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FURNITURE DESIGN SCHULTZ, OttoBiblio.com

Nya M�bler av Arkitekt Otto Schultz.

[Design Binding] [Gallagher, Brenda] Brown, George Mackay | woodcuts by Michael OnkenBiblio.com

The Girl from the Sea

9379Old Stile Press 2009. Full Leather. Near Fine binding. Folio. 56 pp. illus. Limited edition number 193 of 195 copies signed by Onken at the colophon. A skilled and imaginative design binder and a graduate of the American Academy of Bookbinding fine binding program Brenda Gallagher has engaged with this modern telling of a story that comes from a long tradition of Celtic and Norse selkie stories. Full bound in green goat with onlays in fish leather that capture the movement of the waves in green blue and gray. Gallagher's binding wonderfully complements the tale both thematically and artistically as her bold stylized cover shares a harmony with Onken's woodcuts. But even subtler details bring this text and binding together like her skillfully woven silk endbands and the painted top-edge a lovely sea-green with the suggestion of vegetation as though looking down on the top-edge of the book is to look down into the sea. Housed in clamshell box. A finely printed and illustrated selkie story written by Brown in 1984 and first published here by the Old Stile Press. The cuts by Onken are beautifully done and are indispensable in conveying this story of a selkie who has been separated from her seal skin by a fisherman trapping her in her human form. Perhaps the most striking of Onken's cuts is only found on the publisher-issued binding as a pictorial pastedown on the front board. Gallagher whose engagement with this text is not limited to the binding relays the tale of disappointment when purchasing this book unbound and necessarily without this woodcut—perhaps the woodcut that resonated with her the most. Since the printer had no extra copies of the illustration Gallagher was driven to locate and contact Onken who had neither print nor the block from which the illustration was printed. Instead he offered to lend her a good drawing of the image. From this image Gallagher cut her own linoleum block and printed the illustration remarkably true to the original. That print serves as the front fly leaf in her binding—a one of one lino print. An exceptional designed binding by an American binder coming into her own. Old Stile Press unknown

Michael Pyron, Bookseller, ABAA · États-Unis3 575,00 $US≈ 3 024,81 €

Grosz, George (artist), Hermynia zur Muhlen (author), and Tomoyoshi Murayama (cover design)Biblio.com

MAVO: DADA IN JAPAN - NO COPY TRACED WORLDWIDE ChÄ«sai PÄ“tÄ Little Peter. Translated by Hayashi Fusao

