Japan or Tokyo or Kyoto or Osaka or Nippon or Yokohama (Over 423,000 results)

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Leiden, Siebold, 1832-1852. 7 parts bound in 6 volumes. Folio (390 x 293mm). Circa 1350 text pages with 365 fine lithographed plates, including numerous maps, views (many folding or double-page, 1 botanical plate hand-coloured). Contemporary half red morocco, spines in 6 compartments gilt, marbled sides, upper edges gilt. A very fine copy of the first and only edition of this magnificent publication depicting for the first time on a large scale the ethnography and geography of Japan. The work is of the greatest rarity as probably no more than 100 copies were published. The present copy is the only complete copy to come on the market since decades. The work was privately published by von Siebold and due to financial problems the work was sold to Quaritch, who added title pages and a 3 page collation of the work. Our copy, includes these pages printed by Quaritch and has all the pages and plates called for in the collation. A few copies were issued on large paper, our copy is the normal issue.Not included in the total count of 365 plates, but all present, are 19 appendix plates of Japanese text (1 plate in Abtheilung 5 and 18 numbered plates in Abtheilung 7), 25 numbered plates of Japanese text Wa Nen Kei "Annales Japonici" as well as 2 unnumbered plates belonging to this section and the lithographed title (Abtheilung 3). All these plates are listed in the Quaritch collation in the section plates 'Stein-tafeln' and for this reason there seems to be some confusion about the total number of plates.The work remained unfinished and 7 parts were published dealing with the following subjects: Mathematical and physical geography of Japan, hydrographical and geological maps, views and tables; People and state, a description of the inhabitants of Japan, their manners and customs, government and administration, with illustrations; Contributions to the history of Japan: mythology, history, archaeology, numismatics, with chronological maps, illustrations and tables; Arts and sciences, in particular the Japanese language and literature, with excerpts from original texts and illustrations; Religion: description of the deities, deified rulers, temples and monasteries, priests, monks and nuns, religious monuments, utensils and dress in Shintoism and Buddhism; Agriculture, industry and commerce with descriptions of related natural products and illustrations of commercial crops, animals, machines and implements; Neighbouring countries of Japan: Ezo with the Southern Kurile Islands, Korea and the Ryukyu Islands.Von Siebold was the most important European scientist who almost single handedly put Japanese studies on the European academic map. In 1823 he was posted to Japan as a surgeon to the Dutch factory on Deshima. He played a significant role in introducing Japan to the West and in his introduction of Western science to Japan. For the illustrations of the present work use was made of Siebold's large ethnographical collection, some 4700 items, which was opened to the public in 1831 and bought by the Dutch government in 1837.The Dutch were the only western nation to trade with Japan from 1639 until the opening of Japan by Perry. Von Siebold (1796-1866) was a German surgeon in service of the Dutch East India Company. 'Despite the restrictions imposed on the freedom of movement of the inhabitants, Siebold found life on the settlement quite comfortable. Since the late eighteenth century, when it had become easier to import and read books in Dutch, groups of scholars had started to engage themselves in the study of Western medicine. Dutch became the medium for these 'Dutch Studies', Rangaku. The main activities of these scholars, 'Rangakusha', were centered around the capital Edo, but all over the country was a growing interest in Western sciences during Siebold's time on Deshima. Soon, Siebold started teaching on a regular basis, mainly on the subjects of the natural sciences and medicine. In return, his students taught him Japanese and a little written Chinese. In addition, his students helped him with his botanical research. Siebold had secured the help of the Japanese painter Kawahara Keiga (1786-1865?) to make visual records of landscapes, buildings and other things which were physically impossible to collect" (K. Vos, 'Assignment Japan, Von Siebold pioneer and collector', pp. 10-13). During Siebold's stay in Edo he met the court astronomer Takahashi Sakuzaemon, the famous geographer Mogami Tokunai and Mamiya Rinzo, who provided Siebold with important information, maps etc. Siebold was expelled from Japan in the autumn of 1829 because maps were considered by the authorities as secret. Siebold had managed already to ship his collection to Batavia. However some of his Japanese friends were imprisoned.Cordier 477-48; Assignment Japan, Von Siebold pioneer and collector pp. 22-25; Nipponalia 1135; Alt-Japan Katalog 1396.

