Ponge, FrancisMareMagnum
36 résultats
Book is in excellent condition with slight age-toning to cover edges as the only blemish. Binding is solid and square, covers have sharp corners, exterior shows no other blemishes, text/interior is clean and free of marking of any kind. Publisher's page shows N.A.P.
Bonhams Auctioneers, London, 2014. 275 x 220mm. pp. 55. English and Japanese text. Catalogue for part one of the sale of The Misumi Collection of important works of lacquer art and paintings held by Bonhams Auctioneers in London on the 5th of November 2014. Colour illustrations. Bound in original cream cloth. Housed in pictorial dust jacket. Book and dust jacket clean
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked, very lightly indented boards and no bumping to corners. 174pp. An excellent study providing a historical text and a vast range of beautifully reproduced examples of illuminated and ornamental letters from the eighth to the twentieth century.
London, 5 April 2017, Sale L17417. 84 pp., illustrated, 4to, stiff card wrappers. Auction catalogue of 134 lots of the artwork of Gerald Scarfe. Profusely illustrated.
Extensive and complete product catalog of the German pharmaceutical and medical supply firm Mich.G.Birk GmbH & Co. [predecessor to today's BIRK Rundkartonagen GmbH & Co. KG], a highly reputable global firm established in Germany by wainwright [wagon maker] Michael Birk in 1879, designed for the private use of a single client. 8vo. 580 pages of text [double-leaf pagination tallies 290], xxxi (index), plus 20 pages colour chromolithographed frontispiece illustrations of sample labels ads - some of which are fold-outs, plus 9 pages of actual label samples mounted to the leafs. Text is complete in four languages - German, English, French, and Spanish, with the foremost leaf of proprietorship adding also Portuguese. Publisher's original illustrated binding, brown cloth titled in gilt and black lettering to front and spine, "Mich.Birk. Tuttlingen Deutschland. Katalog No.4." Occasional finger markings in the margins of five leaves only, specifically from the person who manually mounted the adhesive labels, otherwise in Near Fine condition, seldom seen complete, and in such pristine never-used condition, an exceedingly scarce volume in this state. Volumes such as this would have been issued to a specific client, for their own reference only. The following simple agreement is printed in five languages to the first leaf: "This list is to remain the property of the firm of Mich. Birk of Tuttlingen and only Mr._______ has been entrusted with the sole use of it. Reprints prohibited, will be prosecuted by law." The present volume was not assigned to anyone and remains as new, in original condition. Interestingly, the "Terms of Business" which prefaces the first section of product, is written in such a way that reveals the very personalized service offered by the owner of the firm, in spite of being an international success by this time. A pleasing repository of 1920s marketing of products from around the globe offered by the respected long-standing and leading packaging firm of Michael Birk - from a brief period when they also offered medical and surgical instruments, equipment and even laboratory furniture. It was in 1920 that Michael Birk expanded his export trade overseas and established offices in Mexico and South America, at the same time offering global distribution of products and instruments for the medical technology industry, from renowned manufacturers located in Tuttlingen, Germany. He also introduced significantly advanced offerings to his clients, such as grease-proof cardboard ointment containers, embossed colour labels according to individual customer requirements. [After the Second World War, global economics caused the firm to return its focus entirely to the development and production of packaging.] The present volume is a fine survivor of this pinnacle period in the firm's history, and an exceedingly scarce find in its pristine condition.
Set of 24 volumes of the Prince Valiant series. Large format books: 10 3/8"w x 14 1/4"h. Black cloth spines with pictorial paper-covered boards. Most volumes are in Fine condition, but about five volumes show edge wear and small tears to spine, especially at top and bottom. From the publisher: "Universally acclaimed as the most stunningly gorgeous adventure comic strip of all time, Prince Valiant ran for 35 years under the virtuoso pen of its creator, Hal Foster. Starring a daring and gallant young hero, the series features epic swordfights, elaborate scenes of pomp and pageantry, and breathless plotting that always leaves the reader wanting more. Fantagraphics? deluxe editions, each collecting two years? worth of Sunday strips, boast superbly restored artwork that captures every delicate line and chromatic nuance of Foster?s art." This large, heavy set will require extra shipping charges and is not available for international shipping.
