sunrise,
spring and fertility. dragons were benevolent spirits associated with
happiness and prosperity, and unlike European dragons, were kind
to humans.
Duck
An auspicious symbol in Japanese literature and poetry, an image
of a duck endows prints with an aura of good luck. They primarily
represent happiness in marriage and fidelity.
Falcon
A symbol of regal power, as it became a favourite pastime of the
aristocracy and samurai to hunt with falcons. It is also a symbol of
keen endeavour and success, as well as boldness.
Fans
The fan stands for many things. The Japanese believe that the handle
of the fan symbolises the beginning of life and the ribs are for the
roads of life going out in all directions. It also symbolises friendship,
respect and good wishes and is a gift that is given to people on
special occasions.

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Fern
represents long life, and happiness in marriage. Its leaves are white
on one side and black on the other, which stands for honesty and
sincerity.
Firefly
fireflies symbolise the summer and they have been a metaphor for
passionate love in poetry since the 8th century. Their eerie lights are
also thought to be the altered form of the souls of soldiers who have
died in war.
Four Noble Flowers
The chrysanthemum, the plum blossom, the orchid, and bamboo.
Frog
The frog is thought of as good luck for travellers. Images or charms
in the shape of frogs were worn during long voyages to assure
safety, particularly across water. The Japanese word for frog is
“kaeru”, which sounds like the word “return.” Travellers carry a
small frog amulet with the intent of returning safely home.
Gardenia
This flower represents happiness, elegance, and sophistication.
Gladioli
Gladioli represent preparedness, strength, splendid beauty and love
at first sight.
Goose
The geese on their migration journey during autumn, when the
weather begins to turn cold and plants wither for the winter. This
suggests the Buddhist idea that everything in life is impermanent,
and that all plants and animals are born, reproduce, die, and decay.
They are also a chinese emblem of caution. Wild geese normally
fly in a straight line. When the line is broken it suggests that there
are unusual circumstances beneath them.
Heron
The heron has the habit of standing perfectly still and is therefore
emblematic of Buddhist meditation. Often depicted among lotus
leaves, standing on one leg (it never stirs up the mud), it symbolises
Buddhist purity. Associated with the black crow, it suggests day and
night, good and evil.
Hibiscus
represents continually rejuvenating youth, beauty and bravery.
Hydrangea
The hydrangea is a symbol expressing love, gratitude, and enlightenment.
It is said that the observer can easily get lost in its abundance of beautiful
petals, and thus getting lost in higher thought and reaching enlightenment.
due to its versatility, and beauty, the hydrangea makes an excellent thank
you gift to an unsung hero in our lives.
Iris
The collection of 10th century lyrical prose and poems, Tales of ise,
recounts how a heartsick lover composed poetry to a wild iris in
place of his lost love. Since then the iris has come to symbolise
romance and heroism. It is also a potent symbol against evil spirits.
Kozuchi (miracle mallet)
The Kozuchi is a legendary Japanese hammer, and translates as
“Small Magic Hammer” or “Miracle Mallet”. The mallet is very
small, and swinging it grants its holder’s wishes. It is a symbol of
good fortune.
Kuniyoshi, Utagawa (c.1797 - April 14, 1861)
Together with Hokusai and Hiroshige, Utagawa Kuniyoshi is known
as one of the greatest Japanese printmakers and a master of imaginative
design, dominating the Japanese print world of the 19th century. The
son of a silk-dyer, Kuniyoshi was initially involved in his father's
business as a pattern designer, it is said that as a child he was impressed
by ukiy_-e warrior print and by pictures of artisans and commoners
depicted in craftsmen manuals, such as those seen in his later works.