Six lithographs, with integral descriptions and titles to the six plates, all within an elaborate decorative border including vignettte scenes and portraits of places and people encountered on the expedition, six lithographic plates, printed in colors and finished by hand, by J. Sarony & Co. (4), Boell & Lewis (1), and Boell & Michelin (1), all after Heine. Title leaf not present, as usual. Elephant folio. Individually matted and framed. One print with repaired closed tears, slightly affecting image. Occasional faint marginal foxing and dust soiling. Very good. Magnificent and very rare example of Heine's elephant folio-sized lithographic record of six lithographs illustrating the opening of Japan under Commodore Matthew Perry. In scale, scope, and quality of execution, this is arguably the finest lithographic work ever produced in the United States, and is among the rarest of all American color plate books. William Heine was the official artist on Commodore Matthew C. Perry's expedition to Japan in 1853-54. On returning to the United States, he produced several series of prints commemorating the trip, the first, the greatest and the rarest of which is the present group consisting of a titlepage and six plates. These were overseen by the expedition's daguerreotypist, Eliphalet Brown, who was also an excellent artist and lithographer - he designed and drew the spectacular titlepage. The total number of sets of printed is not known, but, it is recorded that Brown gave 100 sets to Commodore Perry for distribution to members of the expedition. The number of sets sold to the public has not been established but was undoubtedly small. One of the reasons for the rarity of the complete set is that the plates were printed over two years by three publishers. Individual prints are occasionally encountered, particularly the four printed in 1855 by Sarony of New York, but the two other plates are much scarcer and were accomplished by different lithographers, Boell & Lewis and Boell & Michelin. A secondary reason for the rarity of this set is the initial cost. It was significantly more expensive than Heine's GRAPHIC SCENES OF THE JAPAN EXPEDITION (a much smaller folio published in the same year as the final plate): the popularity of this smaller set ensured that only very few of the magnificent larger sets were ever sold. The set consists of the following prints: 1) "Passing the Rubicon. Lieut. S. Bent in the 'Mississippi's' First Cutter Forcing his way through a Fleet of Japanese Boats while Surveying the Bay of Yedo, Japan, July 11th, 1853." Printed by Sarony & Co, dated 1855. 2) "First Landing of Americans in Japan. Under Commodore M.C. Perry at Gore-Hama July 14th, 1853." Printed by Sarony & Co, dated 1855. This print is the most dramatic of the series, showing the first landing of Perry on Japanese soil. Through a flotilla of American landing barges, with the ships' complement of Marines drawn up on the beach, Perry proceeds to meet a Japanese delegation, while Japanese troops ring in the Americans. In the foreground are two Japanese official launches, and two Japanese officials stand in the right foreground. Perry's steamboats can be seen lying under steam in the left corner. 3) "Landing of Commodore Perry, Officers & Men of the Squadron, to Meet the Imperial Commissioners at Yoku-Hama, Japan, March 8th, 1854." Printed by Sarony & Co, dated 1855. 4) "Landing of Commodore Perry, Officers & Men of the Squadron, to Meet the Imperial Commissioners, at Simoda, Japan, June 8, 1854." Printed by Sarony & Co, dated 1855. 5)"Return of Commodore Perry, Officers & Men of the Squadron from an Official Visit to the Prince Regent at Shui, Capitol of Lew Chew, June 6th 1853." Printed by Boell & Lewis, dated 1855. 6) "Exercise of Troops in Temple Grounds Simoda Japan, in Presence of the Imperial Commissioners June 8th 1854." Printed by Boell & Michelin, dated 1856. This set of the Heine prints belonged to Major Robert Smith John Rodgers, son of Commodore John Rodgers of War of 1812 fame, and hung in his fine mansion on a hilltop outside of Havre de Grace, Maryland. PETERS, AMERICA ON STONE, pp.98, 352-53. Samuel Eliot Morison, "OLD BRUIN": COMMODORE MATTHEW CALBRAITH PERRY, 1794-1858 (Boston, 1967), p.463.

33 x 25 cm. 95 S. ISBN: Keine. Kartoniert / Soft cover. Ungebundenes nicht beschnittenes Exemplar, nicht geheftet- einzelne Lagen lose / Probedruck??? No jacket. Guter Zustand / Good condition. Einige Lagen wasserwellig / Papier brüchig - gebräunt / Einzelne Seiten mit Randeinrissen. Immer noch ein gutes Exemplar dieser so seltenen Ausgabe. 1. Auflage. Sprache: de. * Versandfertig innerhalb von 20 Stunden! Ein Buch das nicht im KVK - Karlsruher Virtueller Katalog für Deutschland, Schweiz, Österreich zu finden ist. Ebenfalls kein Eintrag im Katalog der Parlamentsbibliothek in Tokyo. Die "Japan-Bibliografie" von Hadamitzky verweist auch nicht auf den Titel. Ein Buch das an seiner historischen Brisanz nicht zu übertreffen ist.Achtung die Scans stammen von geringfügig, verkleinerten Kopien. Gf1 (MGT). Jpg.

Elephant folio. 6 lithographic plates, printed in colours and finished by hand, by G.W. Lewis (1), J. Sarony & Co (4) and Boell & Michelin (1), all after Heine. Without the lithographed title (as usual). Magnificent and very rare complete set of Heine's elephant folio-sized lithographic record of Perry in Japan: in scale, scope, and quality of execution, this work includes what is arguably the finest lithographic work ever produced in the United States. William Heine was the official artist on Commodore Matthew C. Perry's expedition to Japan in 1853-54. On returning to the United States he produced several series of prints commemorating the trip, the first, the greatest and the rarest of which is the present group consisting of a title and six plates. These were overseen by the expedition's daguerreotypist Eliphalet Brown, who was also an excellent artist and lithographer. The total number of sets of printed is not known, but, it is recorded that Brown gave 100 sets to Commodore Perry for distribution to members of the expedition. The number of sets sold to the public has not been established, but was undoubtedly small. One of the reasons for the rarity of the complete set is that the plates were printed over two years by three publishers. Individual prints are occasionally encountered, particularly the four printed in 1855 by Sarony of New York, but the two other plates are much scarcer. A secondary reason for the rarity of this set is the initial cost. It was significantly more expensive than Heine's Graphic Scenes of the Japan Expedition (a smaller folio published in the same year as the final plate): the popularity of this smaller set ensured that only very few of the magnificent larger sets were ever sold. The individual plates in the present work are as follows: 1) "Return of Commodore Perry, Officers and Men of the Squadron, from an Official Visit to the Prince Regent at Shui, Capitol of Lew Chew, June 6 1853.", printed by G.W. Lewis, dated 1855. 2) "Passing the Rubicon. Lieut. S. Bent in the 'Mississippi's' First Cutter Forcing his way through a Fleet of Japanese Boats while Surveying the Bay of Yedo, Japan, July 11th, 1853.", printed by Sarony & Co, dated 1855. 3) "First Landing of Americans in Japan. Under Commodore M.C. Perry at Gore-Hama July 14th, 1853.", printed by Sarony & Co, dated 1855. 4) "Landing of Commodore Perry, Officers & Men of the Squadron, to Meet the Imperial Commissioners at Yoku-Hama, Japan, March 8th, 1854.", printed by Sarony & Co, dated 1855. 5) "Landing of Commodore Perry, Officers & Men of the Squadron, to Meet the Imperial Commissioners, at Simoda, Japan, June 8, 1854.", printed by Sarony & Co, dated 1855. 6) "Exercise of Troops in Temple Grounds Simoda Japan, in Presence of the Imperial Commissioners June 8th 1854.", printed by Boell & Michelin, dated 1856. Peters America on Stone pp. 98, 352-53; S.M. Morison "Old Bruin" Commodore Matthew C. Perry, 1794-1858 Boston: 1967, p.463.

Hardcover. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Artistic conception (Japan Patent Office the artistic conception communique) (93 collectively sale. large 16 hardcover) Chinese Patent Office collections! Package the post office Post! Rare!Four Satisfaction guaranteed,or money back.

