{"title":"Catalogue","description":"\u003cp\u003e\u003cspan\u003eThe complete stock: rare books, catalogues and curiosities on visual art, with a particular interest in Japan\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"saito-kunio-manga-siberian-internment-1991","title":"A Manga Tale of Siberian Internment. 斎藤邦雄 漫画シベリヤ抑留物語 (2 vols)","description":"\u003cp class=\"p1\"\u003e東京 [Tokyo], 光人社 , 1991. \u003cbr\u003e8vo. Vol. 1: [2], 222, [2] pp., ill. Vol. 2: [2], 221, [3] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA first-person graphic memoir of the Siberian internment, drawn by a man who lived it — an unusual form for the subject.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSaitō Kunio (\u003cmeta charset=\"UTF-8\"\u003e斎藤邦雄; 1920–2013) was working at the film company Tōhō when he was called up in 1941. In October 1945 he was interned by the Soviets and passed through four camps of the Gulag system in Irkutsk Oblast. He returned to Japan in July 1948, joined the Tokyo Children's Manga Association, drew for children's magazines, and later worked in television animation production at Fuji Television Enterprises.\u003c\/p\u003e\n\u003cp\u003eThese two volumes follow his own three years: from the collapse in former Manchuria, through the winters, the salt factory and the road work, to repatriation. Saitō draws the small things — the arithmetic of rations and cold, what could and could not be said, the shifting relations between Japanese prisoners, Soviet guards and the local population. Much of it is warm, even lyrical, rather than grim, and that is part of what makes it valuable as a record: it preserves the texture of camp life that official accounts leave out.\u003c\/p\u003e\n\u003cp\u003eSaitō had drawn the internment once before, in シベリヤ抑留兵よもやま物語 (2 vols, 1987–88), but there the experience was assigned to a fictional soldier, Yomoyama. Here he drops the device and states plainly that the story is his own. The afterword to volume two, written in August 1991 for this edition, explains why he chose manga to carry the memory — a rare instance of a survivor arguing for the form itself.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal paper boards and pictorial dust jackets, illustrated endpapers, belly bands present. Publisher’s 1991 catalogues and reader’s cards laid in. Near very good: very light wear and soiling to the jackets.\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003eOCLC locates two copies outside Japan — the University of Southern California and UC Berkeley.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770878726492,"sku":"SYR-002","price":380.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00363.jpg?v=1789479803"},{"product_id":"under-the-twinkling-great-bear-siberia-1989","title":"Under the Twinkling Great Bear: Drawings of Internment in Siberia. きらめく北斗星の下に: シベリア抑留画集","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e[Tokyo], シベリア 抑留画集出版委員会 , 1989. In Japanese, with a short foreword in English.[Slipcase illustrated with artwork by Yasuo Kazuki].\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e4to. 229, [3] pp., ill. Errata sheet inserted.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Gulag drawn from the inside — by the Japanese who were held in it.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn September 1945, in defiance of the Potsdam Declaration, some 575,000 disarmed Japanese soldiers taken in Manchuria, northern Korea, Sakhalin and the Kuriles were sent not home but to labour camps across Siberia. Around 55,000 died there. The last of them did not reach Japan until eleven years later, to little official acknowledgement; the subject only entered wider Japanese public memory in the 1980s.\u003c\/p\u003e\n\u003cp\u003eAmong the internees were a considerable number of artists, professional and amateur alike. They were, unexpectedly, allowed to draw — and were at times commissioned by camp administrations for propaganda work. What survives is a body of images of Soviet camp life made by the prisoners themselves, and it has almost no counterpart anywhere. The nearest comparison is Danzig Baldaev, whose Gulag drawings reached Western readers through FUEL's \"Drawings from the Gulag\" — but Baldaev drew as a guard. These men drew as inmates.\u003c\/p\u003e\n\u003cp\u003ePublished to accompany a ten-day exhibition in Shinjuku, Tokyo, in 1988 — the first of its kind — the album gathers work by forty-six artists, from the canonical to the entirely obscure: Kazuki Yasuo (香月泰男, 1911–1974), whose Siberia series is the best-known Japanese artistic response to the camps; Satō Chūryō (佐藤忠良, 1912–2011); Yokoyama Misao (横山操, 1920–1973); Onosato Toshinobu (オノサト・トシノブ, 1912–1986); Kiuchi Nobuo (木内信夫, 1923–2021). Each is given a biography, an exhibition history and, most valuably, his own recollections of internment. Maps of the camp network are included.\u003c\/p\u003e\n\u003cp\u003eInternees were generally not permitted to carry their work home, which makes three inclusions exceptional: watercolours executed during captivity by Murata Seizō (村田精三), Furuta Takuzō (古田卓造) and Satō Takeo (佐藤健雄). The volume also reproduces photographs of a wooden Buddha carved at Yelabuga camp in 1947 and of a violin built by a prisoner in 1946.\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal dark blue cloth with silver staples to the front board, in the original pictorial slipcase illustrated with artwork by Kazuki Yasuo. Good: slipcase spine lightly bumped, light curling to the upper corner of the first leaves.\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003eOCLC locates five copies outside Japan.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770878759260,"sku":"SYR-003","price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00247_584a407b-2329-4068-a3bc-234929005794.jpg?v=1789386166"},{"product_id":"comics-of-the-world-after-japan-1954","title":"Comics of the World: After Japan. 世界の漫画 あぷれ・にっぽん","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e東京 [Tokyo], アソカ 書房 , [1954]. Edited by Suyama Keiichi (須山計一).\u003c\/em\u003e\u003cbr\u003e8vo. 196, [1] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJapan’s war and occupation as the world’s cartoonists drew it.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePublished in Tokyo in 1954, two years after the Allied occupation ended, this anthology gathers editorial cartoons, posters and comic strips from the international press, tracing Japan's passage from its wartime identity through defeat, occupation and reconstruction, from the 1930s to the early 1950s. The wrappers reproduce Boris Yefimov's \"\u003cem\u003eAmerican Freedom\"\u003c\/em\u003e — a Soviet propaganda image on the cover of a Japanese book, and the first indication of the company kept inside.\u003c\/p\u003e\n\u003cp\u003eThe images were created by artists from various countries, including Sir David Low (UK), Rollin Kirby, Fred Ellis, Ed Doughty (USA), Picasso, Jean Effel (France), George Grosz (Germany), Kukryniksy, Boris Yefimov, Yuliy Ganf (USSR), Mi Gu\/米谷, Li Binghong\/黎冰鸿, Hua Junwu\/華君武 (China), Sugiura Yukio\/杉浦幸雄, Kitaoka Fumio\/北岡文雄, Yokoyama Taizō\/横山泰三, Ogiwara Kenji\/荻原賢次 (Japan), among others.\u003c\/p\u003e\n\u003cp\u003eThese works depict prominent figures of the era, such as Winston Churchill, Chiang Kai-shek, Franklin Roosevelt, Yasuji Okamura, Benito Mussolini, Joseph Stalin, Harry S. Truman, Matthew Ridgway, and Douglas MacArthur. Significant events covered include Japan's invasion of mainland Asia, World War II, the American occupation, the Korean War, the Treaty of Peace with Japan (Treaty of San Francisco), and the Mutual Security Agreement (MSA), among others.\u003c\/p\u003e\n\u003cp\u003eThe book concludes with an afterword by its compiler, Suyama Keiichi (須山計一; 1905–1975) — in his lifetime the leading authority on manga criticism in Japan, a Western-style painter and cartoonist, and, in 1931, secretary-general of the Japan Proletarian Artists Alliance, an affiliation that explains much about the selection. In this afterword, Suyama reflects on his wartime and postwar experiences, providing fascinating insights into various Japanese artists he was close to (including the death of Yanase Masamu [柳瀬正夢]), the lives of foreigners who remained in Japan during the war, the public's evolving attitude toward the emperor, postwar prostitution in Japan, the impact of thermonuclear weapons testing, and more. He concludes the afterword by detailing the specific magazines and newspapers from which he sourced the images used to compile the book.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal pictorial wrappers with the cover after Boris Efimov’s \"\u003cem\u003eAmerican Freedom\"\u003c\/em\u003e, in the printed slipcase. Good: light wear to the wrappers, small tears to the spine, small losses to the slipcase edges, bookseller’s ticket to the slipcase verso.