His early works include a series of prints of kabuki actors and warriors,
as well as a series of pictures of beautiful women, known as bijinga,
in which he experimented with large textile patterns and light-andshadow
effects found in Western art. In the 1820s he was finally
accepted into the important ukiy_-e circle, with his first major
commission, ‘One Hundred and Eight Heroes of the popular Suikoden’
based on the popular chinese tale, the Shuihu zhuan. Kuniyoshi
continued to draw many of his subjects from traditional tales of war,
but with an added stress on dreams, ghostly apparitions, omens and
superhuman feats, themes which satisfied the public’s interest in the
ghoulish, exciting and bizarre. In the 1840s Kuniyoshi’s critical view
of the shogunate won him further favour with a politically dissatisfied
public through a series of caricature prints in which disguised actors
and courtesans were portrayed, at a time when illustrations of
courtesans and actors in Ukiy_-e were officially banned. He also
produced more naturalistic works of animals, birds and fish, parodies
of traditional Japanese and chinese painting, and a series of landscape
views incorporating Western shading, perspective and pigments. Later,
he experimented radically with composition, magnifying visual
elements in the image for a dramatic, exaggerated and quite modern
effect, still seen today in Japanese manga illustrations. The fantastic
and dynamic prints by Kuniyoshi were brought to the fore in a recent
exhibition at the royal Academy and Sotheran’s is very fortunate to
have several of his prints in this exhibition.

Henry Sotheran Limited 75
Lantern
Japanese lanterns are used to escort the bride at her wedding, and
are now symbolic of good luck in marriage. They are also necessary
at funeral processions where there must be two or more plain
lanterns at the head, even when the funeral is held in day time, in
order to lead the spirits because the land of the dead is dark and
gloomy. This is why there are so many stone lanterns in shrines.
Lily
A lily is a plant that is used to help you forget your troubles. It is
also known as the bringer of sons so is often given to a woman upon
her marriage.
Lotus
The lotus is a symbol of new birth, the flower of life and one of the
eight Buddhist emblems. The Buddha himself is said to have risen
from the centre of a lotus blossom. Besides the religious meaning it
stands for the symbol of all that is true, good, and beautiful for it
rises out of the mud, yet is not contaminated.
Maple
The maple symbolises the brilliant colours of autumn, and in
celebration of this, the Japanese hold parties under the maple leaves,
as they do during the cherry blossom season. As the leaves fall, they
remind us of the transience of life, and living life for the moment.
It is a popular motif on Kimonos.
Monkey
The monkey is one of the most painted animals in Japanese art. A
well-known representation is that of the ‘three mystic monkeys’:
1) Kika-saru, the monkey who is covering his ears with his hands;
2) Mi-saru, the monkey who is covering his eyes with his hands;
3) Iwa-saru, the monkey who is covering his mouth with his hands.
Hear no evil, see no evil and speak no evil. Monkeys bring the
message of right living to the people.
Morning Glory
The asagao (morning glory) is a strong symbol in the Japanese
culture. Originally brought to Japan around the 10th century from
china for medicinal purposes, their lovely flowers have captured
the hearts of the Japanese people and have been the inspiration for
many Japanese poems. The morning glory flower has become
symbolic of summer in Japan and it is still one of the most popular
summer garden plants.
Nightingale
Usually shown together with the plum blossom, it is considered the
herald of spring. They also symbolise sweetness and anticipated
happiness.
Owl
A symbol of wisdom. Its image can also be used as a talisman to
keep away evil. The nihon-shoki, one of the oldest books on
Japanese history and mythology, describes it as a good omen. The
Japanese word for owl ‘fukuro’ is also a homophone for ‘no
hardship’.
Paulownia
Also known as the “princess tree”, it was once customary to plant a
paulownia tree when a baby girl was born, and then to make it into
a dresser as a wedding present for her marriage. paulownia also
serves as the emblem of the prime Minister, cabinet and the
government.
Peacock
The creature associated with the Japanese and chinese goddesses
of mercy. In the Buddhist tradition, the peacock’s ability to eat
poisonous snakes can be understood as a symbol of the
transmutation of evil into good. It is also considered the
representation of true beauty.
Peony
As the flower of summer it has always been regarded as a symbol
of magnificent wealth, fortune and prosperity to the extent that it is
sometimes known as the ‘king of flowers’. The peony has a lush,
full, and beautiful bloom suggesting luxury and opulence and has
become an emblem of regal power in Japan. rich in colour and
beauty, the peony was regarded as the flower of riches and honour,
associated with aristocracy and prosperity. The peony is the rose
without thorns, and so embodies romance and love, and is regarded
as the omen of good fortune and a happy marriage as well.