Hardcover. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.The HardCover. Pub Date :1935-01-01 Pages: 8 Publisher: Japan Heibonsha shall Folio 10. letter sets. Three cellophane book clothes is not within page 10 products. cloth. 8 Big Ben. about 160 per printed beautifully. almost full map. People whom the aggrieved Jiawu small Japanese aggression Liaonan cover level events have paintings reflect profound expose the barbarity and insolent. Guide for the future! That we learn a lesson. struggling to put a strong national defense. Friends of the writing. the credibility-based. A good book is the school good book benefit Friends! Identified and requirements of each product differences. having read the shot paste descriptions and auction images. in order to prevail. declined to games. Doubt ask before making a photograph that is confirmed. not commercial price after the shoot. after the settlement of the transaction were not returned. please buy carefully! The film is deliberately delivery. to bear auction commission several times! Published online. and do not speak the credibility Blacklist! The photograph within five days after delivery. Unsold auction go directly to the price adjustment I the online bookstore the Juxiangshuwu jxsw of! Bookshop. supplier price after set. after the settlement of the transaction were not returned. please buy carefully! Bookstore book can bargaining. The books do not charge $ mailing costs. The Executive Matters not covered by the provisions of the site. Because the holidays. so book settlement payment is generally sent daily to go to work.Four Satisfaction guaranteed,or money back.

Leiden, Siebold, 1832-1852. 7 parts bound in 7 volumes. Folio (370 x 275mm). With 364 (of 365) plates, many folding or double-page. 19th century half morocco (2 text volumes bound to match). First and only edition of this magnificent publication depicting for the first time on a large scale the ethnography and geography of Japan. The present copy has 29 plates and 227 text pages in the Ernst Wasmuth Verlag reprint of 1930 and has one plate not called for in the collation made by Bernard Quaritch in 1869, however lacks the frontispiece to the first volume as well as the 'Schilling-Cannstadt Denkmahl' plate. The following text is lacking: Abtheilung I one leaf 'Inhalt des ersten Heftes'; Abtheilung V pp. 45-186; Abtheilung VI pages 65-72; Abtheilung VII pp. 165-328.Not included in the total count of 365 plates are 19 appendix plates of Japanese text (1 plate in Abtheilung 5 and 18 numbered plates in Abtheilung 7), 25 numbered plates of Japanese text Wa Nen Kei "Annales Japonici" as well as 2 unnumbered plates belonging to this section and the lithographed title (Abtheilung 3). All these plates are listed in the Quaritch collation in the section plates 'Stein-tafeln' and for this reason there seems to be some confusion about the total number of plates. A few copies were issued on large paper, our copy is the normal issue, the text in one volume is slightly shorter, but the size of the 7 volumes is uniform. A very attractive set.The work remained unfinished and 7 parts were published dealing with the following subjects: Mathematical and physical geography of Japan, hydrographical and geological maps, views and tables; People and state, a description of the inhabitants of Japan, their manners and customs, government and administration, with illustrations; Contributions to the history of Japan: mythology, history, archaeology, numismatics, with chronological maps, illustrations and tables; Arts and sciences, in particular the Japanese language and literature, with excerpts from original texts and illustrations; Religion: description of the deities, deified rulers, temples and monasteries, priests, monks and nuns, religious monuments, utensils and dress in Shintoism and Buddhism; Agriculture, industry and commerce with descriptions of related natural products and illustrations of commercial crops, animals, machines and implements; Neighbouring countries of Japan: Ezo with the Southern Kurile Islands, Korea and the Ryukyu Islands.Von Siebold was the most important European scientist who almost single handedly put Japanese studies on the European academic map. In 1823 he was posted to Japan as a surgeon to the Dutch factory on Deshima. He played a significant role in introducing Japan to the West and in his introduction of Western science to Japan. For the illustrations of the present work use was made of Siebold's large ethnographical collection, some 4700 items, which was opened to the public in 1831 and bought by the Dutch government in 1837.The Dutch were the only western nation to trade with Japan from 1639 until the opening of Japan by Perry. Von Siebold (1796-1866) was a German surgeon in service of the Dutch East India Company. 'Despite the restrictions imposed on the freedom of movement of the inhabitants, Siebold found life on the settlement quite comfortable. Since the late eighteenth century, when it had become easier to import and read books in Dutch, groups of scholars had started to engage themselves in the study of Western medicine. Dutch became the medium for these 'Dutch Studies', Rangaku. The main activities of these scholars, 'Rangakusha', were centered around the capital Edo, but all over the country was a growing interest in Western sciences during Siebold's time on Deshima. Soon, Siebold started teaching on a regular basis, mainly on the subjects of the natural sciences and medicine. In return, his students taught him Japanese and a little written Chinese. In addition, his students helped him with his botanical r.