\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003eOCLC locates four copies outside Japan.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770878792028,"sku":"SYR-004","price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/6da0ef82-5ced-40d7-81d1-c85286c47866.png?v=1789248707"},{"product_id":"maruki-hiroshima-panels-moscow-1959","title":"Hiroshima. Хиросима","description":"\u003cp class=\"p1\"\u003e\u003cem\u003eMoskva, Sovetskii khudozhnik, 1959.\u003c\/em\u003e \u003cem\u003ePreface by Mikhail Kotov.\u003c\/em\u003e\u003cbr\u003eOblong 8vo. 16, [27] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatalogue of the Marukis' Moscow exhibition of 1959 — the first solo exhibition held in the USSR by any contemporary Japanese artist.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMaruki Toshi (丸木俊; 1912–2000) and her husband Maruki Iri (丸木位里; 1901–1995) are best known for The Hiroshima Panels (原爆の図), a series of painted folding screens on the aftermath of the atomic bombings. In 1945, days after the bombing, the two travelled to Hiroshima to help surviving members of Iri's family and became first-hand witnesses to what had happened there. They began work on the panels two years later. American censorship during the occupation made the work difficult to exhibit; even so, the panels did much to make visible a destruction that was barely being reported. In January 1953 the World Peace Council awarded the Marukis its International Peace Prize, and by the late 1950s the panels were touring internationally.\u003c\/p\u003e\n\u003cp\u003eContemporary Japanese art, meanwhile, was almost unknown in the USSR. A few showings of Japanese children's art and cinema in the late 1920s were followed by a long freeze: relations soured by 1930, many Japanologists were repressed during the Great Purge, and wartime exchange stopped altogether. Japanese contemporary art returned only in 1956, shown to a selected audience drawn largely from the art world, and in 1957 more widely, as part of the International Exhibition at the 6th World Festival of Youth and Students. Two years later the Hiroshima Panels were installed in one of the pavilions of Gorky Park in Moscow, and the exhibition afterwards toured several Soviet cities. The Marukis' pacifism suited Soviet policy, which is much of why the exhibition happened at all.\u003c\/p\u003e\n\u003cp\u003eThe Marukis went on to become the principal channel between the two art worlds. With no formal cultural agreement in place, they used personal connections to bring young Japanese artists to the USSR, to organise group exhibitions and to enrich Soviet museum holdings; in the 1960s the Union of Artists and the Soviet Peace Committee went so far as to allocate funds towards a peace museum in Japan. After the Marukis left the Japanese Communist Party and visited the United States in 1970, their names fell under an unofficial ban, surfacing thereafter only in connection with the Hiroshima Panels. They nonetheless remained, to the end of the Soviet period, the emblem of contemporary Japanese art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eIn 1995 the Marukis were nominated for the Nobel Peace Prize. In 2024 the prize was awarded to Nihon Hidankyo, the confederation of atomic-bomb survivors' organisations founded in 1956, \"\u003cem\u003efor demonstrating through witness testimony that nuclear weapons must never be used again\u003c\/em\u003e\" — the same work of witness the Marukis had done in paint.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal wrappers and pictorial dust jacket. Good: light wear and minor losses to the jacket spine. An additional staple was inserted in error during binding.\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003eOCLC locates a single copy — Amherst College Library.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770878857564,"sku":"SYR-005","price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00371.jpg?v=1789480402"},{"product_id":"exhibition-japanese-photography-rostov-1989","title":"Exhibition of Japanese Photography: Catalogue. Выставка японской фотографии","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e[Rostov-on-Don], Rostov-on-Don salon of photography, 1989.\u003c\/em\u003e \u003cem\u003eCompiled by B. Bykov.\u003c\/em\u003e\u003cbr\u003e8vo. [32] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe first Russian exhibition catalogue devoted to Japanese photography — and the only one ever published, issued by a provincial press.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn contrast to Japanese woodcuts and paintings, which were studied far more thoroughly by Soviet art critics and historians, Japanese photography remained largely unknown to the general public throughout the Soviet period. The only publication to cover it with any regularity was the magazine \"\u003cem\u003eSovetskoe Foto\u003c\/em\u003e\" (\"Soviet Photo\"), which carried close to 40 items between 1928 and 1993 — articles on camera technology, passing mentions of photographers, individual images, and short interviews. The sole article given over entirely to the subject was a translated piece, \"\u003cem\u003eThe First Photographers in Japan\u003c\/em\u003e\", published in 1970; it underscored the absence of any specialist in Japanese photography within the USSR.\u003c\/p\u003e\n\u003cp\u003eExhibitions fared no better. In 1929 the newspaper \"\u003cem\u003eAsahi\u003c\/em\u003e\" sent photographs to the USSR for an exhibition that was never displayed. After the Second World War, Japanese photographers took part in international exhibitions held in the USSR and in thematic exhibitions on Japan where photography appeared alongside other material. Only two exhibitions were devoted to Japanese photography alone: \"\u003cem\u003eJapan in Photographs\u003c\/em\u003e\" in 1958, and this one, in Rostov-on-Don in 1989 — the only one of the two for which a catalogue was published.\u003c\/p\u003e\n\u003cp\u003eThe exhibition presented work by twenty photographers from the Tokyo photo club Arc-en-Ciel, led by Nakai Masami (中居正躬; 1904-?), a member of the Royal Photographic Society and an honorary member of FIAP, who from 1966 to 1984 lectured on colour theory and specialised techniques at the Japan College of Photography. The catalogue reproduces one photograph by each participant, accompanied by their portrait, and closes with a list of all 134 works shown — among them posterisations, solarisations and montages.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal pictorial wrappers, issued without a title. Good: light rubbing and soiling to the wrappers.\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003eNo copy traced on OCLC.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770878923100,"sku":"SYR-006","price":180.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00383.jpg?v=1789481138"},{"product_id":"satire-in-the-struggle-for-peace-1979","title":"Satire in the Struggle for Peace. Сатира в борьбе за мир","description":"\u003cp class=\"p1\"\u003e\u003cem\u003eMoskva, Izdatel’stvo “Plakat”, 1979.\u003c\/em\u003e \u003cem\u003eIn Russian, English and French. Introduction by Boris Efimov.\u003c\/em\u003e\u003cbr\u003eOblong 8vo. [118] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe first appearance of Yayoi Kusama in the Soviet Union — an exhibition recorded in none of the standard chronologies of her work that we have been able to consult.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatalogue of the third international exhibition of satirical art, held in Moscow in 1977 and published two years later. Mounted in support of the antiwar movement and against the arms race, it brought together artists from the USSR, Japan, the United States, France, Germany, Denmark, Mexico, Cuba, Colombia, Portugal, Turkey, Hungary, Czechoslovakia and Mongolia.\u003c\/p\u003e\n\u003cp\u003eKusama (1929-2026) is represented by \"\u003cem\u003eTidal Wave of War\u003c\/em\u003e\" (戦争の津波), 1977 — watercolour, pastel and collage on paper, one of a group of three antiwar works alongside \"War\" and \"Graves of the Unknown Soldiers\", all now in the Museum of Contemporary Art Tokyo. She made them in the year she took up residence at Seiwa Hospital, \u003cspan\u003ewhere she lived for the rest of her life\u003c\/span\u003e. \u003cspan\u003eBy the time of her death she had long been\u003c\/span\u003e the world's top-selling female artist. Her presence in a Soviet state publication of this date is unexpected, \u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eand has so far been noted only once: as a name in a list of Japanese exhibitors in a recent Russian survey (V. Belozerov, \u003c\/span\u003e\u003cem\u003eIskusstvoznanie\u003c\/em\u003e\u003cspan\u003e, 2025, no. 2, p. 352), which neither identifies nor reproduces the work\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003eAlso included is Ollie Harrington (1912–1995), whom Langston Hughes called \"\u003cem\u003eAmerica's greatest African-American cartoonist\"\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal pictorial boards with the shipping box. Good: light wear to the boards, light spotting to the fore-edge, owner’s signature to the verso of the first free endpaper, dampstaining to the lower edge of the box.