55248Tokyo: Gyoseikaku 1927. Small octavo 16.5 × 12.5 cm. Original pictorial wrappers illustrated by Tomoyoshi Murayama; 4; 89 5 pp. with 6 plates of illustrations by George Grosz. An uncut copy with wide margins; wrappers and margins somewhat dust-stained and toned; good or better. Rare first Japanese edition of the children's book with illustrations by George Grosz and cover design by Mavo founder Tomoyoshi Murayama. It was first published in 1921 under the title "Was Peterchens Freunde erzählen" What Little Peter's Friends Talk About in 1921 as the first volume in the book series "Märchen der Armen" Fairy Tales of the Poor published by Malik-Verlag which had been founded by John Heartfield and Wieland Herzfelde for the Berlin Dada movement. The little volume was to become one of the most successful proletarian children's books worldwide. In it the "Red Countess" as the communist noblewoman was also known describes how the objects in Peter's room begin to speak while he lies sick and bored in bed. The coals in the stove tell of the miners' hard work the water bottle of the glassblowers and the matchbox of the trees and forest workers. The Japanese translation by Hayashi Fusao featuring illustrations by Grosz played a key role in making Grosz known in China. Surprisingly it was the Japanese edition published between the two wars with Japan and approximately two years after the suspension of the Chinese Civil War between Nationalists and Communists in favor of a united front against Japan that served as the basis for Lu Xun's first Chinese translation in 1929 titled "Xiao Bide." Remarkably Grosz had been known in the Japanese Empire for many years before his illustrations in this book also gained circulation in China which unlike Japan had extensive Communist Party structures. Cf. Paul Bevan. A Modern Miscellany: Shanghai Cartoon Artists Shao Xunmei's Circle and the Travels of Jack Chen 1926-1938 Berlin 2018 pp. 135ff. It was mainly thanks to Tomoyoshi Murayama that the Berlin Dadaist Grosz became known in Japan; Murayama studied in Berlin from 1921 to 1923 and joined the circle associated with the "Der Sturm" gallery run by the communist Herwarth Walden. There he met among others Grosz and Schwitters. He also took part in the Düsseldorf Congress of "Progressive Artists" where Dadaists and Constructivists joined forces. Upon returning to Tokyo he founded "Mavo" as so to speak the Japanese branch of Dada. Like the Berlin group "Mavo's" art actions were not least political protests directed against the military government in Tokyo. Cf. Hanne Bergius Das Lachen Dadas: Die Berliner Dadaisten und ihre Aktionen Berlin 1989 p. 300. It was also Murayama who introduced Mavo member Yanase Masamu to the work of Grosz. The illustrator and cartoonist was also a member of the "Japanese Proletarian Artists' Association" for which he designed several journals posters and books. Furthermore he had been employed as a cartoonist and comic artist at the daily newspaper "Yomiuri Shimbun" since 1920. In 1929 Yanase published a comprehensive monograph on Grosz's work titled "Musan kaikyu no gaka Georuge Gurossu" George Grosz: Painter of the Proletariat. See Bevan ibid. As of March 2026 KVK OCLC lists no copy worldwide. unknown

Penka Rare Books and Archives · Allemagne3 000,00 €

[JAPAN -- KIMONO DESIGN ARCHIVE].Biblio.com

A striking archive of hand-painted kimono designs from the design department of Marubeni Shoten Ltd. and also including their contracted design studios such as the Keimeikai Textile & Dyeing Studio and the Tanioka Shoten Design Department. These often large and extraordinary designs encompass a broad range of traditional Japanese motifs such as ornamental fans flowers landscapes sailing junks house crests and animals often with annotations revision notes as well as references to potential clients.