Leiden, Siebold, 1832-1852. 7 parts bound in 7 volumes. Folio (370 x 275mm). With 364 (of 365) plates, many folding or double-page. 19th century half morocco (2 text volumes bound to match). First and only edition of this magnificent publication depicting for the first time on a large scale the ethnography and geography of Japan. The present copy has 29 plates and 227 text pages in the Ernst Wasmuth Verlag reprint of 1930 and has one plate not called for in the collation made by Bernard Quaritch in 1869, however lacks the frontispiece to the first volume as well as the 'Schilling-Cannstadt Denkmahl' plate. The following text is lacking: Abtheilung I one leaf 'Inhalt des ersten Heftes'; Abtheilung V pp. 45-186; Abtheilung VI pages 65-72; Abtheilung VII pp. 165-328.Not included in the total count of 365 plates are 19 appendix plates of Japanese text (1 plate in Abtheilung 5 and 18 numbered plates in Abtheilung 7), 25 numbered plates of Japanese text Wa Nen Kei "Annales Japonici" as well as 2 unnumbered plates belonging to this section and the lithographed title (Abtheilung 3). All these plates are listed in the Quaritch collation in the section plates 'Stein-tafeln' and for this reason there seems to be some confusion about the total number of plates. A few copies were issued on large paper, our copy is the normal issue.The work remained unfinished and 7 parts were published dealing with the following subjects: Mathematical and physical geography of Japan, hydrographical and geological maps, views and tables; People and state, a description of the inhabitants of Japan, their manners and customs, government and administration, with illustrations; Contributions to the history of Japan: mythology, history, archaeology, numismatics, with chronological maps, illustrations and tables; Arts and sciences, in particular the Japanese language and literature, with excerpts from original texts and illustrations; Religion: description of the deities, deified rulers, temples and monasteries, priests, monks and nuns, religious monuments, utensils and dress in Shintoism and Buddhism; Agriculture, industry and commerce with descriptions of related natural products and illustrations of commercial crops, animals, machines and implements; Neighbouring countries of Japan: Ezo with the Southern Kurile Islands, Korea and the Ryukyu Islands.Von Siebold was the most important European scientist who almost single handedly put Japanese studies on the European academic map. In 1823 he was posted to Japan as a surgeon to the Dutch factory on Deshima. He played a significant role in introducing Japan to the West and in his introduction of Western science to Japan. For the illustrations of the present work use was made of Siebold's large ethnographical collection, some 4700 items, which was opened to the public in 1831 and bought by the Dutch government in 1837.The Dutch were the only western nation to trade with Japan from 1639 until the opening of Japan by Perry. Von Siebold (1796-1866) was a German surgeon in service of the Dutch East India Company. 'Despite the restrictions imposed on the freedom of movement of the inhabitants, Siebold found life on the settlement quite comfortable. Since the late eighteenth century, when it had become easier to import and read books in Dutch, groups of scholars had started to engage themselves in the study of Western medicine. Dutch became the medium for these 'Dutch Studies', Rangaku. The main activities of these scholars, 'Rangakusha', were centered around the capital Edo, but all over the country was a growing interest in Western sciences during Siebold's time on Deshima. Soon, Siebold started teaching on a regular basis, mainly on the subjects of the natural sciences and medicine. In return, his students taught him Japanese and a little written Chinese. In addition, his students helped him with his botanical research. Siebold had secured the help of the Japanese painter Kawahara Keiga (1786-1865?) to make visual records of landscapes, buildings and other things which were physically impossible to collect" (K. Vos, 'Assignment Japan, Von Siebold pioneer and collector', pp. 10-13). During Siebold's stay in Edo he met the court astronomer Takahashi Sakuzaemon, the famous geographer Mogami Tokunai and Mamiya Rinzo, who provided Siebold with important information, maps etc. Siebold was expelled from Japan in the autumn of 1829 because maps were considered by the authorities as secret. Siebold had managed already to ship his collection to Batavia. However some of his Japanese friends were imprisoned.Cordier 477-48; Assignment Japan, Von Siebold pioneer and collector pp. 22-25; Nipponalia 1135; Alt-Japan Katalog 1396.

Two folio lithographs, each 17 x 21½ inches, matted to 22 x 26 inches. First lithograph with several minor neatly repaired tears; expertly backed with heavier paper. Second lithograph with some very minor wear and soiling. Very good. This extremely rare pair of lithographs is one of the very few printed records of the first official American expedition to Japan, the diplomatic mission of Commodore James Biddle, which attempted to establish formal relations between the United States and Japan in 1846. Although overshadowed by the famous and successful mission of Commodore Matthew Perry seven years later, the Biddle expedition deserves far greater fame. It was, in fact, the first official contact between America and Japan, and certainly a necessary precursor to Perry's breakthrough of 1853. This graphic representation of the events of the visit, with the extensive textual gloss accompanying each plate, given the dearth of written accounts by the key figures, is the most important published record of the Biddle expedition. The prints depict Biddle's ships, the Columbus and the Vincennes, in Tokyo Bay during Biddle's visit of July 20 to 29, 1846. Commodore James Biddle, a distinguished naval career officer and scion of a noted Philadelphia family, served his country in a diplomatic capacity on various occasions. Because of this, he was a reasonable choice in 1845 to head a mission to exchange ratifications of the first treaty between the United States and China, after which he was to attempt to negotiate a treaty with Japan. Biddle sailed from New York in June 1845, concluding the treaty with China early in 1846 and cruising along the Chinese coast throughout that spring. In early July, he proceeded to the next part of his mission, sailing for Japan on the 7th. Rather than sail for the open port of Nagasaki, he decided to make directly for Yeddo (modern- day Tokyo), arriving there on July 20, mindful of his instructions to "ascertain if the ports of Japan are accessible," but "not in such a manner as to excite a hostile feeling or a distrust of the Government of the United States." Biddle's ships moved up Tokyo Bay on July 21, 1846, but were stopped by numerous small vessels carrying armed soldiers. His ships remained at anchor about fifteen miles below Tokyo for the duration of their visit. After an initial confrontation in which Japanese officials demanded that the Americans surrender their weapons, peaceful relations were established and numerous Japanese visited the ships, bringing many supplies as gifts. The first of the lithographs depicts the American warships at anchor, surrounded by many smaller Japanese vessels. Biddle continued negotiations to be received on shore, without success. Finally it was arranged that he would present an address to suitable Japanese officials on board a Japanese vessel, and he arrived in full uniform for the occasion. However, upon boarding the boat the Commodore was deliberately knocked over by a common sailor. The Japanese officials professed to be mortified, and Biddle accepted their apology without insisting on harsh punishment for the offender. Subsequently there was much debate over whether Biddle had helped or hurt the American position by losing face or being magnanimous, depending on one's point of view, and this dialectic is still pursued by historians today. In any case, much of Commodore Perry's behavior in Japan seven years later was designed to avoid such an incident. Feeling that he had carried out his instructions as far as they could be pursued, Biddle accepted from his reluctant hosts both supplies and a tow out to sea to catch the wind. For their part, the Japanese were happy to aid him in departing. A small fleet of rowboats towed the American warships from their anchorage, and this scene is the subject of the second lithograph. After the departure on July 19, Biddle made for Hawaii, where he learned of the outbreak of the Mexican-American War. As a result, instead of heading home, the Commodore took his warships to the west coast of America to support the conquest of California, and spent the next year there. Only in March 1848 did Biddle finally arrive back in Norfolk, Virginia. Biddle arrived home in Philadelphia in April 1848 and died there on October 1. Since both of these prints bear a dedication from the artist, S.F. Rosser, to Commodore Biddle as if he were alive, it seems certain that they were produced during the six months of peaceful retirement the old sailor enjoyed before his death. Rosser, evidently a Philadelphia lithographic artist, credits his lithographs to be based on "Sketches by John Eastley," presumably a member of the expedition; of course, these probably arrived in town with Biddle. The printing was executed by the well-known firm of Wagner & McGuigan. An indication that the prints may have been hastily struck is the blank spaces left where the longitude and latitude of Tokyo were to be filled in. A small print run or limited interest must account for the extreme rarity of the prints today. We can locate sets only at the U.S. Naval Academy and the Historical Society of Pennsylvania. The Biddle mission to Japan paved the way for the later successful expedition of Perry, and the latter's famous "Opening of Japan" must be seen in the context of the 1846 expedition. Perry came not as an isolated phenomenon, but part of an escalating American pressure campaign which was begun by Biddle. These prints are the most striking artifact of the true beginning of the Japanese-American relationship. A truly extraordinary pair of lithographs, utterly unknown to most experts in the field, and of the greatest rarity. PETERS, AMERICA ON STONE, p.395. David F. Long, SAILOR-DIPLOMAT, A BIOGRAPHY OF COMMODORE JAMES BIDDLE, 1783-1848 (Boston, 1983), pp.185-238. Charles Oscar Paullin, AMERICAN VOYAGES TO THE ORIENT (Annapolis, 1971), pp.107-13. Nicholas Wainwright, "Commodore James Biddle and His Sketch-Book" in PENNSYLVANIA MAGAZINE.

