924 résultats
20092090502130601392Chuokoronsha 2009. Soft Cover. Fine. Number of books: 1 Chuokoronsha paperback
233885ChristianiaTrykt hos Brögger og Christie 1871. LV 1 blank 1222 s. Bundet i et nyere håndbundet skinnbind med grønt skinn tittelfelt og ryggdekor i gull. Liten rift fagmessig reparert på s. 1 ellers et rent og fint eksemplar. . unknown
Arent, A. MargaretIn Pristine Condition. unknown
189613727Halle a. S. 1896. XIV276 pp. Altnordische Sagabibliothek. unknown
Magnus Magnusson and HermNot in perfect condition. unknown
1117114 pages of text & two pages forming paste-downs of varying shades of pale pink & cream gofun biki torinoko mica-printed paper all printed with mica patterns endpapers printed with mica patterns of plum flowers on branches & autumnal weeds bound in two “quires†& sewn together. Small 4to 240 x 180 mm. orig. pale gray semi-stiff wrappers with mica woodblock-printed designs of hydrangea leaves orig. printed label on upper cover. Saga near Kyoto: about 1608 or shortly thereafter.<br /> <BR> <BR> An ultimate luxury copy tokusei bon 特製本 in very fine condition with mica-printed text leaves and covers using paper of shades of pale pink cream and gray. This is the second time we have handled a copy of a KÅetsu utai bon in the most luxurious state of three.<br /> <BR> <BR> This is one of the series of 100 Noh plays produced at the famous private press in Saga just north of Kyoto. These sumptuous luxury editions were printed for the wealthy and enlightened merchant Suminokura Soan 1571-1632 in collaboration with his calligraphy teacher KÅetsu a leading cultural figure of his day famous as an artist potter lacquerer and connoisseur. These books are amongst the most remarkable printed works created in Japan or anywhere else; their design is far in advance of anything produced in the West. Issued in limited numbers they were intended for private distribution to an elite audience friends and acquaintances of the creators who formed the patrons of the Saga artistic community.<br /> <BR> <BR> Printed with movable type on luxurious thick paper the books have according to Hillier a modernity in design matched only by the works of William Blake and the French artists’ books of the late 19th and early 20th centuries. They reveal the beauty of native Japanese calligraphy. The movable type is based on the calligraphy of KÅetsu.<br /> <BR> <BR> This series of mostly chants from Noh plays comprises “small pamphlet-size books each of about twelve or thirteen sheets whose outstanding feature is the decoration invariably of mica-printed patterns on stained or dyed paper which is of a distinction that immediately links them with the collaborative scroll works by KÅetsu and SÅtatsu and which has led to their being called KÅetsu-bon…These designs resulting from a sophisticated adaptation or distortion of natural forms are notable examples of one of the unique contributions of Japan to world art…<br /> <BR> <BR> “But decoration apart these No booklets are remarkable in other ways. An unusually thick and opaque kind of paper was used no doubt made specially for these editions and contrary to normal practice it was printed on both sides of the sheet. This ruled out the normal construction of a book whereby the sheets printed on one side only were folded in two and bound at the loose edges. The majority of the KÅetsu-bon were made up by an entirely different method. A number of sheets usually six in this copy three in the first “quire†and two in the second the outer leaves used as paste-downs were placed flat one above the other and the batch was then folded in two; two such sections would form a complete book. The binding again was unusual. The outer covers though printed first as a single sheet invariably with a mica-printed design were cut in two and each given a folded turnover along one edge in which one batch of the folded sheets was lodged. The two halves were then sewn together through the turn-overs of the two halves of the cover brought together at the inner edge. This is a binding method unique to Japan and is known as Yamato-toji or recchÅsÅ…<br /> <BR> <BR> “These KÅetsu-bon represent an astonishing leap forward to something entirely unprecedented in the history of the illustrated or decorated book. This was the first time a book had been conceived as a single unified work of printed decorative art…not until we come to William Blake’s Prophetic Books do we encounter anything remotely comparable and the creation in the West on any appreciable scale of books composed as homogeneously decorated printed works of art did not occur until the appearance of the French livres d’artiste in the late nineteenth and early twentieth centuries.â€â€“Hillier The Art of the Japanese Book pp. 51-54.<br /> <BR> <BR> The KÅetsu utai bon were produced in three levels of luxury. The finest such as our example has mica patterns or images printed on the text leaves and covers before the text was printed with movable type. The next level also had mica-printed covers but employed papers of different colors with no mica printing on the text pages. The least luxurious version used only cream-colored text paper and had mica patterns printed on the covers.<br /> <BR> <BR> The covers of our copy are mica-printed with images of bamboo and with backgrounds of sprinkled mica. Each of the five sheets with text exhibits different mica-printed images including grass adorned with dew in the field Japanese pampas grass plum blossoms on branches and waves.