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770878955868,"sku":"SYR-007","price":300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/fcb06bbd-bd35-47f6-8b59-f34fab04cba8.png?v=1789223408"},{"product_id":"funazaki-mt-head-atamayama-1973","title":"Mt. Head. 舟崎 克彦 あたま山","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e[Tokyo] 東京 , ポプラ 社 , 昭和 48年 [1973].\u003c\/em\u003e \u003cem\u003eIllustrations by Hayashi Kyōzō (林恭三). Series: わらいの絵本, 1.\u003c\/em\u003e\u003cbr\u003e4to. 31, [1] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this text and of these illustrations.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe story comes from rakugo, the Japanese tradition of comic storytelling. Jimbē-san swallows cherry pits, and a cherry tree grows out of the top of his head. Crowds gather to picnic and carouse under it; the noise and commotion drive him to distraction. He tears the tree out, leaving a hollow that fills with rainwater and becomes a lake — at which point fishermen arrive and lower their hooks, snagging his nose. Overwhelmed, Jimbē-san throws himself into the lake on top of his own head.\u003c\/p\u003e\n\u003cp\u003eThis version was written by Funazaki Yoshihiko (\u003cmeta charset=\"UTF-8\"\u003e舟崎 克彦; 1945–2015), a novelist, poet, illustrator and manga artist. The year after this book appeared he received the Akai Tori Bungaku Shō (赤い鳥文学賞), the literary prize named after the celebrated children's magazine \"Akai Tori\"; in 1976 he was named to the IBBY Honour List for text, as Japan's entry, for another of his titles, \"Ame no Dobutsuen\" (Tokyo: Kaiseisha, 1974).\u003c\/p\u003e\n\u003cp\u003eThe illustrations are by Hayashi Kyōzō (b. 1939), who models his figures as shallow three-dimensional forms in clay and then paints them. This appears to be the first book to show the technique.\u003c\/p\u003e\n\u003cp\u003eThe same rakugo tale was adapted by Yamamura Kōji as the animated short \"\u003cem\u003eMt. Head\u003c\/em\u003e\" (2002), nominated for the Academy Award for Best Animated Short Film at the 75th Academy Awards.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal pictorial boards and pictorial dust jacket, illustrated endpapers. Near very good: jacket very faintly rubbed.\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003eNo copy located outside Japan on OCLC.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770878988636,"sku":"SYR-008","price":320.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/e6ac129c-61d5-4951-bd5f-2262e71511c5.png?v=1789224998"},{"product_id":"furukawa-taku-anime-shiritori-1977","title":"Anime Word Chain. 古川タク アニメ・しりとり","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e[Tokyo] 東京 , すばる 書房 , 1977.\u003c\/em\u003e\u003cbr\u003eOblong 8vo. [32] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“More interesting than television, more interesting than manga” — the belly band’s claim. \u003c\/strong\u003eThe only edition of this interactive book, complete with its film overlay.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe book uses barrier-grid animation, or scanimation, a technique that originated in the late 1890s.\u003c\/span\u003e The reader holds the striped transparent sheet in front of an illustration, leaving a little space between them, and slides it slowly from left to right; the image comes to life. Or, as the belly band puts it, it is \"\u003cem\u003emore interesting than television and manga\u003c\/em\u003e\". \u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eAmong the scenes of nature and people are moving illustrations featuring \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Beatles\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDracula\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, the Korean-Japanese wrestler \u003cmeta charset=\"UTF-8\"\u003e\n\u003cem\u003eRikidōzan\u003c\/em\u003e, and an imagined bout between the legendary sumo wrestlers Kitanoumi and Takanohana, among others.\u003c\/span\u003e\u003cspan\u003eThis interactive book also plays with language: each successive word begins with the syllable on which the previous word ends.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe book was made by \u003cstrong\u003eFurukawa Taku\u003c\/strong\u003e (\u003cmeta charset=\"UTF-8\"\u003e古川タク; b. 1941), an animator, illustrator and children's book author, president of the Japan Animation Association and an adviser to the Japan Cartoonists Association. His son, Furukawa Shuntaro, is the president of Nintendo.\u003c\/p\u003e\n\u003cp\u003eOne of Furukawa's more notable contributions to animation history was his revival of the phenakistiscope, the nineteenth-century European optical toy. His 1975 animated short \"\u003cem\u003eOdoroki-ban\u003c\/em\u003e\" (驚き盤), built on the device, took the Jury Prize at the Annecy International Animation Film Festival.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal pictorial paper boards and pictorial dust jacket, with belly band. Publisher’s 1977 catalogue and reader’s card laid in. Near very good: light rubbing to the jacket spine, small tears, foxing to jacket and belly band.\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003eNo copy located outside Japan on OCLC.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770879021404,"sku":"SYR-009","price":480.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/89268198-d9f8-4110-8162-f855766f33b9.png?v=1789224715"},{"product_id":"sueyoshi-tongue-cut-sparrow-1995","title":"Tongue-Cut Sparrow. 末吉暁子 したきりすずめ","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e[Tokyo] 東京 , 講談社 , 1995. Illustrations by Chō Shinta (長新太). Series: はじめてのおはなし絵本, 12.\u003c\/em\u003e\u003cbr\u003e8vo. 17, [1] pp. incl. wrappers, ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe 'God of Nonsense' takes on one of Japan's best-known folk tales.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eChō Shinta (長新太; 1927–2005) is among the most inventive Japanese picture-book artists of the twentieth century — an illustrator, manga artist and children's author whose deadpan, brightly coloured absurdity earned him the nickname \"\u003cem\u003ethe God of Nonsense\"\u003c\/em\u003e. He was placed on the IBBY Honour List in 1974 and was Japan's nominee for the Hans Christian Andersen Award for Illustration in both 1998 and 2000.\u003c\/p\u003e\n\u003cp\u003eHere he illustrates the tale of the tongue-cut sparrow: a kind old man who nurses an injured bird, his greedy wife who cuts out its tongue, the sparrow's hidden house in the bamboo, and the two baskets — one light, one heavy — from which the wife chooses badly. What climbs out of the heavy basket is a procession of yōkai, the spirits and monsters of Japanese folklore, and Chō's version of them is closer to comic invention than to horror.\u003c\/p\u003e\n\u003cp\u003eThe text is by Sueyoshi Akiko (末吉暁子; 1942–2016), a Kōdansha editor turned children's writer, best known for the long-running \"\u003cem\u003eZokuzoku-mura no Obake\u003c\/em\u003e\" series and winner of the Noma Prize for Juvenile Literature in 1986.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal pictorial boards, issued without a title page. Near very good: very light wear to the corners and spine.\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003eNo copy traced through OCLC or in Japanese libraries.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770879054172,"sku":"SYR-010","price":110.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00409.jpg?v=1789487023"},{"product_id":"collection-monsieur-x-drouot-1977","title":"Collection de Monsieur X…: Estampes, Dessins, Pochoirs du Japon","description":"\u003cp class=\"p1\"\u003e\u003cem\u003eParis, C. Boisgirard, A. de Heeckeren, 1977.\u003c\/em\u003e\u003cbr\u003e8vo. [120] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne anonymous collection of Japanese prints, sold over four days at Drouot Rive Gauche in December 1977.