Leiden, Bei dem Verfasser 1832-1852. Fol. (Text, 40:31 cm) u. Imp.-fol. (Tafeln, 57,5:35 cm). Mit lith. Front. u. 328 (von 366?; 4 gefaltet, 1 doppelblattgroß) lith. Tafeln, davon einige getönt oder altkoloriert, 1 im Textband. Moderne schwarze Halblederbände mit Kopfgoldschnitt u. rotem Rückenschild. Cordier, BJ 477-478; Lipperheide Lf 23; Shuzo Kure, Philipp Franz von Siebold I, 423-433; Henze V, 153 ff. - Erste Ausgabe der wohl umfangreichsten Monographie über Japan aller Zeiten. In Lieferungen erschienenes, unvollendet gebliebenes Hauptwerk Siebolds, das dieser in nur etwa 100 Exemplaren und weitgehend auf eigene Kosten hatte drucken lassen. "Das Nippon-Werk steht innerhalb des europäischen Schrifttums einzig da als eine umfassende und zuverlässige Darstellung Japans. Die darin verarbeiteten Angaben hat Siebold während seines Aufenthalts in Japan von Gebildeten und Gelehrten gesammelt und damit ein Werk geschaffen, das mit ähnlichen Versuchen neueren Datums nicht zu vergleichen ist. Man kann wohl ohne Übertreibung sagen, daß weder vor noch auch nach ihm ein Werk geschaffen worden ist, das sich ihm auch nur entfernt an die Seite stellen könnte. So bildet es noch heute eine unentbehrliche Grundlage für alle Japanforscher" (Shuzo Kure). Das Werk gliedert sich in 7 Abteilungen: Abt. I: Mathematische und physische Geographie von Japan. - Abt. II: Land- und Seereisen, Volk und Staat. - Einige im Format kleinere u. auf Japanpapier gedruckte Tafeln. - Abt. III: Beiträge zur Geschichte von Japan. - Abt. IV: Künste und Wissenschaften - Abt. V: Pantheon von Nippon. - Abt. VI: Landwirthschaft, Kunstfleiß und Handel. - Abt. VII: Die Neben- und Schutzländer Japans. Kollation der Textbände: I. 4 Bll. Titel (1832 u. 1852), 1 Bl. Widmung, 2 Bll. "Collation" (von B. Quaritch 1869), IV S. Erklärung des Titelbildes, 3 Bll. Vorwort, Übersicht, Inhalt. 32, 9, 174 S., 2 Bll. Zwischentitel, 6, 52 S., 2 Bll. Zwischentitel, 146 S., 2 Bll. Zwischentitel, 154, 9 S., 25 S. lith. Schrifttafeln, 2 nn. Bll. - II. 8, S. 165-191, 2 Bll. Zwischentitel, 186, 19, 72 S., 2 Bll. Zwischentitel, 204 S., 18 S. Appendix mit japanischen Schriftzeichen. - Nach Vergleichexemplar fehlen in Teil 1 die S. 175-254 sowie die S. 205-328 im letzten Teil. Text und Tafeln seitlich und unten unbeschnitten. Tafeln insgesamt teilw. etwas stockfleckig u. gering gebräunt, vereinzelte Feuchtigkeitsränder. Text teilw. etwas gebräunt. Titel zu den Tafelbänden sowie wenige Tafel mit hinterlegten Randeinrissen. Titel der Textbände mit hs. Numerierung. Tafel VI/2 braunfleckig.

Soft cover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. Gr.4° (32 x 24 cm) - B/w - 12 Original etchings in-out of text and one etching for the "table des eaux-fortes" Engraved by Pablo Picasso - A complete Suite of 12 engravings on vélin de Rives - Drawings by the artist engraved on wood by Georges Aubert and printed in-text. A "preface" of 16 pages of drawings composed of points and lines drawn by Picasso in 1924 also engraved on wood by Aubert. First edition, published in 340 copies (65 Imperial Japon + 240 on Velin de Rives & 35 H.C.) Our copy is 1 of 65 copies on Imperial Japan. Signed in brush by Picasso and monogrammed in pen by Vollard. Text in French language. Original boards. In Very good condition. Signed by Author(s).

Hardcover. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Modern Japan involving China the Secret Archives Rikugunsho volume (1872-194516 open hardcover full 152 original cartons)Four Satisfaction guaranteed,or money back.

Condition: Fine. The book is in fine condition.

Condition: Fine. The book is in fine condition.