Phoenix
The phoenix is usually seen alongside a dragon and symbolises the
Empress. It is commonly used as a female symbol.
Pine
In Japan, the pine tree is considered one of the most beautiful trees.
Several pine trees in Japan are over 800 years old. Over time the
climate and other natural causes, as well as pruning and trimming,
form the picturesque pine tree. It is one of the most auspicious
symbols in all Japan of fortune and nobility. The pine is considered
sacred, a belief that may stem from ancient Shinto ideas of trees and
other plants as representations of divine spirits. In Japan, entrances
to houses are often decorated with pine branches to welcome the
Gods at new Year; its needle-shaped leaves are believed to have the
power of driving away unwanted demons and protecting good
fortune. The long-life of this tree and the fact that they are evergreen
make them a symbol of strength, longevity and endurance. With the

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Japanese plum and bamboo, the pine is counted as one of the most
auspicious plants in Japan. considered to be the most aristocratic
of all trees, the imperial gardens of Japan are full of pines. In fact
the pine is the only tree in Japan with an official title: goko no taifu.
Befitting its status, the samurai as well as other nobles and
aristocrats commissioned artists to paint pine trees as a means of
wishing for long-life and auspiciousness.
Plum blossom
Symbolic of purity and nobility due to its enriched smell and elegant
appearance. In the cold winter snow, the plum blossom grows new
flowers from seemingly dead branches. The depiction of a five petal
blossom represents new life at the end of winter and is highly
revered as an auspicious symbol in Japan.
Rabbit
The white rabbit is associated with the moon. According to Indian
legend it is said that Buddha would have been reincarnated as a hare
in order to sacrifice himself as food for the Hindu God “Indra”. As
a reward the rabbit was immortalised in the moon.
Racquet
The racquet is used traditionally in games played during the new
Year festivities. It symbolises good health and fortune as well as
helping to drive away evil spirits from children.
Sacred Shinto rope
The shimenawa is a sacred rope that is hung before a Shinto shrine,
over the entrance gate to a dwelling-house or round a place which
is considered sacred or has to be kept sacred. According to Shinto
belief, no evil can pass beyond the line of the shimenawa.
Shachihoko
fish shaped ornaments known as Shachi or Shachihoko were
frequently used as roof ornaments in the Edo period (1600-1868)
and found atop castles, tower gates, and samurai homes. These
ornaments are placed at both ends of the main roof ridge, with the
male Shachi placed on the left and the female Shachi on the right.
The creatures are thought to provide protection against fire, as they
are attributed with the power to control rain.
Sword
Many Buddhist or Shinto gods in Japanese mythology exhibit
swords to show their ability to cut through ignorance and evil.
Tiger
In Japan the tiger was a beast as mythical as the dragon. In art it
was drawn in accordance with the drawings handed down by the
old chinese artists. The tiger represents the west and autumn (as a
zodiacal sign it represents summer). It is symbolic of the Yang male
principle in nature. Tigers are often depicted between the bamboos,
a Buddhist symbol of the weak protecting the strong.
Torii Gate
Torii gates mark the sites of sacred places for both Buddhist and
Shinto shrines. They are symbols of sanctity, purification and mark
the borders between the temporal and spiritual realms.
Umbrella
The umbrella is a traditional Asian symbol of both protection and
royalty. The ability to protect oneself against inclement weather has
always been a symbol of status. In Oriental thought, the fact that
the umbrella protected the bearer from the scorching heat of the sun
was transferred into the religious sphere as a “protection against the
heat of defilements.” The coolness of its shade symbolizes
protection from the heat of suffering, desire, and other spiritually
harmful forces.
Willow
The Ainu people of the Japanese island of Hokkaido believed that
the willow was their ancestor tree. They thought that the human
backbone was originally made of willow wood, and special willow
fetishes were given to children as guardian spirits. The willow in
Japan is also a good luck symbol as well as a representation of
elegant, graceful beauty.
Wisteria
In ancient Japan, the colour of the wisteria was reserved only for
the aristocracy. It symbolised long -life as well as marital harmony.
Sparrow
The sparrow is a traditional symbol of happiness. Associated with
bamboo, the two symbols are often shown together to depict
friendship.