181956897Kyoto Japan: Marubeni Shoten Design Dept. Keimeikai Textile & Dyeing Studio Tanioka Shoten Design Dept. ca. 1918-1945. Folio. 61 original hand-painted inked and pencil designs with a few on a lightly toned but quality semi-translucent paper the majority on thick paper stock and still others with two pieces carefully pasted together with contiguous designs sized from 9 x 15 in. up to 19.25 x 38.5 in. with 13 of the pieces larger the larger size a number of them sized 18 x 32 in. and many in the 14.25 x 15.5 in. size colour painted; the majority feature the design studio chop or crest at lower corners throughout many w/ annotations in margins several w/ change orders neatly annotated or even the title of the design and still many others w/ Roman numeric inventory codes in margins as well two still retaining original small silk samples many with creasing or minor tears & edgewear or creasing to fore-edges a few w/ small & large closed tears while others show some creasing and thumbing from continued use still an exceptional group of manuscripts. This superb archive of 61 original hand-painted kimono designs furnishes an exceptional visual array of Taisho- and early Showa-era Japanese motifs and styles. A number of the designs evoke traditional Japanese Ukiyo-e woodblock prints with deep vivid colours and well rendered illustrations. Many of these designs incorporate floral patterns including Kiku Chrysanthemum Botan Mon Peony Pattern Manju Kiku Marigolds Japanese Irises Morning Glory Cockscomb Ivy Dahlias and many other botanical motifs. In addition there are many illustrating ornately embroidered designs austere bamboo mushrooms and intriguing landscapes some with a small portion fully painted in with brilliant colouring while the outline of the kimono fills out the drawing. Two of the designs still features their original small attached silk kimono sample more reminiscent of Western Design houses which often attached their chosen fabric samples to their clothing designs. A few of the designs are executed on translucent thin paper for the kimono draper to transfer the design to white silk or other fabrics via some type of carbon paper process. Another of the designs has been executed on a stunning silver metallic paper with palm or bamboo leaf fronds executed in vivid blues & browns. Some feature a nearly surrealist quality while several others include illustrations of doves or chickens. Two of the designs incorporate Art Deco representations of Chinese Junks and Japanese sailing vessels typical of the 1930â€™s prior to World War II. In the Taisho Era a new era opened for textile designers working with Kyoto drapers and department stores with many having trained at new art colleges and then working in the design studios of Marubeni Keimeikai Textile & Dyeing Studio and others. The Tachiki Artist design studio designs on thin translucent paper include one with designer stamp of character embedded within a skull. Some appear to have two different date stamps for the Marubeni Shoten Design and some are unsigned or stamped. The Taisho- and Showa-era kimonos featured brighter colours more groundbreaking designs as Japanâ€™s designers embraced traditional dress and transformed it into a new garment equally appealing to the â€œMogaâ€ or brazen â€œModern Girl.â€ The designer notes include instructions to â€œleave a little more space between the fans;â€ â€œDrop the little fan crest;â€ â€œtoo much white bush cloverâ€ on the pine cones and even that Matsuo Taishichi had ordered a design for â€œclothes for paying a visit for a young person.â€ The Marubeni Shoten originated with Chubei Itho who began in 1858 as a salesman for linen cloth and by 1872 had opened his drapery store Benchu in Senba Osaka. By 1918 Chubei Itoh had expanded the business into Osaka and deciced to merge with Itochu Shoten Ltd. becoming Marubeni Shoten with their own drapers shops and many contracts with department stores. Later by the mid-1950s Marubeni merged with the company that operated the Takashimaya Dept. Store Chain all the while preserving their design studio and artists. See: Yuko Fukatsu-Fukuoka The Evolution of Yuzen-dyeing Techniques and Designs After the Meiji Restoration 2004; Arisa Shinko Tomikawa Hand Painted Kyo Yuzen Atelier â€œArisaâ€ A Brief Introduction 2020; Annie Van Asche Japanese Kimono Fashion of the Early Twentieth Century Textile Society of America Symposium Proceedings 2000; Our History Our Roots Marubeni Corporation 2020. Marubeni Shoten Design Dept., Keimeikai Textile & Dyeing Studio, Tanioka Shoten Design Dept., hardcover

Zephyr Used & Rare Books · États-Unis3 500,00 $US≈ 2 961,35 €

Hosoe, Eikoh (細江英公, photography); Yukio Mishima (三島由紀夫, preface by); Tadanori Yokoo (横尾忠則, book design and illus)Biblio.com

薔薇刑新輯版 Barakei Shinshuba/ Ordeal by Roses Re-Edited IN ORIGINAL PUBLISHER'S SHIPPING BOX