Dordrecht, Amsterdam, Joannes van Braam, Gerard onder de Linden, 1724-1726.5 parts in 8 volumes. Folio. Contemporary half calf, spines gilt and with black title-labels (later boards). With engraved allegorical frontispiece, printed title-page in red and black, folding portrait of Valentijn, 19 portraits of the Governors-General, and 326 illustrations, maps, plans, bird's-eye views and plates (most of them double-page or folding; including fragments of Javanese manuscripts).First edition. -The most important early work documenting the history of the Dutch East India Company (VOC) in the East Indies and the Far East, which never can be superseded as many of the documents of which the author made use, do not longer exist. François Valentijn (1666-1727) was a minister of the Dutch Reformed Church who lived for many years on Amboyna and Java. During this period he collected an enormous mass of information, especially in the fields of history, geography and ethnology, concerning all parts of the world where the Dutch East India Company was active: Indonesia, with large parts on Batavia and the Moluccas, Persia, Malacca, Ceylon, India, Cape of Good Hope, Japan, China and Formosa. The work is profusely illustrated with fine engraved maps, plans, portraits and spectacular views. They are engraved by the best artists of the time like F. Ottens, J.C. Philips, G. Schouten, J. Goeree etc. mostly after designs by M. Balen. Apart from the fine engravings the work is of particular interest for its cartography. It contains interesting maps of Australia, probably drawn after manuscript maps now lost. For his descriptions of the natural history of Amboyna Valentijn used i.a. the unpublished 'Amboinsch Dierboek' by the famous naturalist Rumphius, of which the original manuscript has been lost. - (Not inserted and also not mentioned in the plate-index is the portrait of Governor General De Haan). - With bookplates of J.C. Pabst and A.A.H. Stolk. - A truely desirable copy.Tiele 1121; Cat. NHSM p.502; Landwehr, VOC, 467; Ruinen C 44; Alt-Japan-Katalog 1570; Cordier, Bibl. Japonica (and) Indosinica col. 426-428 (and) col. 927-930; Nissen, ZBI, 4213; SAB IV, p. 549.

Hardcover. Condition: As New. 1st Edition. Please inquire. Pricing and availability are subject to change (price is net to all; promotional discounts do not apply). PAYMENT: by check or wire transfer (please inquire about payment by credit card). SHIPPING NOTE: due to size and weight, additional shipping fees apply (calculated at actual cost). Special limited edition book of 50 signed and numbered copies, plus 5 artist's copies, with 25 bound-in photogravures. Housed in a pink cloth-covered slipcase. Each photogravure is signed and numbered in pencil on recto. Copyright stamp in black ink on verso. Images 8-1/2 x 12-3/4 inches, whether horizontal or vertical; sheets 15 x 20-1/4 inches. [Note: four photogravures not included in the book were issued as separate prints in an edition of 50 plus 6 artist's copies.] ABOUT THE BOOK: This special limited edition book is the first and only edition and printing. Hardcover. Pink cloth-covered boards; no dust jacket as issued. Photographs by Friedlander. Designed by Katy Homans. Calligraphy by Shuntei Taniguchi. Richard Benson made the endpapers on his press, based on an old Japanese textile. Unpaginated (52 pp.), with 25 photogravures printed by Thomas Palmer, Rhode Island. 15-1/4 x 20-1/2 inches. [See: Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), #22.] Lee Friedlander's work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work. As New (from Friedlander's personal archive). Signed by Author.

Berlin, Verlag der Königlichen Geheimen Ober-Hofbuchdruckerei 1864-1873. Gr.-Folio. 10 Lieferungen. 15 Bl. Text in dt., engl.und franz., 49 (von 60) Tafeln, darunter Chromolithographien. Vonden Tafeln sind folgende vorhanden: Lieferung 1-5 (Japan): 23 (von 30) Tafeln (davon 4 Chromolithographien), Lieferung 6-8 und 9 (Hälfte): China: 18 (von 21) Tafeln (davon 5 Chromolithos), Lieferung 9/2.Hälfte und 10: Siam: 8 (von 9) Tafeln (davon 1 Chromolithographie). Mit dabei 9 (von) 10 Original-Lieferungs-Umschlagstitelseiten. In moderner Box mit Titel auf Deckel. Tafeln sorgfältig an den Rändern restauriert, vereinzelt leicht braunfleckig, insgesamt sehr breitrandig, wie Original erschienen. Von größter Seltenheit! Die Lieferungen zum Atlas erschienen separat zu den Textbänden. Albert Berg (1825-1884) war auch ohne künstlerische Ausbildung ein Maler mit großen Fähigkeiten und das Ergebnis sind diese großartigen Ansichten. Die Expedition nach Siam, Japan und China wurde mit drei Schiffen von Friedrich Albrecht Graf zu Eulenburg durchgeführt. Teilnehmer aren auch M. Von Brandt, W. Heine und Freiherr von Richthofen. ? Henze II, 185, Cordier, Japonica 559; Sinica 2522; Cordier, Indosinica 989:

Condition: Fine. The book is in fine condition.

