Kawaraban (19 results)

Black and white woodblock kawaraban, two sheets, illustrations each measuring 23 x 31.5cm, a little occasional browning margins, otherwise very good. These two kawaraban sheets feature large portraits of the "King of France" and a European woman. The king?s name is transcribed in hiragana as "Furomusuanakaruma," an interesting phonetic rendering. This sheet also includes illustrations of coins from various European countries, such as Holland and France, as well as China, with brief explanations of each. The second sheet presents a Western woman, most likely Dutch, named "Ta Maria Soitesu." She is depicted with her dog on the right, and detailed descriptions of her appearance?fair skin, a small mouth, hairstyle, and dress?are provided. The sheet also notes that Jobutsu Temple in Kanagawa was used by the Dutch as their first consulate around 1860. This sheet features coins from Britain and Russia, with one coin displaying the head of Queen Victoria.

Black and white woodblock print, one of the military hats has been coloured in pink, a little spotting and very light creasing, generally good. 31 x 24cm. This kawaraban, dating from around Commodore Perry's arrival in Japan, features a lower panel depicting three figures in military uniforms. The caption provides Japanese transliterations of the American President, Millard Fillmore, and Commodore Matthew Perry, stating that Perry landed in Uraga with a letter of request. The upper panel showcases detailed illustrations of military attire and various items, including caps, drums, bugles, and a sword. Despite the significant surprise of Perry's arrival at the time, this kawaraban does not convey fear of the foreigners. Instead, it aims to satisfy the readers' curiosity by providing illustrations and information about the event.

Black and white wood block print on three joined sheets, 36.3 x 92.7cm. Some small holes professionally repaired with washi, a little soiling and some light staining in one section near the lower margin. This rare and visually arresting kawaraban records the second arrival of Commodore Perry and his fleet in 1854, when negotiations with the Tokugawa bakufu culminated in the Convention of Kanagawa. Produced for rapid circulation, the sheet brings together cartography, reportage and imaginative illustration to convey unfolding events to a broad Edo readership. The wide-format print is arranged in three panels. The right panel lists the feudal lords charged with coastal defence, identifying their assigned positions and displaying their family crests. It presents a striking impression of the scale of mobilisation, claiming that over 580,000 troops were assembled to protect Edo. The emphasis on names, domains and heraldry underscores the bakufu?s attempt to project order and preparedness in the face of foreign pressure. The central panel depicts an American landing party parading before a steam-powered warship rendered with careful attention to its rigging. The procession is led by two sailors playing musical instruments, followed by a standard-bearer carrying a striped flag with a single star, and others armed with bayonets. Several men raise military insignia, while the commanding officer, almost certainly intended to represent Commodore Matthew Perry, advances beneath a parasol borne by an attendant. All figures wear boots, a detail that would have marked them as distinctly foreign, yet their uniforms, especially those of the officers, are imaginatively interpreted and bear a closer resemblance to Chinese official dress than to contemporary Western naval attire. Such visual hybridity reveals both the novelty of the encounter and the limits of first-hand knowledge available to the artist. The left panel provides a pictorial map of Edo Bay, showing five American vessels entering the harbour. Defensive positions are clearly marked, with the names, ranks and crests of the responsible lords carefully indicated. The combination of map, military tableau and administrative listing transforms the kawaraban into both a news-sheet and a visual document of political theatre, reflecting contemporary anxieties and the dramatic reshaping of Japan?s foreign relations on the eve of the treaty era.

Map, 30 double-page black and white wood block prints, 17.5 x 12cm, [60]pp. Some relativetly minor worming, occasional spotting, few neat washi repairs, title label missing. This book is a compilation of 30 small mitate banzuke (????) from the late Edo period. Mitate banzuke is a type of kawaraban, covering a wide range of topics and ranking them in a manner similar to sumo rankings. This volume covers a wide variety of subjects including listings of Japan?s famous waterfalls, complete with charts showing numerous waterfalls and their locations. Another example is a creatively deformed double page map of 64 counties in Japan, highlighting each county?s special local produce. Most of the rankings are humorous in nature, featuring puns and witty commentary on subjects such as eating competitions or things that were widely disliked.

Folded black and white kawaraban woodblock with map showing Tokyo's red light districts. 30.3 x 39.4cm. Light rubbing in one place upper margin, a little worming and small closed tear in lower margin. Sheet has been backed with washi. Good copy. This late Edo period kawaraban print provides a wealth of information on the diverse aspects of sexual behaviour and attraction between men and women during this era. Following the traditional kawaraban style, the print offers a detailed and varied glimpse into the lives of the time. A fascinating map of Edo's red-light districts, playfully drawn with phallus-shaped lines, occupies the lower centre. Eight different types of sexual toys are displayed on the left, while service fees for brothels are listed above the map. The print even delves into compatibility between the sexes based on zodiac signs, along with methods for predicting a baby's sex before birth. During the Edo period, eroticism was viewed as another form of popular entertainment, particularly for men, and was widely accepted as a pastime for adults.