Poster calendar titled "Girl at Airfield" and designed by artist Ni Gengye, for the Qidong Tobacco Company, to promote happiness in connection with their smoking products. From the collection of Agnes Tabah. Calendar measures approximately 103 x 38 cm. Ni Gengye is a Chinese artist whose work is highly sought after, and which fetches a premium when available on any market. He produced a notable number of works, many of them being calendar posters. He created advertisements for other tobacco companies including Hatamen Tobacco and the British American Tobacco (BAT). His date and place of birth are unknown, though some estimate his life span to be from approximately 1900-1965. Calendar posters were a particular genre of commercial imagery of the period. Typically, they were produced by tobacco, textile, soap, or perfume companies and were distributed across a wide geographical range. Almost invariably, they depict female figures in various guises, which were a key part of their appeal. Formally, the female figures are generally portrayed in an illusionistic manner, though chiaroscuro or shading is generally subdued. There is usually a frame, outside of which an image of the product and other necessary information are displayed. This 'calendar-poster' style had strong connotations of commercialism and was consciously avoided by designers of literary book and magazine covers. This stylistic differentiation probably served to mark literary works as a different type of commercial product. The format of the present poster-calendar was designed by Zhang Guangyu around 1931. It was mostly frequently tall and narrow, into which he introduced a large plaque for the calendar in the lower third of the space. This plaque itself was framed with ornamental designs and contrasted against a richly decorated background of various motifs. The tobacco vendor's cigarette packages were arranged on each side of, and sometimes below, the central plaque. This formula was frequently utilized, and spin-offs continued at BAT throughout the 1930s. It is thought that Ni Gengye's "Woman at an Airfield" is among the last uses of Zhang's formatting design. It is dated 1938 according to the reign characters Kangde, indicating that the poster was probably destined for advertisement in Manchuria, where the Japanese had set up the puppet state of Manchuko. The woman waves as if greeting an unseen person, having alighted from the airplane in the background, as she moves across the field toward the terminal. An alternate interpretation is also possible: the young woman might be departing, making her way across the tarmac, but turns to wave farewell to a friend, just prior to boarding the aircraft. If this is the case, Ni's picture is an ironic, unwitting, and poignant farewell to the era of advertisement calendars, for by 1938, the Japanese, entrenched in Shanghai, succeeded in pretty much cutting it off from the trade world and from the rest of China.
Large Folio, measuring 56cm x 39cm (15.5 inches x 22 inches). Original printed wrappers. Text is in Italian. [6], 72, [2] pages, plus 7 engraved plates, 5 of which are double-page. Wrappers chipped at extremities, occasional foxing, otherwise in very good condition. Scarce valuable resource on Ptolemaic Egypt. A scarce account, rarely seen in original wrappers, Pieralisi's treatise is a noteworthy study of the late Hellenistic Nile Mosaic of Palestrina, which depicts Ptolemaic Egypt and dates to circa 100 B.C. The author, Don Sante Pieralisi, was a librarian of the Barberini Library in Rome with access to many early scholars' works. The mosaic's history and construction are described, followed by a presentation of some early and compelling theories of interpretation and dating, by such scholars as Barthelemy, Antonio Nibby, Carlo Fea, and Cassiano dal Pozzo (secretary to Francesco Barberini who was largely responsible for its restoration). Much history of ancient Egyptian life can be drawn from the mosaic scenes, including the Nile's yearly flooding, Nubian hunters, mythical or extinct creatures, Egyptian-Roman trade, contrasts between peasant dwellings and palatial life, the rise of magnificent walled cities guarded by Egyptian soldiers, etc. Remarkable engravings reproduce details of the historic masterpiece. The celebrated Nile mosaic dates to circa 100 B.C. during rule of the Ptolemaic Dynasty, the last dynasty of Ancient Egypt (305 BC to 30 BC) and forms an interesting connections between ancient Egyptian and Roman civilizations, and the its essence of its design has, for several centuries, been the center of much speculation. Shortly after publication, the observations by Don Sante Pieralisi accompanied the mosaic on display in the Palazzo Barberini, where it had been placed by Prince Barberini after restoration mid-seventeenth century. Equally interesting is a chapter dedicated to the Rosetta Stone, the ancient stele decree issued at Memphis, also during the Ptolemaic dynasty. The author relates details of the French expedition to Egypt which uncovered it in 1799, and the controversial repossession and transfer to England following the Capitulation of Alexandria. He further presents important details of the temples of Apis, Serapis, and Venus at Memphis, other hidden tombs of Memphis, and pertinent Egyptian rulers.