197154569Tokyo: Shueisha é›†è‹±ç¤¾ 1971. New edition. Hardcover. vg to near fine. Large oblong folio. 15x21". Unpaginated. All content housed inside the publisher's original cardboard shipping box with printed label pasted on the front. Binding protected in original a white cloth portfolio with red lettering on the front cover and lavishly decorated interior flaps. Black suede-covered boards with mutli-colored illustration mounted on the front cover. Decorative endpapers. Engraved stainless-steel plate showing Mishima's face mounted on black paper preceding the title page. The deluxe and lavishly printed new bilingual edition of the acclaimed and eroticly-charged work also know as "Killed by Roses" by Japanese photographer Eikoh Hosoe b.1933. It gained notoriety and elicited controversy when it was originally released in 1963 and won the Japan Photo Critics Association's writer award. The main photographic subject of the book the acclaimed and controversial writer Yukio Mishima 1925-1970 wrote the preface to the original edition and also writes the preface for this new edition both are included here. Mishima's acclaimed works include the famous and controversial novels "Confessions of a Mask" 1949 and "The Temple of the Golden Pavilion" 1956. Hosoe's striking high-contrast b/w photographs are all printed in high-quality photogravure retaining all the power and atmosphere of his original images. In comparison with the first version of the work this edition features the content having been noticeably re-edited with one image added a few others removed. The images have been thematically re-organized into five new chapters with the names "Sea & Eyes" "Eyes & Sins" "Sins & Dreams" "Dreams & Death" and "Death" respectively. Influential artist and graphic designer Tadanori Yokoo b. 1936 oversaw all of the design and layout aspects of the book and also created its additional illustrated elements most of which comprise the first chapter of this new edition. While Hosoe was still completing work to prepare this new edition of "Ordeal by Roses" the notorious "Mishima Incident" occurred November 25th 1970 which culminated in the ritual suicide of Yukio Mishima by seppuku. The incident shocked the nation and in its wake the photographer was quite unsure of how to proceed regarding the publication of the book. Not wanting to seem like an opportunist taking advantage of the controversy and the publicity surround Mishima's death he contemplated shelving the project but was later persuaded by Mishima's widow Yoko who said that her husband would have wanted it to be released. It was finally release only a few months later on January 30th 1971. Text in Japanese and English throughout. Portfolio with light foxing and sunning to the white cloth of the front cover very minor foxing and smudges to the flaps. Interior of portfolio with minor smudging to the cloth joints but the illustrations on the flaps are still clean. Suede binding clean. Minor foxing to the verso of the front endpaper. Interior with all pages and images clean and vibrant save for a few sporadic instances of the most minor stains or smudges on the blank versos a few pages. Portfolio in very good binding and interior in very good to near fine condition overall. Alternate title: ç´°æ±Ÿè‹±å…¬å†™çœŸä½œå“. Shueisha (集英社) hardcover

Eric Chaim Kline - Bookseller · États-Unis3 500,00 $US≈ 2 961,35 €

Guggenheim, Siegfried (ed); Fritz Kredel (illus); Rudolf Koch (type font design by)Biblio.com

Offenbacher Haggadah illus. by Fritz Kredel WITH Two New Post-War Versions illus. by Kredel THE OFFENBACH HAGGADAH 3 vols.