Black and white woodblock kawaraban printed on two joined sheets, vertical central crease, 41 x 63cm, a little worming mainly on margins and repaired with paper on the reverse, a little light browning, but still presents very well. This kawaraban reports on how foreign visitors, from the United States and Russia, were treated in order to keep the peace and safety of God's country, Japan. It reports that foreigners had arrived in Uraga, this being the time of the second visit of Perry to Japan in 1854. The kawaraban goes on to list official gifts from the Shogunate to the President and his delegation members from the United States as well as to the Russian delegation. The gifts include lacquer boxes, silk textiles as well as rice and chickens for the crew. The attractive black and white image at the foot of the report depicts a meeting in Yokohama at which a high ranking Tokugawa official received foreign visitors. The visitors are shown prostrating themselves in the open outdoor space in front of the building where the official sits.

Black and white woodblock karawaban printed on one and a half very fine sheets of washi, 35 x 70cm, a few small holes and some thinning of the paper in the central right section but still a very good copy. This fascinating kawaraban was originally published in April 1859 and revised in May 1859. This fascinating kawaraban was originally published in April 1859 and revised in May 1859. It includes the Japanese government's notice of the unequal Ansei Treaty, and explains how the foreign trading area is laid out. The pictorial map shows Kanagawa and the newly established Yokohama area. Two foreign ships are seen off the pier on the left. The newly established settlement for foreign trade is shown on the left with rows of houses, a meeting hall and the customs building. Westerners with their foreign hats can be seen walking on the streets of the settlement. A few Western style buildings can be seen at the left of the print while at the rear of the settlement, a brothel, later known as the Miyozaki brothel, is identified. The whole scene is vibrant and shows much new development in the area.

Black and white woodblock kawaraban published in two joined sheets, 35 x 70cm. Washi repair on reverse close to join, occasional small holes at edges, a little thinning in places but overall very good. This foreign trade kawaraban was published in January 1859, soon after the Ansei Treaties were finalised between Japan and five Western countries, the USA, Britain, France, Holland and Russia. The text explains how the treaties operate with the countries and which lords are responsible for trading activities. The illustration shows numerous foreign ships off the shore with their sails and flags. Many foreign sailors (Russian?) are depicted unloading curios and trading goods from rowing boats onto a harbour in Yokohama. Some vases, elephant tasks and other objects are brought to the shore, while three Japanese officials are watching. The artist's detailed observation of this lively scene is clearly demonstrated in this fine illustration.

Condition: very good. np nd (mid 19th century). 18x24cm woodcut. A bit nibbled in the right margin, very good. A mysterious little kawaraban that has so far defied interpretation thanks to that damn cursive script. It all seems to relate to one event and since there are cannons, clan banners, a steam ship, and a person very much like the usual portraits of American marines I claim it's Perry's visit. How that includes what look like chopsticks, a tatami and a bonsai . ? I guess they make characteristic Japanese gifts but that doesn't explain some other things here.

Condition: very good. n.p.n.d. [c1870]. 32x41cm wood cut. A couple of small blotches, rather good. A quick guide to the new coins in circulation. Added to the mass of new things for Japanese to learn and new ways of thinking, with the Meiji restoration, was the new yen based currency.Kawaraban - illicit illustrated news sheets for the streets - were produced by the million for a couple of hundred years so of course few survive. They were produced for anything more interesting than the drop of a hat.

Condition: very good. n.p. [1854]. 23x31cm woodcut. Folded; rather good. This lesson in the American language might be useless but when has that been an impediment to success? Those three figures are Americans having fun and that's a list of Japanese words or phrases and phonetic transcriptions from American. One ('child') is not too far off. Since the translator signs himself as 'foolish' was it ever meant to be taken seriously? I'm sure the artist's seal, something rarely, perhaps never, seen on a kawaraban is also a joke but it's too subtle for me. In one piece I found on this print the writer found it necessary to blur the last two words but the less prudish Tokyo Museum, thank goodness, transcribed them all. So you get a good idea of what the children and vulgar of Edo were chanting or shouting at each other. No American would have understood what they were saying but they knew what they meant. These illicit illustrated news sheets - kawaraban - for the streets were produced by the million for a couple of hundred years so of course few survive. They were produced for anything more interesting than the drop of a hat and the arrival of the Black Ships, the American squadron commanded by Perry, in 1853 and 54, eclipsed any and all tiresome earthquakes, fires, plagues, famines, murders and scandals. For most Japanese this was the same as a squadron of alien space ships arriving on earth now. These prints are the kurofune (black ship) kawaraban.