Tibet, circa 1955-60. Set of six (6) original pastel portraits a of Tibetan natives, by world renowned artist Goray Douglas, with signature. Each is individually framed behind glass. Images measure approximately 32.5 x 25cm. Gold colour frames measure approximately 40 x 50 cm. Very Good Condition, exceptionally well rendered pastel paintings on grey paper laid to a wide margin mounts. These are not reprints. These are SIX RARE ORIGINAL PAINTINGS by Douglas Goray. This set includes six very distinct and striking real personalities from the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the young woman in this painting sports a uniquely Western influenced hair style, traditionally adorned with large beads. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the man in this painting appears wise, possibly intent in sharing oral tradition. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the man in this painting appears to be a monk from the Gelug sect, sometimes referred to as the Yellow Hat monks. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the robust man in this painting displays exquisite hand-crafted jade jewellery. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the man in this painting appears to be a Tibetan hunter. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the elder in this painting has distinctly Chinese features. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Original oil painting of a striking and stylish Chinese junk (Vessel), on thick cardstock. Made circa 1901-1910. Measuring approximately 25,5 cm x 20,5 cm. Indication at perimeters of previous framing, otherwise in very good condition. With its two strong sails inscribed with Chinese lettering by the artist, this handsome artisan work memorializes the traditions of the ancient Chinese junk, by highlighting the revolutionary and long-standing sailing designs as well as a fascinating superstitious practice. The vessel features painted eyes and an open stern with far reaching tips which exudes speed. A dragon-like flag flies from one of the masts. A stern rudder helps steer through the rough waters of the harbour, which is surrounded by mountains, possibly representing Hong Kong's Victoria Harbour. The peaked and winged-style stern of the vessel suggests speed and agility at high seas. Five Chinese seafarers onboard are wearing traditional dress.
Original miniature self-portrait painting by Roosevelt family member Maud Sutton Pickhard (née Fortescue 1880-1961), in a most elegant daytime "best" dress, signed MSP by the artist. As she looks fairly young in this image, had a London address, and at the time was still using the title "Mrs," the painting was made no earlier than 1900 and presumably in 1908 or earlier while she was still married. Inscribed in manuscript to verso "No 1. Title: A Study in Silver. Artist: (Mrs) Maud F Sutton Pickhard R.B.A. Flat 8, 31 Buckingham Gate S.W." Mounted in a large oval pendant with copper frame over glass, expertly crafted with six copper pins securing the cloth covered cardstock mount into the frame, measuring approximately 8 x 7 x 0,5 cm. Contained in a recent purpose-made clamshell box with foam padding for protection. Very slight age-toning to frame, otherwise in Very Good to Near Fine, original condition. A remarkable miniature oval self-portrait pendant with numerous illustrious Roosevelt connections, the artist herself being a published female author, little-known for her skill as a painter. The artist was a published female author born into the prominent Roosevelt family through rather scandalous circumstances. She is first cousin to President 'Teddy' Roosevelt, and first cousin once removed to Miss Eleanor Roosevelt. She is also twice connected to President Franklin D. Roosevelt, through lineage as fifth cousins once removed, and more closely through Eleonore's marriage to Franklin. Maud Sutton Pickhard née Fortescue (born 25 August 1880 in Manhattan, died 1961) was the illegitimate child of U.S. Congressman Robert Barnwell Roosevelt, Sr. (1829-1906) and his Irish immigrant mistress Marion Theresa "Minnie" O'Shea Fortescue (1849-1902).