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis catalogue records an anonymous French collection of Japanese prints — the \"Monsieur X…\" of the title being the customary formula for a vendor who preferred not to be named. Among the illustrated books offered was a copy from the library of Edmond de Goncourt.\u003c\/p\u003e\n\u003cp\u003eThe sale covered surimono (摺物; privately commissioned prints, finely printed and often issued for poetry circles), e-goyomi (\u003cmeta charset=\"UTF-8\"\u003e盲暦; picture calendars), hashira-e (柱絵; the tall, narrow pillar prints, called nagaye in the catalogue), ōban (\u003cmeta charset=\"UTF-8\"\u003e大判; large-format sheets), drawings, illustrated books and stencils.\u003c\/p\u003e\n\u003cp\u003eArtists represented include Keisai Eisen, Yashima Gakutei, Totoya Hokkei, Katsushika Hokusai, Utagawa Kunisada, Utagawa Kuniyoshi, Ryūryūkyo Shinsai, Kubo Shunman, Kitagawa Utamaro and Utagawa Hiroshige, among many others.\u003c\/p\u003e\n\u003cp\u003eExtensively illustrated throughout, chiefly in black and white, with four plates in colour.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal pictorial wrappers. Good: lightly rubbed and soiled, some creasing to the front cover.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58770879086940,"sku":"SYR-011","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00376.jpg?v=1789480795"},{"product_id":"pusenkoff-mona-lisa-goes-russia-2002","title":"Mona Lisa Goes Russia","description":"\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\"\u003eHeidelberg,\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eKehrer Verlag, [2002]. In German and English.\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"EN-US\"\u003eOblong 4to. 87, [1] pp., ill. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eThe first catalogue devoted to this conceptual-photographic project.\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1974, Leonardo da Vinci’s \u003cem\u003eMona Lisa\u003c\/em\u003e was exhibited in Moscow for 45 days, in what became one of the most remarkable cultural events of the Soviet era. The painting had travelled to Moscow after its exhibition in Japan, and its appearance in the Soviet Union was made possible through a remarkable diplomatic arrangement. The exhibition attracted enormous public attention: visitors reportedly waited in line for 7–10 hours to enter the Pushkin Museum, while attendance figures range from more than 310,000 to as many as 1.5 million visitors, depending on the source. It was the last time the \u003cem\u003eMona Lisa\u003c\/em\u003e left the Louvre for a public exhibition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Pusenkoff \u003c\/strong\u003e(b. 1953) emerged from the milieu of Moscow's nonconformist art scene of the 1970s and 1980s, receiving important impulses from the avant-garde surrounding Ilya Kabakov and Erik Bulatov. In 1990, on the invitation of gallerist Hans Mayer, he relocated to Cologne, where he has lived and worked ever since, developing a signature idiom that merges digital image-making with icons of art history.\u003c\/p\u003e\n\u003cp\u003eGeorge Pusenkoff’s \u003cem\u003eMona Lisa Goes Russia\u003c\/em\u003e is deeply connected to the memory of that extraordinary exhibition. Beginning in 1997–98, the Russian-German artist travelled across Russia with his own painted version of the \u003cem\u003eMona Lisa\u003c\/em\u003e, created in the tradition of Pop Art, particularly that of Andy Warhol. The artist photographed it in a wide variety of urban and rural settings — from Red Square and museums to provincial villages, private interiors and everyday scenes.\u003c\/p\u003e\n\u003cp\u003eAs Hans Gercke writes in this 2002 exhibition catalogue accompanying the project, “\u003cem\u003eit is not the art believers who make pilgrimages to the Mona Lisa, but rather she herself makes her own missionary pilgrimage across the country.\u003c\/em\u003e” Pusenkoff’s \u003cem\u003eMona Lisa\u003c\/em\u003e was deliberately created through digital manipulation: the artist based the image on a reproduction found on the Internet, transforming the canonical masterpiece into a black-and-yellow, computer-age icon.\u003c\/p\u003e\n\u003cp\u003eThe resulting photographs explore not only the creation, reproduction and perception of images, but also questions of intercultural communication and the dialogue between old and new, East and West, the Russian icon and the Western “icon”, the digital and the real. By placing Leonardo’s most famous image against the rapidly changing landscape of post-Soviet Russia, Pusenkoff creates a surreal and often ironic portrait of a country caught between the remnants of the Soviet past and the uncertain possibilities of a new era. The \u003cem\u003eMona Lisa\u003c\/em\u003e becomes both an outsider and a witness, carrying the cultural weight of European art into unfamiliar surroundings while absorbing new meanings from the places she encounters.\u003c\/p\u003e\n\u003cp\u003eThe project had a sequel: on April 15, 2005 (Leonardo’s birthday), the painting was delivered to the International Space Station by Italian astronaut Roberto Vittori and returned to Earth on April 24, 2005. The project was subsequently presented as part of the 51st Venice Biennale under the title \u003cem\u003eMona Lisa Goes Space\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eOriginal pictorial boards. Good: light rubbing to corners and spine edges; bookseller’s label to rear board.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58919997309276,"sku":"SYR-012","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00402.jpg?v=1789486153"},{"product_id":"kinnard-davis-divine-images-jesus-on-screen-1992","title":"Divine Images: A History of Jesus on the Screen","description":"\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\"\u003e[New York], A Citadel Press Book, [1992].\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"EN-US\"\u003e4to. 222, [1] pp., ill. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-US\"\u003eAn early and important comprehensive study of the representation of Jesus Christ in cinema. \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe book traces how the image and perception of Jesus of Nazareth have changed throughout the history of film, reflecting wider social, political, and religious transformations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe authors examine how filmmakers have approached the Gospels as source material and, more broadly, “\u003cem\u003ehow the mainstream cinema has dealt with the subject of Jesus Christ within the restrictions of a commercial market\u003c\/em\u003e.” The book is not limited to films about the life of Jesus: it also explores films in which Christ appears only briefly, Christ-like figures, unconventional and satirical representations, and even projects that were never released.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003ePart film history, part filmography, the book provides credits, cast information, commentary, and reviews for films from America and Europe, beginning with the silent era and continuing through the late 1980s. Among the films discussed are \u003cem\u003eThe Passion Play of Oberammergau\u003c\/em\u003e (1898), one of the earliest surviving motion pictures depicting the final days of Jesus; \u003cem\u003eFrom the Manger to the Cross\u003c\/em\u003e (1912); Cecil B. DeMille’s \u003cem\u003eThe King of Kings \u003c\/em\u003e(1927); \u003cem\u003eBen-Hur\u003c\/em\u003e (1959); \u003cem\u003eKing of Kings\u003c\/em\u003e (1961); \u003cem\u003eThe Greatest Story Ever Told \u003c\/em\u003e(1965); \u003cem\u003eBlack Jesus\u003c\/em\u003e (1968), starring Woody Strode; \u003cem\u003eJesus Christ Superstar\u003c\/em\u003e (1973); Franco Zeffirelli’s \u003cem\u003eJesus of Nazareth\u003c\/em\u003e (1977); \u003cem\u003eMonty Python’s Life of Brian \u003c\/em\u003e(1979); and Martin Scorsese’s \u003cem\u003eThe Last Temptation of Christ\u003c\/em\u003e (1988).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eRichly illustrated with black-and-white film stills and screenshots.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eOriginal pictorial wrappers. Good: light rubbing to edges, minor soiling, with bookseller’s labels to rear cover.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":58962635948380,"sku":"SYR-013","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00348.jpg?v=1789477363"},{"product_id":"lewis-main-street-japanese-1931","title":"Main Street: A novel. ルイス・シンクレーア 「本町通り」メーン・ストリート: 長篇小說","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e東京\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e [Tokyo], \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e新潮社\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e昭和\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e6 [1931]. \u003cmeta charset=\"UTF-8\"\u003e\n\u003cspan\u003eTranslated from the English by Maedakō Hiroichirō, with his preface\u003c\/span\u003e (前田河広一郎).