Condition: very good. n.p. n.d. [1853?]. Woodcut 40x62cm on two joined sheets. A few small holes, rather good. After Perry's MacArthur-Terminator like threat to return after his first visit in 1853 the defence of Japan became paramount and these defence or peace (taihei) prints blossomed. With the number of variations on a theme produced, the prints sellers must have been flat out keeping the populace up to date with the defences around what is now Tokyo Bay. This one is the most cluttered - which is a good thing - I've seen, with ships, bristling fortifications, and bits of landscape everywhere. These illicit illustrated news sheets - kawaraban - for the streets were produced by the million for a couple of hundred years so of course few survive. They were produced for anything more interesting than the drop of a hat and the arrival of the Black Ships, the American ships commanded by Perry in 1853, and the return of the beefed up squadron in 1854 to close the deal, eclipsed any and all tiresome earthquakes, fires, plagues, famines, murders and scandals. For most Japanese this was the same as a squadron of alien space ships arriving on earth now. These prints are the kurofune (black ship) kawaraban.

Condition: very good. n.p. n.d. (mid 19th century). 1. 40x54cm woodcut. Old folds; a short closed tear quite good. 2. 20x27cm, woodcut. On the back are a fair few neat notes that I think are dated Meiji 4 (1871). I've seen a couple of similar menageries with similar titles and find this the most appealing. One, that I take to be earlier, has plenty of character but is sparse, less lively. The other, I take to be later, is as crowded but looks more like any number of animals-of-the-world illustrations from anywhere in the world. I've also seen this same print with title across the top.The kangaroos I'm sure everyone in the world can identify but even an expert naturalist might be surprised by the Mountain Shark of Australia in the bottom right corner. The uncharacteristically cheerful wombat, top left, is of course a bear.

Condition: very good. n.p. earlyish to mid 19th century. Woodcut 32x41cm. Piece torn from the right edge affecting a few characters repaired. Still, a good copy. The classic Dutch ship was a required souvenir for every Japanese tourist in Nagasaki and, in various forms and fancies, was dusted off and reworked all over Japan every time a stranger appeared around Japan. This may have been occasioned by news of a Russian ship, American, British, or to fill in a dull patch in the foreign barbarian trade. Maybe hard to see in my shaky pictures but this is one cheery bunch of sailors. They look more like they are having fun than working. Kawarabans were illicit news sheets for the streets and produced by the million for a couple of hundred years so of course few survive. They were produced for anything more interesting than the drop of a hat. Foreign visitors were exciting news, much less common than flood, fire, quake, and famine.

Condition: very good. n.p. earlyish 19th cntury. 33x44cm woodcut with hand colouring. A small hole up towards the top left corner; a nice copy. I continue to be impressed by the ability of Japanese artists to deliver a true picture of something they've never seen, nor met anyone who has. But the captions puzzle me. Things like sea miles, directions, and so on are often provided on pictures of foreign ships but here not only have the details been left out but whatever ship was on the picture that provided the captions has obviously been ignored. When news broke of the sighting of an alien ship a canny printmaker often dug out an antiquated Dutch ship, changed the flags and added whatever gossip and rumours reported. Not so here. I do wonder what that fluffy pendant (fox tail?) is meant to be.

Condition: very good. n.p. [mid 19th century?]. Woodcut 31x24cm. Rather good. Europeans - this is a handy guide to the pesky foreigners who were beginning to swarm around Japan like jackals around a small but plump antelope.Kawarabans were illicit illustrated news sheets for the streets and produced by the million for a couple of hundred years so of course few survive. They were produced for anything more interesting than the drop of a hat.

Condition: very good. n.p. [1854]. 45x62cm colour woodcut on two joined sheets. A largish hole towards the top right, bottom edge stained and a bit damaged, some unimportant holes elsewhere. Repaired with backing some time ago, the damage at the bottom and small worm holes have happened since. It would be wrong to call this a poor cousin of the similar kawaraban, Kairiku Okatame Onbasho Tsuke, the largest and most sumptuous I've yet seen. This is still an aristocrat among kawaraban. It is also a four in one print: details of the clans defending Tokyo bay at the top, the Americn procession in the middle, close ups of two of Perry's black ships bottom left, and a map of the whole situation bottom right. These illicit illustrated news sheets - kawaraban - for the streets were produced by the million for a couple of hundred years so of course few survive. They were produced for anything more interesting than the drop of a hat and the arrival of the Black Ships, the American squadron commanded by Perry, in 1853 and 54, eclipsed any and all tiresome earthquakes, fires, plagues, famines, murders and scandals. For most Japanese this was the same as a squadron of alien space ships arriving on earth now. These prints are the kurofune (black ship) kawaraban.