Softcover. Condition: Near Fine. A collection of eight rare printed items little known outside of Germany or Japan. The Bando POW Camp, located near Naruto, Japan, was set up in 1917 to house about one thousand German prisoners, both soldiers and civilians, who had been captured at Tsingtao, China. The collection includes the very rare camp directory: *Kriegsgefangenenlager Bando Adressbuch* (November 1917), with two fine color maps and advertisements; a beautifully illustrated children's book: *Drei Märchen* meant to be sent home to family and friends in Germany; and the final six consecutive issues of *Die Baracke* (April - September, 1919), an illustrated monthly "Zeitung für das Kriegsgefangenenlager" [Newspaper for Prisoners of War]. All eight items are remarkably well-preserved, in very good to near fine condition. Unlike other Japanese POW camps, the German prisoners at Bando were given an unusual level of freedom, and were allowed to establish several of their own community organizations, including a bakery, a theatrical troupe and orchestra, and a large scale printing house known as the "Lagerdruckerei." At the press, which operated within the camp for just over two years, from 1917 to 1919, the German inmates pioneered a unique and highly sophisticated technique for printing in color on silk paper, and they published works with remarkably sophisticated and diverse content, including articles on Japanese culture, astronomy, politics, theatre, music, poetry, and political and military affairs, as well as an explanatory guide documenting their unique printing processes. Their various publications were illustrated with color plates, maps, diagrams, etc., of an astonishing high quality, when one considers the makeshift conditions in which they were produced. The works thus display unique technical qualities and content that could only have been created at the Bando camp. A remarkable and historically important collection of materials, rarely if ever found together. Detailed descriptions of all eight items follows. I. *Kriegsgefangenenlager Bando. Japan. Adressbuch. November 1917*. [POW Camp Bando. Japan. Address Book. November 1917]. Edited by Rudolf Hülsenitz. Bando, Japan: Lagerdruckerei [Prison Camp Press]. Large octavo (7" x 10"). 79pp. Complete as printed with irregular pagination. Folding map tipped onto the inner front cover, 1 full-page map, 3 full-page color advertisements and 1 inserted color plate advertisement. In the original grey paper wrapper with printed paper title label on the front wrap. A few scattered small marginal tears to wrappers, near fine. Edited by internee Rudolf Hülsenitz, this camp directory features a list of the prisoners in alphabetical order and their addresses in the camp. Also included is a guide to the camp's shops, and information about the camp's health services. Among the graphic highlights of the book are the two beautifully designed original maps. The folding map on the inner front cover depicts the core of the camp as it appeared in 1917, Bando's first year of operation. It corresponds to the address list, depicting each barrack house (dormitory) and listing the names of the occupants according to their beds. Printed in blue, yellow, and black, it is accurate to scale and includes much topographical detail. The second, full-page map, printed on page 2, depicts the camp within its greater environs, including its barbed wire boundaries, the 8 barrack houses, sports grounds, post office, gardening area, fountains, police station, cemetery, chicken coops, its two ponds, music hall, tennis courts, botanical gardens, officers' quarters, the kitchen, offices, as well as various other structures. Also notable are the impressive color advertisements, including one for the Bando Lagerdruckerei itself, listing its publications to date. Other advertisements promote pharmacies, pastry shops, an exchange office, an art exhibition to be held in 1918, as well as a series of maps of other POW camps in Japan, and a printed celestial chart. Prior to the war Rudolf Hülsenitz was employed by the East Asia Lloyd shipping company in Shanghai, and joined the German Marine Corps in 1914. A very scarce survival. *OCLC* locates only one known extant copy, at the Bayerische Staatsbibliothek in Munich. II. Behr, E. *Drei Märchen [Three Stories]*. Bando, Japan: Lagerdruckerei [Bando Prison Camp Press], 1918. Second edition. Quarto. pp. [2 (half-title)] [1-3] 4-79 [80 (blank)]. Illustrated with 8 color plates by Gustav Möller; illustrated title page with color initials; 3 other color initials; head and tail pieces. Bound in grey silk cloth over boards with a color illustrated cover, with printed endpapers featuring an art nouveau design of salamanders and mushrooms. Inscribed in ink by a Bando camp inmate on the half-title page (dated November, 1918). Some fading and a few tiny tears to the spine and light staining to the edges of the boards, very good or better. An edition of three stories by Behr: 1. *Hans Wunderlich im Schützengraben* [Hans Wunderlich in a Trench]; 2. *Der Glückstaler* [The Chinese Money Plant]; and 3. *Die Sprechende Nactigall!* [The Talking Nightingale!]. As there were no children resident at the Bando Camp, *Drei Märchen* was specifically made to be sent home to children and relatives in Germany. This copy is inscribed by a Bando inmate to his niece Gisela, presumably in Germany. It is the second of two editions printed at the camp. *OCLC* locates only six copies: five in Germany and Japan, and one in the United States (San Jose State University). III. *Die Baracke. Zeitung für das Kriegsgefangenenlager. [The Barracks. Newspaper for Prisoners of War]. Bando, Japan*. Bando: Lagerdruckerei [Bando Prison Camp Press]. 1919. The final 6 consecutive monthly issues (April - September 1919). Illustrated with color and black & white plates and maps, several folded, and in-text illustrations. The various articles document the wide ranging cultural and scientific interests of the Bando camp.

Condition: Fine. The book is in fine condition.

Condition: Fine. The book is in fine condition.

Many illus., mostly in black but some in red, pink, gray, green, yellow, blue, etc. Ca. 1821 folding leaves of text. 1083 chapters in 50 parts in 54 vols. (parts 14 & 15 in one vol., parts 24, 34, 42, & 47 in two vols. each, plus one vol. of table of contents). 8vo (266 x 188 mm.), orig. blue wrappers, orig. manuscript labels on each upper wrapper, new stitching. [Probably Kyoto: written in 1690 & this is a mid-Edo copy]. A rare and extremely important text, finely illustrated and complete in 50 parts; it remained unpublished until 1936. WorldCat lists no copy of this manuscript in North America (the NYPL's copy is a microfilm). This "monumental fifty-volume work of encyclopedic nature on gagaku" (Fukushima & Nelson), was written by Suenao Abe (1622-1708), a 17th-generation specialist performer on the hichiriki (a double-reed flute). Gagaku refers to all traditional court music of Japan. The word is written in Japanese with two Chinese characters that signify "elegant music." Its origins are Chinese, but the Japanese borrowed only the Chinese court entertainment music and not the ritual music. "The Gakkaroku by Abe Suenao was compiled in 1690. At that time, the author (born in 1622) was 68 and looked back to a long experience in the service of the Imperial court in Kyoto. The Abe family was specialized in hichiriki playing and in bugaku since many generations. Suenao was excellent in both. He made a special study of the percussion patterns, to which a large part of the Gakkaroku is devoted, dealing separately with every instrument. Bugaku also is most thoroughly described. The Gakkaroku was greatly admired ever since it was completed, and is very highly thought of by modern scholars. Together with the Kyokunsho and the Taigensho it forms the body of the Gakusho' no sandaibu, the three orthodox compendia of musical knowledge. "Abe Suenao died in 1708, at the age of 87, 160 years before the great refurbishing of Imperial court music during the Meiji restoration. His well documented work was one of the pillars to support the newly restored gagaku."-Eta Harich-Schneider, "Roei: The Medieval Court Songs of Japan" in Monumenta Nipponica, Vol. 14, No. 1/2 (April-July 1958), p. 106. This encyclopedia of Japanese musicology immediately became a standard work, and copies were quickly made and circulated. As noted above, it remained in manuscript for nearly 250 years and was not published until 1936. This encyclopedia is incredibly rich in detail, revealing Abe's great scholarship. For example, the corpus of musical works past and present is given with lyrics and notation, and the sections on theory and notation are extensive. The descriptions of all the musical instruments include information on their origins and structures, and instructions for how to manufacture, practice and play them. Shishinden's theater and stage settings are described in very considerable detail and illustrated. Names of performers and dancers are given with their family trees. Abe also lists the most famous and popular pieces of many periods; important ritual performances listed by month; the sequence within performances; the greatest performers of the past; styles of dances; and extensive lists of musical pieces for dances. Descriptions of costumes, masks, and headgear are provided along with illustrations. Many performances of the past and their settings are fully elaborated. This work is wonderfully bibliographical as well: Abe provides in the final text volume a list of earlier reference books and manuscripts. The illustrations also include images of the musical instruments. Some worming, occasionally touching text (but not badly), but a fine set. Preserved in five chitsu. â § Kazuo Fukushima & Steven G. Nelson, "The Documentary Sources of Japanese Music" in Fontes Artis Musicae, Vol. 43, No. 2 (April-June 1996), p. 182.