\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e8vo. [3], 1-16, 691, [5] pp. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eLewis's first book to appear in Japan, and the only edition of this translation. Designed by an unrecorded artist — a notable instance of deluxe publishing at the height of Japan's early-1930s economic crisis.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003eMain Street\u003c\/em\u003e (1920), an American classic by \u003cstrong\u003eSinclair Lewis \u003c\/strong\u003e(1885–1951), became the author's first book to appear in Japanese — published the year after Lewis was awarded the Nobel Prize in Literature, the first American writer to receive that honor. Until then Lewis had remained little known among Japanese readers, even though a 1923 silent film adaptation of \u003cem\u003eMain Street\u003c\/em\u003e had been screened in Japan; it was the Nobel award that prompted this first Japanese translation.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThat is why \u003cstrong\u003eMaedakō Hiroichirō \u003c\/strong\u003e(\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e前田河広一郎\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e; 1888–1957) — a well-known Japanese novelist and this book's translator — felt obliged to introduce the writer to his compatriots: his preface sets out Lewis's biography and career and offers a critique of his work (\u003cem\u003eMain Street \u003c\/em\u003eand \u003cem\u003eElmer Gantry\u003c\/em\u003e). As one of the leading figures of the Japanese proletarian-literature movement, however, Maedakō criticizes Lewis sharply. He faults him for being a sharp, honest observer of American bourgeois life who never crosses into genuine class struggle: his satire exposes hypocrisy and provincialism, but stops at reformist, petty-bourgeois critique rather than confronting the roots of capitalism. In short, Maedakō judges him a gifted realist, but politically no more than a social-democratic \"\u003cem\u003efellow traveler\u003c\/em\u003e,\" not a proletarian writer.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eIt is also worth noting the translator's own story. Maedakō studied under Tokutomi Roka, a well-known Japanese writer and philosopher, and in 1907, with Roka's support, went to the United States. Over the following thirteen years there he drifted through a series of jobs — dishwasher, door-to-door salesman, gardener, reporter for a Japanese-language newspaper, among others — and during this period published short stories in English. He returned to Japan in 1920 and became a well-known proletarian writer. However, as the crackdown on the left intensified from the late 1920s onward — culminating, most notoriously, in the 1933 arrest and beating to death of Kobayashi Takiji by the special political police — Maedakō, too, effectively disappeared from the literary scene. This book can thus be counted among the last imprints of Japan's proletarian-literature movement before the country's politics turned decisively militarist.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eOriginal yellow cloth, stamped in colors, with pictorial slipcase featuring a portrait of Sinclair Lewis. Without dust jacket, as issued. Good: slipcase rubbed, with small losses and tears, owner’s mark in red pencil to top, minor soiling to cloth.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59063983407452,"sku":"SYR-014","price":420.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00204.jpg?v=1789037893"},{"product_id":"orwell-1984-japanese-1950","title":"Nineteen Eighty-Four (1984). ジョージ・オーウェル　一九八四年","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003e東京\u003cspan lang=\"RU\"\u003e [\u003c\/span\u003eTokyo\u003cspan lang=\"RU\"\u003e],\u003c\/span\u003e文藝春秋新社\u003cspan lang=\"RU\"\u003e, \u003c\/span\u003e昭和\u003cspan lang=\"RU\"\u003e25\u003c\/span\u003e年\u003c\/em\u003e\u003cspan lang=\"RU\"\u003e\u003cem\u003e [1950].\u003c\/em\u003e \u003c\/span\u003eTranslated from the English by Yoshida Ken'ichi (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e吉田健一\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e) and Tatsunokuchi Naotarō (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e龍口直太郎\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e), with the translators' introduction, including the appendix, \"The Principles of Newspeak\". \u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e12mo, [2], 386, [2] pp.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eFirst complete Japanese translation (first edition, first printing). First complete translation into an East Asian language, and one of the earliest translations of the novel into any language.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003eNineteen Eighty-Four \u003c\/em\u003efirst appeared in Japanese in November 1949, in abridged form, in the Japanese edition of \u003cem\u003eReader's Digest\u003c\/em\u003e (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eリーダーズダイジェスト\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e), in its regular section \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e新刊書の要約\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e(\"Condensations of New Books\"). The American magazine had been published in Japanese since June 1946, during the Allied occupation. Five months later, on 20 April 1950, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e文藝春秋新社\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e (Bungei Shunju Shinsha) published the first complete Japanese translation, by Yoshida Ken'ichi and Tatsunokuchi Naotaro. The translation was reissued only once, in 1958. \u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe book opens with the translators' introduction, in which Orwell and the novel are presented to a Japanese readership. The translators dwell on totalitarian political control — with no reference, of course, to Japan's own recent militarism — and close on individual freedom, asking whether the Japanese fail to feel the question acutely because they do not yet know the value of freedom of thought and feeling. \u003cspan\u003eThe choice of Orwell was in a sense reciprocal\u003c\/span\u003e: during the war, working for the BBC's Eastern Service, he had written a great deal about Japan and occupied China, and dated the beginning of the Second World War not to 1939 but to the Japanese invasion of Manchuria in 1931.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eEspecially interesting is the figure of \u003cstrong\u003eYoshida Ken'ichi \u003c\/strong\u003e(1912–1977), writer and literary critic, and the eldest son of Yoshida Shigeru, who was Japan's prime minister when this translation appeared. As a diplomat's son he spent much of his childhood in France, Britain and China, and studied English literature at King's College, Cambridge, under Goldsworthy Lowes Dickinson. Known as an eccentric, he was often at odds with his father: according to a well-known anecdote, after one quarrel cut off his allowance, he sat outside the International Press Club in Tokyo with an upturned hat and a sign reading \"\u003cem\u003ePrime Minister's son — penniless\u003c\/em\u003e\", counting on his father's embarrassment to restore it. Orwell stayed with him: in 1966 he published a translation of \u003cem\u003eAnimal Farm\u003c\/em\u003e. Here he translated Part Three, while Parts One and Two and the Newspeak appendix were done by Tatsunokuchi Naotaro (1903–1979).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe book also carries the translation-rights licence of the occupation authorities (GHQ\/SCAP, Civil Information and Education Section), which auctioned translation rights to foreign titles: exclusive rights were granted to the publisher from 17 December 1949, a month before Orwell's death. The English title is printed with a misprint, \"\u003cem\u003eNinteen Eighty-Four\u003c\/em\u003e\". \u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003eOriginal wrappers and pictorial dust jacket. Good: light wear and minor losses to the jacket spine foxing to the verso of the jacket, \u003cspan lang=\"EN-US\"\u003ewrappers,\u003c\/span\u003e and edge\u003cspan lang=\"EN-US\"\u003es, \u003c\/span\u003etoning to the first and last two leaves from contact with the jacket flaps, \u003cspan lang=\"EN-US\"\u003es\u003c\/span\u003emall ownership stamp to rear free endpaper.\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eRarity\u003c\/h4\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eOCLC records only two holdings outside Japan, at UCL and the British Library.