192755266Offenbach am Main: Verlag des Herausgebers Doktor Guggenheim 1927. First edition. Hardcovers. 1/300. Quarto. 97 1pp. Rebound in 3/4 beige pebbled leather over tan buckram retaining original printed stiff brown paper front cover. Gilt-stamped tooling ruling and raised bands on the spine. Publisher's device in red on the title page. The scarce first edition of the acclaimed illustrated Haggadah produced by Dr. Siegfried Guggenheim 1873-1961 in Offenbach Germany. Printed in a limited edition of 300 copies this gorgeous Passover Haggadah contains hand-colored woodcut illustrations by artist Fritz Kredel 1900-1973 including two illustrated maps of the Holy Land. German text throughout is printed in "Bible Gothic" type font specifically created for this publication by acclaimed German type designer and calligrapher Rudolf Koch 1876-1934 who was an early teacher of Kredel's at the Offenbach School of Art and Design. Includes text printed in black as well as orange color with many sections of musical notation and lyrics to Passover prayers and songs with printed in German translation as well as transliterations from the Hebrew. Guggenheim was initially inspired to produce the work as a result of his need to spark his passion for Jewish traditions in his own children and by extension the need to create a new and visually engaging work to inspire the younger generation of German Jews. It was compiled from a huge number of stories anecdotes and songs collected by Guggenheim over a 14-year period. These were eventually paired down into the final work which was so-named in order to tie it to the rich history of past printed Haggadah in the city dating back to at least the early 18th century. Text throughout in German and Hebrew. Binding with minor smudging to the beige leather. Gilt of the Star of David motifs on the spine has been mostly rubbed away. Interior with sporadic minor to light foxing to pages throughout though mostly in the margins. Most images throughout are clean and vibrant. Binding in very good interior in very good- condition overall. vg- to vg. WITH Offenbacher Haggadah. New edition BLACK & WHITE EDITION Published by Dr. Guggenheim Flushing N.Y. in commission at Otto Harrasowitz Wiesbaden. 1/500. Quarto. 133 1pp. Blue half cloth over gray paper boards. Black lettering on tan paper label pasted on the spine. This second edition of the acclaimed Offenbacher Haggadah originally published in 1927 saw the book printed in the America in a slightly shorter and thinner format. From an edition of 500 copies with b/w illustrations. In the years preceding the Second World War the two most central figures in the production of the original edition publisher editor and compiler Dr. Siegfried Guggenheim 1873-1961 and illustrator Fritz Kredel 1900-1973 had both emigrated to the United States fleeing the Nazis. This edition replaces Kredel's original woodcut illustrations for the 1927 edition with many more numerous newly created images by the artist especially for this edition which are here lithographically printed in black. Additionally the original gothic type font created by Rudolf Koch for the first edition has been replaced here by a more standard font and more passages in Hebrew have been added. All of the text content of the original edition has been faithful preserved here including all of the sections of musical notation and lyrics to Passover prayers and songs with printed in German translation as well as transliterations from the Hebrew. A newly written foreword for this edition by publisher Siegfried Guggenheim is included along with his foreword from the first edition. Text throughout in German and Hebrew. Binding with minor to light rubbing/bumping to corners and some very minor smudges and scratches to the front boards. Very light stains to blue cloth along spine. Binding in very good- condition interior in near fine condition overall. AND WITH Offenbacher Haggadah. New edition COLOR EDITION Published by Dr. Guggenheim Flushing N.Y. in commission at Otto Harrassowitz Wiesbaden. 1/600. Quarto. 133 1pp. Brown half cloth over beige paper boards. Black lettering on tan paper label pasted on spine. The second edition of the acclaimed Offenbacher Haggadah originally published in 1927 in a slightly shorter and thinner format. 1 of an edition of 600 copies with colored illustrations by the Schauer & Silwar coloring company in Darmstadt. Near fine condition overall. Verlag des Herausgebers Doktor Guggenheim hardcover