11 pages, including 3 in-text charts. Original condition with blue wrappers, titles to front, and containing all the ads. This is a complete issue, seldom found in such good and original condition. A scientific report on the frequency of Gales in the Arctic - between Greenland and Novaya Zemlya - and the Antarctic, accompanied by data tables, sketch maps, appendix and bibliography. Data tables include information on: the number of days a year with storm in specific location in Greenland and Iceland; average yearly wind force at Spitsbergen (Green Fjord); mean wind speed at Laurie Island, S. Orkney; frequency of gales at expedition bases ashore in east Antarctica; frequency of gales experienced by Antarctic sledging parties, Mawson's, Scott's, Shackleton's and Byrd's.
Korea's most prestigious Yi Dynasty paintings reproduced and thus preserved in a most elegant single presentation, this is an exceedingly scare work. The famous original paintings are held in private and museum collections throughout Korea. Each painting here is illustrated in colour, most also being the same size as the original artworks. Some of the larger ones are foldout plates. Each is tipped to its own printed carrier folder with a descriptive text printed adjacent on the same large leaf. These four portfolios weigh 30 kg and we will provide free shipping anywhere in the world.
Woodblock "kawaraban" broadside illustrating the arrival of Commodore Perry's four American vessels at Uraga in 8 July 1853, featuring a prominent stylized portrait of Perry himself and one of his formidable "black ships". All text is in Japanese. Thin hand-made laid paper measuring approximately 35,5 x 27cm. Small tears at folds and margins, some professional repair to verso, otherwise in very good condition, with clear imagery. A pleasing example of an uncommon variant. A contemporary broadside to alert Japanese civilians of the arrival of Commodore Perry's formidable American vessels. News was travelling fast by word of mouth along the coast and trade routes, and also began being illustrated with the "kawaraban" - broadsides with woodblock prints - for distribution. Naturally, Edo commoners were curious to learn about the imposing vessels that suddenly appeared within sight of their city.] The Japanese named the American vessels "kurofune" (black ships) for the colour of the hulls which were covered in tar and for the black smoke from the coal-fired steam engines. four "Black Ships"
Japan: Suharaya, and others, Kaei 7 (1854). Fascinating and scarce account of a samurai's son whose personal determination led him to rise above the family's financial poverty, to properly care for his horse, build his own stables, and breed additional horses, all by learning the ancient long-forgotten ways of the ancient samurai. 8vo. 1 volume, 78 pages, including 9 full-page illustrations, two of which are hand coloured. Woodblock print. All text is in Japanese. Postscript records the first edition being published in 1806. Traditional karitoji paper binding string-stitched at spine, fukurotoji style ("bound-pocket" with folded leafs bound into spine), and opening from left to right. Natural paper covers, with manuscript title label to front. Together the volumes measure approximately 18 x 25,5 x 1 cm. Negligible creasing to boards and age-toning to upper margins, otherwise in very good and original condition, a pleasing and uncommon work. Based primarily on contemporary descriptions of the financial distress felt by the long-standing prestigious samurai class, such as the present account, it is accepted, without dissent that the ruling samurai class suffered increasing poverty during the Tokugawa (Edo) period. Seifu Murata (1746-1811) wrote: "For years now, the samurai have suffered from poverty and their minds have been occupied by making a living. ‘Buy this, sell that’ and ‘pawn this to pay for that’ has become all of their lives. Even for those dedicated to their duties, it was inevitable to debase themselves and to engage in unsavory conduct (i.e., engage in trading)". Even the wives of those who were earning as much as 200 koku busied themselves in trading and in shops. This is the hero's journey, imparted firsthand, of a brilliant young samurai born into poverty but wide-eyed and unrelentingly in pursuit of mastering the skills of a samurai and honouring his destined status in this class of nobility. Young Ryuzando Shujin began by learning the equestrian warrior traditions with a borrowed horse, and was eventually able to convince his father to buy him a horse of his own, despite of the family's economic situation. When the cost of caring for the horse became a burden no longer bearable, and he was told the horse would be sold, he fixated on finding a solution. Immediately, he began conducting extensive research into the ancient methods employed when most samurai were farmers who held the role of warrior in the event of a battle. The solution to combating the costs was breeding and selling. He began the process, while being scrutinized, mocked and judged by others, in particular jeering his rudimentary (cost-effective) hand-made stables. But he did not let any outside opinions pierce his confidence. After repeated trial and error, it was not long that he possessed six horses. Surely too, he had solved the challenges of the household finances. Shujin championed horsemanship as a duty of all samurai. With the belief that all samurai should therefore possess their own horse, in part to best perform archery, spearmanship, and swordsmanship, and owing to the fact that this was an era where some samurai families were poor, he published his methods for others to follow, and ultimately uphold their rights and responsibilities that their title suggests. The volume includes instructions for building horse stables by hand, without incurring high costs. He describes the breeding process, his training methodology, and proper feeding. His own experiences with horses falling to sickness and how he treated them back to health are also shared. Clearly a man with a charitable and honest heart, he concludes by stating that all of this aside, the single most important thing for a healthy and happy horse is "aishin" (affection).