<br /> <BR> <BR> The movable type characters are based on the calligraphy of Hon’Ami KÅetsu 1558-1637; this type is called hiragana majiri a combination of kanji and kana accompanied by dashes next to each syllable. These dashes are the notations for the pitches to be sung. The notes are not written as specifically as they are in Western sheet music. If the dash goes up the pitch is raised; if it is straight the same pitch is continued; and if it goes down the pitch is lowered.<br /> <BR> <BR> A very fine and fresh copy preserved in a wooden box. These KÅetsu utai bon are very rare on the market especially when in excellent condition like our example. Covers a bit dusty and a few unimportant marks.<br /> <BR> <BR> ⧠Fischer et al. The Art of Hon’Ami Koetsu Japanese Renaissance Master pp. 174-75–“The deluxe editions of utai-bon that were printed at the Saga presses where Koetsu and Suminokura Soan collaborated to produce classics of earlier Japanese literature were intended for amateur connoisseurs like themselves. The thick paper mica-printed motifs and carved wood type were all part of an artistic whole meant to complement the aesthetic pleasure of the utai vocal performance.†Murase Tales of Japan. Scrolls and Prints from the New York Public Library pp. 157-59. unknown
20072110502151107788Not Available 2007. Soft Cover. Fine. Number of books: 1 Not Available paperback
20092080502106909573Not Available 2009. Soft Cover. Fine. The book is in fine condition. Not Available paperback
19332080502106511333Imperial Chamber of Commerce 1933. Soft Cover. Fine. Volume: 1 Imperial Chamber of Commerce paperback
19302080502106501501Japan Chamber of Commerce and Industry 1930. Soft Cover. Fine. Volume: 1 Japan Chamber of Commerce and Industry paperback
243007Halle a. S. 1886. 4 206 2 s. Nyere fint skb. Nyere ex libris på forsats. Særlig de første sidene med en hel del anmerkninger i margen på islandsk noen undertsrekninger og enkelte overstrykninger i teksten med penn. . unknown
10317Hafniae sumptibus legati Magnæani ex typographeo H. H. Thiele 1832. 8:o. 4 XVI 340 1 errata pp. Engraved vignette on half-title. Uncut in original paper boards. Copy printed on better paper. Fiske 326. Editio princeps of Kormaks saga. Edited and translated by Thorgeir Gudmundsson. “Fragmenta carminum Kormaki in Skálda†pp. 253-287 was prepared by Finn Magnússon. hardcover
183256680Hafniae Thiele 1832. Uncut in original blank wrappers. Titlepage with engraved vignette. Printed titlepage. 2XVI3402 pp. Ren og frisk. Oldnordisk og latinsk tekst. <br/><br/><em>Originaltrykket. - Fiske I326. </em> unknown
20052080502106914959Not Available 2005. Soft Cover. Fine. The book is in fine condition. Not Available paperback
19312083002116201884Kokin Shoin Nobuo Aoyama Saga High School 1931. Soft Cover. Fine. The book is in fine condition. Kokin Shoin Nobuo Aoyama (Saga High School) paperback
2111902153101836Shochiku Home Video N.A. Soft Cover. Fine. Number of books: 1 Shochiku Home Video paperback
2111902153102349Shochiku Home Video N.A. Soft Cover. Fine. Number of books: 1 Shochiku Home Video paperback
19252081502111809518Not Available 1925. Soft Cover. Fine. Volume: 1 Not Available paperback
19782091202133403378Shokokusha A5 version 1978. Soft Cover. Fine. Number of pages: 242p Size: 21cm Shokokusha A5 version paperback
20022080502106913963Yogakudo Bookstore 2002. Soft Cover. Fine. The book is in fine condition. Yogakudo Bookstore paperback
19572080502106915801Not Available 1957. Soft Cover. Fine. The book is in fine condition. Not Available paperback
1020009640.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
20192090502125600067Futaba kobo 2019. Soft Cover. Fine. Number of pages: 84 pages Size: 210x148 Futaba kobo paperback
19262080502106501816Eiichi Ohsumi 1926. Soft Cover. Fine. Volume: 1 Eiichi Ohsumi paperback
24608‘PUBLISHED BY ALFRED H. MAYHEW / At the Sign of “The Smithy†56 Charing Cross Road London W.C.2. / 1926. / Printed in Great Britain by R. Stockwell Baden Place Crosby Row S.E.1.’. Five copies listed on JISC. Now scarce. 8pp 16mo. Stitched pamphlet on good wove paper. In fair condition lightly aged with small closed tear at head of first leaf. First two leaves with light crease. Enfolded in ‘wallet’ of the same paper repeating the title on the front differently positioned and also giving the price as sixpence. The poem covering pp.2-7 is in small print and the first stanza reads: ‘I bind upon myself to-day / The Strength of the Holy Trinity: / That mighty Breastplate be my Stay! / I here invoke . . . I here confess . . . / The Three in One the One in Three! / Creator! Judge! Wilt Thou not bless’ On the final page above Mayhew’s device and the slug is a fifteen-line note by ‘A. H. M.’ including the following: ‘The foregoing adaptation is based upon prose translations by Dr. Todd and Dr. Whitley Stokes and a comparison with the Ancient Irish Text. Though made for the “Wayland-Dietrich Saga†it is felt that a separate impression may not be unacceptable.’ Nearly a century later there is still a bookshop on the same site one of the few to survive the decline of the Charing Cross Road. ‘PUBLISHED BY ALFRED H. MAYHEW / At the Sign of “The Smithy,†56, Charing Cross Road, London, W.C.2. / 1926. / Printed in unknown