Eric Chaim Kline - Bookseller · États-Unis3 250,00 $US≈ 2 749,83 €

Kallay, Karol (Photographs); H Pifko (Ed); Alojz Riskovic (Design);Biblio.com

Deň plný zázrakov A Day Full of Miracles

196354664Bratislava: MladÃ© letÃ¡ 1963. First edition. Hardcover. Very good to near fine condition. 1/5000. Large quarto. Unpaginated. 72pp. Original off-white cloth with abstract illustration of a human heart on front cover red lettering on spine in original photo-illustrated dustjacket black lettering on spine red on cover protected by modern mylar. Photo-illustrated endpapers. "The book is one of the most unusually edited and designed and also rarest postwar photo books by Karol KÃ¡llay." Czech and Slovak Photoo-Publications p. 316 This rare and poignant photo-essay by Slovak photographer Karol KÃ¡llay present seventy-two sheet-fed gravures. Divided into two parts: A selection of photographs showing Bratislava children playing together or walking through a neighborhood under construction in part one and part two documents the everyday life of surgeons and nurses dedicated to save lives at the Bratislava Children's University Hospital where children are seen undergoing open-heart surgery while anxious parents wait and hope for a positive outcome. Text in Czech. Dustjacket lightly rubbed along edges slightly more pronounced at top of front foredge and minor chips at tail of spine. Binding age-toned along top and bottom edges. Interior in near fine condition. Karol Kallay 1926-2012 was a citizen of the world a photographer with blue blood running in his veins who in the educational spirit of the First Republic remained a sworn Czechoslovak even after the breakup of Czechoslovakia in 1993. He was born a Hungarian aristocrat on the 26th of April 1926 in Cadca in Czechoslovakiaâ€™s First Republic where right from the republicâ€™s beginnings the use of aristocratic titles - distinguishing those with â€œblue bloodâ€ from the mere mortals - was officially banned. Despite this his distinction conspicuously radiated out of him all his life. He always wanted to be a photographer. Perhaps it was because at the age of sixteen he won a gold medal in a Slovak photo contest. But it was also thanks to the excellent education he got from his older friends in the Trencin amateur photographic club Halasa Hajduch Farkas which was one of the many Slovak photographic societies started after the war by Jiri Jenicek an officer of the Czechoslovak army and a brilliant and enthusiastic amateur photographer. Kallayâ€™s wise father didnâ€™t want to impede his sonâ€™s â€œcomedian careerâ€ as he regarded the photographic profession but he had one condition - his son had to study something proper first. And so Karol after the end of the Second World War studied commercial engineering and law in Bratislava. He worked for a construction company in Zilina and Sucany and in his free time he devoted himself to photo reportage as an associate of a photo weekly Domov and Svet. That brought him to Prague where he meet two eminent photographers: Karel Hajek the shining star of reportage photography and Jan Lukas whose recently published book Zeme a lide not only impressed him but practically predetermined his future photojournalistic direction in the spirit of humanistic photography. â€œThrough Jan Lucas I discovered magazines - "Life" "Paris Match" "Illustrated London News" including fashion magazines such as "Vogue" and "Harperâ€™s Bazaar"; articles and the opinions of the aesthetician Alexander Libermann and the artistic direction of Alexey Brodovitch - it was all important learning for me because we didnâ€™t have that in Slovakiaâ€ he remembers. And so Kallayâ€™s specific bipolarity as an excellent fashion and advertising photographer was basically the source of his income with excellent reporting constantly mapping out the peopleâ€™s lifestyles that he found on his frequent travels all over the world. Thanks to the Bratislava weekly magazine "Moda" to which he was a regular contributor he could leave his regular job in 1956 and become a freelance photographer. That opened the way for him to contribute to the most important foreign fashion magazines - mainly "Jardin des Modes" in Paris and "Saison" and "Sybille" in Berlin. And because of this at home he became forever known as a successful photographer of fashion who brought the freshness and the dynamism of live photography into his work. In other words: he stopped photographing models as stiff coat hangers. In addition he traveled published books and did reportages for prestigious magazines such as "Geo" "Stern" "Spiegel" "Focus" "Merian" "Sports International" "Paris Match" and "IllustrÃ©" of which at that time the world behind the iron curtain knew practically nothing about. And thanks to this talent Karol Kallay became a photo reporter like none other in Czechoslovakia. Mladé letá hardcover

Eric Chaim Kline - Bookseller · États-Unis3 250,00 $US≈ 2 749,83 €

Babel, Isaac (И Бабель, screenplay); Sholem Aleichem (original novel); Alexander Bykhovskii (Александр Быховский, design & illusBiblio.com

Блуждающие Звезды: Кино-Сценарий Bluzhdaiushchie Zvezdy: Kinostsenarii Wandering Stars: Film Script