Condition: very good. n.p. (1854). 35x93cm colour woodcut on two joined sheets. A couple of small holes; a nice copy. Four in one: list of defences on the right; American procession and a close up of a black ship in the middle; and American ships and defence in the harbour on the left. This must be among the most deluxe kawaraban ever produced: two large sheets and colour. Usually a print this size, not that I'd seen one this long, would be on three or four joined sheets. So even cheap illicit news sheets have a hierarchy. This strengthens my suspicion that there was already a market of collectors as well as the no longer slack-jawed peasantry. There is an almost as deluxe untitled print with the same elements but not the same drawings and layout. There are other kawaraban with this title and a couple closely resemble this in parts. One has the first few musicians in the American procession but not the rest and not the majestic figure of, I presume, his royal highness Adams. The Sanada Treasures Museum has a copy of this and Brown University has a copy but not coloured. That's all I found. These illicit illustrated news sheets - kawaraban - for the streets were produced by the million for a couple of hundred years so of course few survive. They were produced for anything more interesting than the drop of a hat and the arrival of the Black Ships, the American squadron commanded by Perry, in 1853 and 54 eclipsed any and all tiresome earthquakes, fires, plagues, famines, murders and scandals. For most Japanese this was the same as a squadron of alien space ships arriving on earth now. These prints are the kurofune (black ship) kawaraban.

Average. Toning, repaired loss, wormholing, creasing. As shown. Size 12 x 22 Inches. This is a scarce 1858 (Ansei 5) Japanese kawaraban illustrating damage caused by a fire that occurred in Edo (Tokyo) on the 15th day of the 11th month of the traditional soli-lunar calendar (December 12, 1858). A Closer Look Oriented to the east, the map depicts the parts of Edo (Tokyo) which were damaged, with unshaded white space being the burned districts and the dark shaded areas remaining undamaged, and is surrounded by descriptive text narrating the spread of the fire. The conflagration began in Shitaya (??) near today's Ueno Park (the body of water at bottom is the Shinobazu Pond, which was larger in the Edo period than today) and spread throughout the northern and western outskirts of the city, driven by a strong northwesterly wind. Notably, aside from wind, the text also discusses the impact of the forces of yin-yang (??, iny? in Japanese). Although far from the most destructive fire in Edo / Tokyo's history, the 1858 blaze consumed nearly 3,000 structures and injured 760 people. Historical Context Devastating fires were a common occurrence in the Tokugawa period, both due to Japan's high level of seismic activity (many fires began as a result of earthquakes) and because Japanese cities were primarily built of flammable materials. Edo, being the largest and most densely packed city in Japan, was especially susceptible. The fire referred to here was relatively small, but it came on the heels of the devastating 1855 Edo earthquake, the third of a series of 'Great Earthquakes' during the Ansei Era (1854 - 1860). In traditional East Asian cosmography, the frequent occurrence of natural disasters, famines, and outbreaks of disease indicated the displeasure of heaven and a loss of legitimacy on the part of the ruling dynasty. The Ansei Era was marked by the arrival of foreign gunboats and traders, which, along with existing problems, caused a full-scale economic, social, and cultural crisis. Unrest and rebellions spread, and the Tokugawa appeared incapable of responding to the challenges it faced. Though the regime did attempt some 11th-hour reforms (and launched a massive political purge just before the fire seen here), it had already been fatally weakened, lending credence to the portents indicated by the fires and earthquakes of the 1850s. Kawaraban and Tokugawa Censorship The Tokugawa Shogunate was highly sensitive to potential sedition or unrest, having unified Japan following decades of warfare and never fully gaining the acceptance of daimyo and samurai in the southern domains. As publications were heavily censored, the Japanese general populace, curious about major events, turned to illicit kawaraban (??, literally 'tile plates') for information. Kawaraban, as here, were broadside or handbill publications quickly printed (usually anonymously) in response to major news events and distributed for a small fee. As with similar contemporary publications in the West, readers sought entertainment and sensationalism more than rigorous journalism. The overwhelming prevalence of kana versus kanji in the present example further indicates that the intended audience was the masses rather than the elite. As most kawaraban were produced cheaply and intended to be read and discarded, few survive, and those that do are invaluable historical resources. Publication History and Census This kawaraban was published in 1858 (Ansei 5) in the immediate aftermath of the fire that occurred near the end of that year. We are unaware of any other examples of this print, though the Iwase Bunko Library in Nishio holds a contemporary kawaraban print (titled '?????') discussing the same event. The present example was reinforced on the verso with later paper from the Taisho or early Showa era.