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59218694078812,"sku":"SYR-015","price":620.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00433.jpg?v=1789993463"},{"product_id":"the-hatvany-collection-highly-important-old-master-drawings","title":"The Hatvany Collection: Highly important old master drawings","description":"\u003cp\u003e\u003cem\u003eLondon, Christie, Manson \u0026amp; Woods Ltd., 1980.\u003c\/em\u003e\u003cbr\u003e8vo, 99, [5] pp., ill.\u003c\/p\u003e\n\u003cp\u003eAn auction catalogue from the Christie's sales of the collection of \u003cstrong\u003eBaron Paul Hatvany\u003c\/strong\u003e (1899–1977), a descendant of one of Hungary's wealthiest Jewish families, who settled in England at the outbreak of the Second World War. Hatvany assembled a distinguished collection of Old Master drawings, paintings and bronzes; on his death several of his most important pictures were presented to the British nation as a token of his affection for his adopted country. The collection was dispersed in two sales: drawings on 24 June 1980 and bronzes and works of art on 25 June 1980.\u003c\/p\u003e\n\u003cp\u003eThis catalogue covers the drawings sale: 81 lots, including works by Mantegna, Bruegel, Rubens, Rembrandt, Tintoretto, Parmigianino, Tiepolo, Watteau, Fragonard and Ingres, each described in detail.\u003c\/p\u003e\n\u003cp\u003eLike all auction catalogues, it is an essential source for provenance research: many of these sheets are now in major museum collections, and the 1980 sale is an important link in their ownership history. Among them: the J. Paul Getty Museum (lot 2, a cutting from a gradual; lot 8, \u003cem\u003eThree Studies of Trees\u003c\/em\u003e by Fra Bartolommeo; lot 10, \u003cem\u003ePortrait of a Young Woman\u003c\/em\u003e, attributed to Andrea Previtali); the Metropolitan Museum of Art (lot 75, \u003cem\u003eUriah before King David\u003c\/em\u003e by Gerbrand van den Eeckhout); the Art Gallery of South Australia (lot 17, \u003cem\u003eHead of Giuliano de' Medici\u003c\/em\u003e by Jacopo Tintoretto; lot 35, \u003cem\u003eCupid Extracting a Thorn from Venus' Foot\u003c\/em\u003e by Carlo Maratti); the National Gallery of Art, Washington (lot 74, \u003cem\u003eJoseph Recounting His Dreams\u003c\/em\u003e by Rembrandt); and the Morgan Library \u0026amp; Museum (lot 3, \u003cem\u003eThree Standing Saints\u003c\/em\u003e by Andrea Mantegna). Other drawings later reappeared at Christie's, among them lot 37, \u003cem\u003eStudies of Heads of Orientals\u003c\/em\u003e by Giovanni Battista Tiepolo (28 January 1999); lot 9, \u003cem\u003eStudy of a Tree\u003c\/em\u003e by Fra Bartolommeo (7 July 2010); and lot 38, \u003cem\u003eA Venetian Capriccio\u003c\/em\u003e by Francesco Guardi (26 January 2012).\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal boards. Illustrated endpapers. Near very good: very light rubbing, a light scratch to the fore-edge.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59252765360476,"sku":"SYR-016","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00628.jpg?v=1791301472"},{"product_id":"loudmer-1997-importants-tableaux-modernes-arts-primitifs","title":"Importants Tableaux Modernes et Contemporains. Arts Primitifs","description":"\u003cp\u003e\u003cem\u003eParis, Loudmer, 1997.\u003c\/em\u003e\u003cbr\u003e4to, [72] pp., ill.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne of the final sales of Guy Loudmer's legendary Paris auction house.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatalogue of the auction \"\u003cem\u003eImportant Modern and Contemporary Paintings; Primitive Arts\u003c\/em\u003e,\" held in Paris on 15 December 1997 by the auction house of \u003cstrong\u003eGuy Loudmer\u003c\/strong\u003e (1933–2019), one of the leading Paris commissaires-priseurs of the 1980s and 1990s.\u003c\/p\u003e\n\u003cp\u003eLots 1–182 comprise paintings and sculpture by Modern Masters (Marc Chagall, Fernand Léger, Salvador Dalí, Le Corbusier, Max Ernst, Man Ray, André Derain, Giorgio Morandi, Nicolas de Staël, Victor Brauner, Constant Permeke); Post-War artists (Andy Warhol, Lucio Fontana, Jean Fautrier, Wifredo Lam, Roberto Matta, Asger Jorn, Henri Michaux, Fernando Botero, Alighiero Boetti); Nouveau Réalisme and its circle (Christo, Jean Tinguely, Arman, César, Raymond Hains, Martial Raysse); as well as Russian-born artists in Paris (Serge Charchoune, André Lanskoy, Chana Orloff) and the Japanese painter Tsuguharu Foujita. Lots 190–269 are devoted to African and Oceanic art.\u003c\/p\u003e\n\u003cp\u003eBotero's \u003cem\u003eNiño\u003c\/em\u003e, offered in this sale, reappeared at Christie's on 30 September 2022.\u003c\/p\u003e\n\u003cp\u003eThe sale took place at a dramatic moment for the auction house. In late October 1997, less than two months earlier, Guy Loudmer had been charged with aggravated breach of trust and taken into custody in connection with the Bourdon affair: he was accused of misappropriating tens of millions of francs from the proceeds of the 1990 sale of the Bourdon collection, dubbed the \"sale of the century.\" His son and partner, Philippe Loudmer, fled to Israel in December 1997. Guy Loudmer spent six months in pre-trial detention and in September 2001 received an eighteen-month suspended sentence and a fine of 500,000 francs. The scandal ended his career as a commissaire-priseur; his firm went into judicial liquidation in 1998, and he continued to work in the art market as a consultant and dealer.\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp\u003eOriginal pictorial wrappers. Good: lightly rubbed, dogears.\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59278745895260,"sku":"SYR-017","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00452.jpg?v=1791302188"},{"product_id":"kusakabe-kimbei-pounding-rice-albumen-print","title":"Pounding Rice. Hand-colored albumen print","description":"\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\"\u003eYokohama, middle Meiji period (c. 1883–1897). \u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"RU\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e20x25.3 cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eAttributed to Kusakabe Kimbei (1841–1934). \u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eOther prints from the same negative, captioned \"43. Pounding Rice\", are in the Birmingham Museum of Art, the Syracuse University Art Museum, the Náprstek Museum, Prague (Josef Kořenský collection), and the Nagasaki University Library (no. 3022, photographer unidentified). \u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe image depicts four workers in a rice-cleaning shop (tsukigome-ya, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e搗米屋\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e). Three operate treadle pestles (karausu, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e唐臼\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e), stepping on the levers to raise the weighted pestles, which drop into mortars sunk in the floor and strip the bran from the grain, while the fourth sweeps the rice back into the mortar with a straw broom.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eUnlike many genre scenes of the period, which were staged in the studio with hired models and props, this photograph was evidently taken on location in a working shop: the mortars are sunk into the floor, which is strewn with rice, and the men wear work coats bearing the shop's name on the collars. \u003c\/span\u003e\u003cspan lang=\"RU\"\u003eThe poses, however, are still arranged for the camera.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"RU\"\u003e\u003cspan lang=\"EN-US\"\u003eUnmounted. Good: light rubbing, small tear to the lower edge, ownership mark in pencil to the verso. Trimmed, without the negative caption.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan\u003eReferences\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003eReproduced\u003cspan lang=\"EN-US\"\u003e: Japan 1900: A Portrait in Colour (Cologne: Taschen, 2024), p. 80, as by Kusakabe Kimbei.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59303648821596,"sku":"SYR-018","price":110.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00463.jpg?v=1791303548"},{"product_id":"manufacturing-silk-hand-colored-albumen-print","title":"Manufacturing Silk. Hand-colored albumen print","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003eJapan, c. 1890s (before 1896).\u003c\/em\u003e\u003cbr\u003eImage 19.8x25.7 cm.; mount 20.8x26.