192654867Moscow ÐœÐ¾ÑÐºÐ²Ð°: Kinopechat ÐšÐ¸Ð½Ð¾Ð¿ÐµÑ‡Ð°Ñ‚ÑŒ 1926. First edition. Softcover. Good to very good condition. Octavo. 80pp. Dark blue and white wrappers with constructivist typography on the front cover housed in modern blue heavy paper portfolio with printed typographic design of original cover pasted to cover flap. Publisher's device on title page. This scarce published screenplay for the film adaptation of Sholem Aleichem's novel "Wandering Stars" by the acclaimed Russian-Jewish novelist playwright and journalist Isaac Babel 1894-1940. The film was premiered in Kiev on January 4th 1927 and was directed by Grigori Gritscher-Tscherikower 1883-1945. It was produced by VUFKU studios the national film studios of the Ukrainian SSR. This book contains the entirety of the film's screenplay accompanied by three striking b/w illustrations by Soviet artist and designer Alexander Bykhovskii 1888-1978 who likely also created the striking cover. The final three pages contain publisher's ads listing other work on the topic of cinema. The story tells of the love between Leibel the son of a wealthy shtetl family and Reizel a poor cantor's daughter in Bessarabia. The two run off to join a traveling Yiddish theater group. They are later separated with each becoming successful in their own right only to eventually reunite in America. The work was first serialized and originally appeared in the Warsaw newspapers between 1909 and 1911. It has come to be seen as the third in an unofficial trilogy of novels by the writer centering on musicians or performers preceded by Stempenyu 1888 and The Nightingale 1889. In 1925 the Moscow State Jewish Theater suggested that the Goskino the Soviet State Film Studio produce a film adaptation of Sholem Aleichemâ€™s novel. The order was commissioned to Isaac Babel for translation and adaptation from the book's original Yiddish language to Russian for the screenplay. During this period Babel had been working on other translations of Yiddish literature into Russian including the collected works of Sholem Aleichem and work by David Bergelson. According to Babel's foreword printed here he faced a number of difficulties adapting the novel including the modification of petty bourgeoisie motifs as well as the changes of film directors and their differing requirements. Because of certain elements in the script of which the main committee of the Goskino did not approve the film's production had to ultimately be switched to VUFKU studios in Odessa. In a letter during the period of production Babel apparently wrote: â€œI will have to be present on the set. if I am not there the director will ruin everything" and later upon hearing of further changes made by Gritscher-Tscherikower wrote that "it is more profitable for me not to participate in this shameful productionâ€. Regardless of Babel's opinion of the final product the film was well received by Soviet audiences at the time. Text in Russian. Portfolio with minor wear. Wraps partially restored with minor wear. Previous owner's names and date at top of title page one near gutter. Light water staining along right half of bottom edge of first 30 pages reappearing from pages 40 to end though along lower part of foredge more pronounced on pages 75/76 and light fraying along foredge from pages 67 to 76. Block lightly age-toned. Kinopechat (Кинопечать) unknown

Eric Chaim Kline - Bookseller · États-Unis2 750,00 $US≈ 2 326,78 €

Hosoe, Eikoh (細江英公, photography); Yukio Mishima (三島由紀夫, preface by); Tadanori Yokoo (横尾忠則, book design and illus)Biblio.com

薔薇刑新輯版 Barakei Shinshuba/ Ordeal by Roses Re-Edited IN ORIGINAL PUBLISHER'S SHIPPING BOX

50199Tokyo: Shueisha é›†è‹±ç¤¾ 1971. New edition. Hardcover. vg- to near fine. Large oblong folio. 15x21". Unpaginated. All content housed inside the publisher's original cardboard shipping box with printed label pasted on the front. Binding protected in original a white cloth portfolio with red lettering on the front cover and lavishly decorated interior flaps. Black suede-covered boards with mutli-colored illustration mounted on the front cover. Decorative endpapers. Engraved stainless-steel plate showing Mishima's face mounted on black paper preceding the title page. The deluxe and lavishly printed new bilingual edition of the acclaimed and eroticly-charged work also know as "Killed by Roses" by Japanese photographer Eikoh Hosoe b.1933. It gained notoriety and elicited controversy when it was originally released in 1963 and won the Japan Photo Critics Association's writer award. The main photographic subject of the book the acclaimed and controversial writer Yukio Mishima 1925-1970 wrote the preface to the original edition and also writes the preface for this new edition both are included here. Mishima's acclaimed works include the famous and controversial novels "Confessions of a Mask" 1949 and "The Temple of the Golden Pavilion" 1956. Hosoe's striking high-contrast b/w photographs are all printed in high-quality photogravure retaining all the power and atmosphere of his original images. In comparison with the first version of the work this edition features the content having been noticeably re-edited with one image added a few others removed. The images have been thematically re-organized into five new chapters with the names "Sea & Eyes" "Eyes & Sins" "Sins & Dreams" "Dreams & Death" and "Death" respectively. Influential artist and graphic designer Tadanori Yokoo b. 1936 oversaw all of the design and layout aspects of the book and also created its additional illustrated elements most of which comprise the first chapter of this new edition. While Hosoe was still completing work to prepare this new edition of "Ordeal by Roses" the notorious "Mishima Incident" occurred November 25th 1970 which culminated in the ritual suicide of Yukio Mishima by seppuku. The incident shocked the nation and in its wake the photographer was quite unsure of how to proceed regarding the publication of the book. Not wanting to seem like an opportunist taking advantage of the controversy and the publicity surround Mishima's death he contemplated shelving the project but was later persuaded by Mishima's widow Yoko who said that her husband would have wanted it to be released. It was finally release only a few months later on January 30th 1971. Text in Japanese and English throughout. Portfolio with foxing to the white cloth including the front cover and the interior but the illustrations on the flaps are still clean. Suede binding clean and protected in modern mylar. Light foxing to the edges of the book block. Interior with all pages and images clean and vibrant save for a few sporadic instances of the most minor stains or smudges on the blank versos a few pages. The verso of the final photographic plate and the page opposite have a bit more foxing. Portfolio in very good- binding and interior in very good to near fine condition overall. Alternate title: ç´°æ±Ÿè‹±å…¬å†™çœŸä½œå“. Shueisha (集英社) hardcover