Kamishibai propaganda play / Japanese picture show (kamishibai) illustrating Samurai warriors plying away in the fields aid in food production for the nation at war. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating and scarce Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. This is a story of Samurai warriors working in the fields with ordinary people in order to help grow food, a clever example using the elite class that all look up to, in order to encourage citizens to contribute to Japan's efforts in World War II. It is cleverly named after the famous and revered Uesugi Yozan, who at the young age of 17 became daimyo of the economically failing Yonezawa domain, and through hard work and sacrifice, led his people and feudal land back to prosperity. Uesugi Yozan (1751-1822), the daimyo (feudal baron) who restored the fortunes of the impoverished Yonezawa domain, is famously known as one of Japan's most virtuous lords. Perhaps the most famous words left by Yozan are, "To achieve, one must act. To not act is to not achieve; this is true in all things. The inability to achieve is the result of inaction." Indeed, Yozan is a fitting an influential figure to support this propaganda and motivate citizens to contribute their efforts to winning the war.
Kamishibai propaganda plays / Japanese picture show (kamishibai) illustrating the importance of taxation, specifically relating to the all-important commodity: rice. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. By using the example of the esteemed agrarian reformer and economic savant Ninomiya Kinjiro who was born into peasantry, lost his family and home in a disaster, and overcame all odds to become a notable leader and economic reformer, this story promotes the importance of government taxation, even on basic needs such as rice. Ninomiya Kinjiro (1787-1856) was an important agrarian reformer and economic thinker of the late Edo period. His legendary diligence and studiousness as a child made him a natural exemplar for Japanese schoolchildren. At one time, most every elementary school in Japan displayed a statue depicting Ninomiya as a youth with a bundle of firewood on his back and an open book in his hand.
Creator: Hiroshi Hirabayashi. Kamishibai propaganda play / Japanese picture show (kamishibai) illustrating the benefits and immense moral obligation of collaborating with one other for survival. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating and scarce Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. This is a dramatic story of collaboration and innovation, its ultimate message being that these virtues are necessary for survival of a society and the individual. Sustenance being the key to survival, the story unfolds as follows. A village in Western Japan suffering a long arid season which led to drought, was unable to support vegetation and was seeing abandonment as many farmers left the region. Evidently this was a large village, having five shoya (village headman), and the latter devised an irrigation plan to restore its agriculture and ultimately preserve the village. In order to instill the urgency of success with the undertaking, the local bugyo (governor) approved the project under the alarming condition that if the project failed, the five headmen who also owned estates in the region, would be burnt alive at the stake. He had five hanging platforms erected in preparation of failure, and also to motivate them to accomplish the task lest they meet a gruesome public fate. Villagers supported the idea and all hands worked diligently to ensure its success. Indeed, working together with a common goal was the key. The water flowed abundantly. The village was saved, and so were the lives of the five headmen. The hanging platforms were set ablaze (without victims) in celebration.
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards and no bumping to corners. 251pp. A celebration of Heavy Metal album covers from Black Sabbath and Iron Maiden to Slipknot of the 2000s and all in between.