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eUnidentified studio. Captioned \"K 19. Manufacturing Silk\" in the negative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe image depicts the re-reeling of raw silk (agekaeshi, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e揚げ返し\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e): silk wound on small reels (kowaku, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e小枠\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e), ranged along the floor, is transferred onto a large multi-reel frame turned by a crank, to be made into hanks (kase, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e綛\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e) for export. A young woman at right turns the frame, while two others, seated at left, tend the small reels. The scene was staged in the studio, against a painted backdrop of Mount Fuji, as part of the series of Japanese trades and industries produced for Western visitors.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eBinding \u0026amp; condition\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eMounted on card (probably a split album leaf). Good: minor rubbing, verso rough from splitting.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eReferences\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eTakashima Suteta, \u003ci\u003eIllustrations of Japanese Life\u003c\/i\u003e (Tokyo, K. Ogawa, 1896), reproduced in collotype with the caption \"Reeling threads\" [Nichibun Early Photographs, GL001036]. \u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59304077623644,"sku":"SYR-019","price":80.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00465.jpg?v=1791303647"},{"product_id":"buddhist-priests-hand-colored-albumen-print","title":"Buddhist Priests. Hand-colored albumen print","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003eJapan, c. 1890s (before 1896).\u003c\/em\u003e\u003cbr\u003eImage 25.1x19.7 cm.; mount 26.5x21 cm.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eUnidentified studio. Without caption or number in the negative, as in all other recorded examples.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eTwo Buddhist priests in full ceremonial dress, posed in the studio. The elder, at left, wears a brocade \u003cem\u003ekesa\u003c\/em\u003e (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e袈裟\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e) over his robes and holds a \u003cem\u003ehossu\u003c\/em\u003e (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e払子\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e), a ceremonial fly whisk of white hair, together with a rosary (\u003cem\u003ejuzu\u003c\/em\u003e, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e数珠\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e); the younger, in a gold brocade \u003cem\u003ekesa\u003c\/em\u003e, holds a rosary and a folding fan. Between them stands a small stand draped in cloth, with a copy of the Lotus Sutra (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e妙法蓮華経\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e) and a hand censer (\u003cem\u003eegōro\u003c\/em\u003e, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e柄香炉\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eFinely hand-colored, with the brocade patterns of the kesa picked out in detail. The coloring differs from that of other recorded examples. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eOther prints from the same negative are held at Cornell University and the Syracuse University Art Museum. \u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eBinding \u0026amp; condition\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eMounted on card (probably a split album leaf). Good: minor rubbing, verso rough from splitting.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eReferences\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eTakashima Suteta, \u003ci\u003eIllustrations of Japanese Life\u003c\/i\u003e (Tokyo, K. Ogawa, 1896), in collotype, with the caption \"Buddhist priests conspicuous\" [Nichibun Early Photographs, GL001006]; F. Brinkley (ed.), \u003ci\u003eJapan: Described and Illustrated by the Japanese\u003c\/i\u003e, vol. 1 (c. 1897) [Nichibun Early Photographs, GJ009020].\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59304743567708,"sku":"SYR-020","price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00461.jpg?v=1791303740"},{"product_id":"iseyama-noge-hill-yokohama-torii-cherry-blossoms-albumen-print","title":"[Iseyama] Noce [sic, i.e. Noge] Hill at Yokohama (Spring). Hand-colored albumen print","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003eYokohama, Meiji period (after 1870).\u003c\/em\u003e\u003cbr\u003e19.9 × 26.3 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eProbably Kanamaru Matashiro studio. Captioned \"\u003c\/span\u003e\u003cspan lang=\"RU\"\u003eА\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e 91. Noce Hill at Yokohama (Spring)\" in the negative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe photograph depicts the great torii of Iseyama Kōtai Jingū (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e伊勢山皇大神宮\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e) on Noge Hill, Yokohama, in cherry-blossom season. The shrine was established on the hill in 1870 by the Kanagawa prefectural authorities, as a spiritual focus for a port city exposed to Christianity and foreign influence; at its formal dedication in 1871 the hill was renamed Iseyama. Its grounds and approaches were planted with cherry trees, making it one of Yokohama's foremost places for blossom viewing. According to the city's official history, the blossoms and the great torii rising above them could be seen from ships entering the harbour, and the spot was famous even among foreigners — which explains its popularity with the Yokohama photographic studios.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eOnly the posed women in kimono and the blossoms are colored, while the onlookers gathered on the steps behind them are left in monochrome, emphasising the staged character of the scene.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe attribution rests on the lettered numbering: a closely related view, \"A 88 None [sic] Hill at Yokohama (Spring)\", is recorded by Terry Bennett as by the Kanamaru studio (Old Asia Photography, Japanese Numbers List). Another print from the same negative, with the same caption, is in the Nagasaki University Library (no. 2769, photographer unidentified).\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eBinding \u0026amp; condition\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eUnmounted, held with archival photo corners in a modern card window mount (not attached). Good: small light crease to the upper part of the image, not breaking the surface; light rubbing; verso clean.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59309970358620,"sku":"SYR-021","price":110.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00471.jpg?v=1791303851"},{"product_id":"yokohama-custom-house-t-enami-albumen-print","title":"Custom House, Yokohama. Hand-colored albumen print","description":"\u003cp class=\"MsoListParagraph\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003eYokohama, c. 1890s (after 1892).\u003c\/em\u003e\u003cbr\u003eImage 19.9x25.8 cm.; mount 24.9x31 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eAttributed to T. Enami (1859–1929) studio. Captioned \"89 Custom House, Yokohama\" in the negative. The caption, hand-lettered in reverse on the negative, shows the letter S reversed throughout, a characteristic slip of Japanese retouchers unfamiliar with the Latin alphabet.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe photograph depicts the second Yokohama Custom House, seen at the end of Nihon Ōdōri, the broad avenue leading down to the harbour. Built in 1885, it was a two-storey brick building with classical details and a tall central tower, a conspicuous landmark of the port. It stood until 1 September 1923, when it collapsed in the Great Kantō earthquake. The present Custom House, also called as \"\u003cem\u003eQueen's Tower\u003c\/em\u003e\", replaced it in 1934. In the foreground, pedestrians and a horse-drawn cart pass between the gas lamps and telegraph poles, a glimpse of the modern, Westernised Yokohama. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe number and title match no. 89, \"Customs House Yokohama\", recorded under the Enami studio in Terry Bennett's Japanese Numbers List (Old Asia Photography). We have been unable to locate another example of this view, either in public collections or online.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eBinding \u0026amp; condition\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eMounted on card (probably a split album leaf). Colors bright. Good: minor rubbing, verso rough from splitting.