Eric Chaim Kline - Bookseller · États-Unis2 750,00 $US≈ 2 326,78 €

Kholostenko, Ie[vhen] and Vasily Sedliar, designBiblio.com

UKRAINE - AVANT-GARDE Bela Uits Béla Uitz

54109Kharkiv: Mystetstvo 1933. Large octavo 25.7 × 18.8 cm. Original pictorial wrappers by Vasily Sedliar decorative dust jacket; 20 1 pp. of text 41 leaves of plates to rectos 2 pp. of text including list of reproductions. Small loss to corner of first leaf; pre-war stamps to title verso and p. 21 of the Ukrainian Public Library without inventory numbers marking the book part of the later dispersed duplicate exchange fund. Else about very good. A striking important Ukrainian avant-garde book designed by Vasily Sedliar 1899-1937 a leading Ukrainian painter illustrator and art pedagogue of the interwar period who was killed during the Stalin Terror of 1937. The book is likely the first monograph on Béla Uitz 1887-1972 a Hungarian-Soviet avant-garde artist who later turned to monumental painting creating large-scale murals for the Kharkiv Krasnovodsk Theatre a project he worked on with Sedliar. Uitz was initially influenced by Cubism Expressionism and later Constructivism with the 42 reproductions of his work in this volume tracing his artistic trajectory. Active in Comintern in Hungary France Austria and Germany in 1926 Uitz moved to the Soviet Union joining the October group and teaching at VKhUTEMAS in 1927-1930. In 1931 Uitz was elected secretary of the International Union of Revolutionary Artists at a conference held in Kharkiv and commissioned to decorate the Kharkiv theatre with this volume likely published for the occasion. The Ukrainian art critic and monumental painter Ievhen Kholostenko 1904-1945 wrote the introductory text to the volume. Both Sedliar and Kholostenko were students of Mykhailo Boichuk 1882-1937 at the Kyiv Academy of Art. A celebrated modernist painter Boichuk came into disfavor in the 1930s. His arrest and execution he was accused of being "an agent of the Vatican" affected an entire generation of students known as the "Boichukists" who practiced the innovative kind of monumental painting Boichuk taught. One of the closest associates of Boichuk Sedliar was part of the so-called "executed renaissance" rozstriliane vidrodzhennia a generation of innovative artists and writers who perished during the Great Purge. Any printed matter bearing their names was systematically removed from libraries and bookstores in the late 1930s. As of June 2024 KVK OCLC show a sole copy worldwide at Staats- & Universitätsbibliothek Hamburg. unknown

Penka Rare Books and Archives · Allemagne2 250,00 €

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