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59311347892572,"sku":"SYR-022","price":140.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00467.jpg?v=1791303914"},{"product_id":"mark-falkland-road-inscribed-clergue-1981","title":"Falkland Road: Prostitutes of Bombay","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003eNew York, Alfred A. Knopf, 1981. Photographs and text by Mary Ellen Mark.\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e4to, 17, [18-11\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e2\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e] pp., ill. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cstrong\u003eInscribed\u003c\/strong\u003e by the author to Lucien and Yolande Clergue on the title page: “\u003ci\u003eFor Lucien \u0026amp; Yolande - \/ Thank you for - - your \/ \u003cspan\u003e \u003c\/span\u003ewonderful encouragement - \/ support - and for Arles, which \/ is a beautiful memory and \/ a great event in the \/ strange world of photography - \/ with great admiration \/ both for \/ your work \/ and for \/ your loving \/ support of \/ photographers - \/ {who are \/ very difficult \/ people -} \/ with all \/ my love - \/ Mary Ellen - \/ New York\/ June 18, 1981\u003c\/i\u003e”. \u003cstrong\u003eFirst edition, paperback issue (published simultaneously with the hardcover). One of the earliest photobooks entirely devoted to prostitutes and their daily lives.\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eA landmark photobook by the American documentary photographer Mary Ellen Mark (1940–2015), a member of Magnum Photos in 1977–1981. Mark first came to Falkland Road, Bombay’s notorious red-light street, on her first trip to India in 1968, but her attempts to photograph there met with hostility and aggression. About ten years later she persuaded \u003c\/span\u003e\u003cem\u003eGeo\u003c\/em\u003e\u003cspan\u003e magazine to send her back on assignment; in the end the pictures appeared in \u003c\/span\u003e\u003cem\u003eStern\u003c\/em\u003e\u003cspan\u003e, as \u003c\/span\u003e\u003cem\u003eGeo\u003c\/em\u003e\u003cspan\u003e found them too shocking. Between October 1978 and January 1979 she gradually entered the life of the street, befriending the prostitutes, transvestites and madams. The book’s 65 colour photographs record the daily life of the women (and men) of Falkland Road.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eProvenance\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eLucien Clergue (1934–2014), French photographer, who in 1970 co-founded the Rencontres d'Arles, the photography festival held every summer in his native town. In 2006 he became the first photographer elected to the Académie des Beaux-Arts, in its newly created photography section, and in 2013 served as its president. The inscription is also addressed to his wife, Yolande Clergue, curator and founder of the Fondation Vincent van Gogh Arles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eMark's affectionate words about Arles take on added meaning in light of later events: in 2024, more than forty years after this inscription, the Rencontres d'Arles, the festival Clergue had co-founded, presented \u003cem\u003eEncounters\u003c\/em\u003e, the first worldwide retrospective of her work. Among the works on view were photographs of the women of Falkland Road, the series published in this book.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eBinding \u0026amp; condition\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eOriginal pictorial wrappers. Good: edges lightly rubbed, small losses to spine.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cmeta charset=\"UTF-8\"\u003eReferences\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe Open Book: A History of the Photographic Book from 1878 to the Present (Hasselblad Center, 2004), pp. 324–325; Fred Ritchin and Carole Naggar, Magnum Photobook: A Catalogue Raisonné (Phaidon, 2016), p. 79.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59409882808668,"sku":"SYR-023","price":650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00538.jpg?v=1791480168"},{"product_id":"a-quick-peek-at-the-world-manga-sugoroku-board-game-世界早のぞき-漫画双六","title":"A Quick Peek at the World: Manga Sugoroku Board Game. 世界早のぞき. 漫画双六","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cem\u003e[Nagoya], Shin-Aichi, 昭和6年 [1931]. \u003c\/em\u003eDrawn by Tsutsumi Kanzō (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e堤寒三\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e). New Year supplement to Shin-Aichi no. 14129 (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e新愛知新年附錄)\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e. \u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e55x79 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eA children’s New Year game with a grown-up view of the world, seen from Japan on the eve of its militarist turn.\u003c\/strong\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eA colourful New Year sugoroku (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e双六\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e) issued as a supplement to the Nagoya daily \u003cem\u003eShin-Aichi\u003c\/em\u003e. It is a “jumping” (\u003cem\u003etobi\u003c\/em\u003e) sugoroku: the throw of the die decides which square the player flies to next, and the playing pieces are aeroplanes, to be cut out from the margin. The flight starts at Nagoya Castle, the newspaper’s home city, and ends on the summit of Mount Fuji.\u003c\/span\u003e\u003cspan lang=\"RU\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eThe twenty squares take young Japanese aviators on a whirlwind world tour, and most of them allude to the news of 1929–1930: Mussolini in Italy; Chiang Kai-shek, leader of the Chinese Nationalist government, amid the Chinese civil war; Ramsay MacDonald, host of the London Naval Conference of 1930, bowing to serve tea to Japanese children; Charlie Chaplin in Hollywood; the Austrian ski pioneer Hannes Schneider, whose celebrated visit to Japan in 1930, at the invitation of Prince Chichibu, did much to popularise skiing there; Hugo Eckener with the Graf Zeppelin, which stopped in Japan in 1929 on the first round-the-world flight by airship; and the French tennis champion Henri Cochet. Other squares show the South Seas (reflecting Japan’s mandate over Micronesia), Japanese settlers landing in Brazil (emigration to Brazil was then at its height), a pagoda in Manchuria (the game was published eight months before the Manchurian Incident), baseball in New York, bullfighting in Spain, the Himalayas, the African desert and penguins in Antarctica.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eTsutsumi Kanzō (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e堤寒三\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e, 1895–1972), a former film assistant director, was drawing topical cartoons for the youth magazine \u003cem\u003eShinseinen\u003c\/em\u003e (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e新青年\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e) as early as 1920 and went on to work as a newspaper cartoonist for the \u003cem\u003eTokyo Nichi Nichi Shimbun\u003c\/em\u003e (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e東京日日新聞\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e), \u003cem\u003eYomiuri Shimbun\u003c\/em\u003e (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e読売新聞\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e) and \u003cem\u003eAsahi Shimbun\u003c\/em\u003e (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e朝日新聞\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e), specialising in topical, sports and parliamentary cartoons — which shows in this densely news-driven game.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eСondition\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eColours bright. The aeroplane playing pieces in the right margin are present and uncut. Good: folded as issued, paper evenly toned, light rubbing and soiling, a few short tears and small chips to edges, small repair to upper edge.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eRarity\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eCopies are held by Duke University Libraries and Princeton University Library (Cotsen Children’s Library).\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrovatskaya Books \u0026 Curiosities","offers":[{"title":"Default Title","offer_id":59502615658844,"sku":null,"price":260.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/0654\/7804\/files\/DSC00607.jpg?v=1792003984"}],"url":"https:\/\/syrovatskaya.com\/collections\/all.oembed?page=2","provider":"Syrovatskaya Books \u0026 Curiosities","version":"1.0","type":"link"}