Expertly backed with later thick paper, gold speckles on back of scroll, decorative wrappers with gold-pigmented manuscript label: "Uraga joriku no ezu" ["Landing at Uraga Illustrated"]. Fine paintings executed with brush & ink, many colors of wash, and metal pigment, with manuscript captions. Japan: after "Kaei 6" [1853]. A remarkable example of a "Black Ship Scroll,"a rare contemporary illustrated Japanese account of Commodore Matthew C. Perry's incursions into Japanese territory in July 1853 and February 1854. Ours is a composite scroll of drawings of varying dimensions by at least three artists; most of the images concern Perry's first expedition, but two relate to the second. The anonymous artists responsible for the paintings in this scroll were exceptionally skilled; their renderings effectively convey the surprise Japanese observers must have felt at the sight of the American squadron's steamships, as well as the unfamiliar customs and behavior witnessed when meeting the Americans face to face. Our scroll commences with a superb painting of what is probably Perry's flagship in July 1853, the USS Susquehanna, a sidewheel steam frigate. The central smokestack emits ominous black smoke, and the gunports are menacingly open. We have seen a number of Japanese depictions of American warships from the period, and this is among the finest. The text to the right of the image provides approximate measurements, details of the ship and its engine, and the number of crew members ("more than 500"). There are also some observations on the other ships in the American squadron. The next two scenes relate to the official meeting between the two sides that took place on the beach at Kurihama, near the capital, Edo. Japanese security forces had hastily constructed a reception hall where representatives could meet for negotiations. An American procession, led by a military band, is shown marching to Kurihama. The Japanese caption states that there were 500 sailors. In the middle of the column are two young boys carrying bright red boxes, which contained official letters from President Fillmore to be presented to the Japanese Emperor. A tall man with gold epaulettes behind them is certainly Commodore Perry. A Japanese note labels him as "Grand Commander." The adjacent illustration shows how security forces from three local fiefdoms prepared for the tense meeting by encircling the reception hall with troops. Japanese ships outnumber the rowboats on which the American delegation arrived. Subsequent paintings are of armed American sailors in their formal uniforms. From right to left they are captioned: "Captain," "Captain," "Foot Soldiers." Once again, the artist has meticulously recreated their uniforms and weapons. The sailors' faces, often neglected in "Black Ship Scrolls," are treated with great detail. The text to the left states that the "North Americans" stayed in Uraga for fourteen days. We are then presented with a most impressive panorama of Kurihama's reception hall and all four American warships at anchor just moments before the delegations convened. The American procession is about to enter the hall. Several geographical landmarks and persons of note are marked. This is the first time we have seen a rendering of the meeting from this vantage point; it is extremely useful for understanding the way in which the Japanese security forces cautiously prepared to host the Americans for talks. The calligraphic text in the top left recounts the day's proceedings and adds that the painting in our scroll is based on an original drawing by an eyewitness. The following section has six amusing portraits of American officers, including Perry. These come from a different illustrator; the sheet of paper bearing these portraits has been pasted on to the scroll. Part of the sheet has been carefully repaired, obscuring a couple of characters. From right to left are: "Grand Commander, Peruri [Perry]"; "Vice [Commander], Atamusu [Adams]"; "Uriyansu [Williams], Translator for Japanese"; "Hottomen [Portman], Translator for Dutch"; "Son of Perry"; "Ship Captain Appoto [Abbot]." The caption under Abbot's portrait says that he was promoted to commodore; he had previously been captain of the USS Macedonian. The final two paintings have rare depictions of Americans dancing and putting on a minstrel show for their Japanese counterparts during Perry's second, decisive expedition. These have also been pasted at the end of the scroll. On the right, two Americans are in the middle of a dance routine. The left shows nine singing sailors playing instruments to entertain their Japanese hosts. Although our illustration does not clearly show them with blackface, the Japanese text on the left describes them as having "black faces, red lips, cotton attire, and blue-and-white-striped trousers." Their performance is spotlighted by two candles and Japanese burikki - from the Dutch for "metal sheet," blik, these thin iron sheets reflected the candlelight. This is an extremely rare illustration - we have never seen this image before - of the minstrel show that Perry and his sailors put on for their Japanese hosts aboard the Powhatan in March 1854. In near fine condition; small but inoffensive wormholes, not touching any illustrations. Unidentified red ink ownership seal at the beginning. Stored in a modern wooden box. â § For a useful survey of "Black Ship Scrolls" at the Library of Congress, see Renata V. Shaw, "Japanese Picture Scrolls of the First Americans in Japan" in The Quarterly Journal of the Library of Congress, Vol. 25, No. 2 (April 1968), pp. 134-53.

A wonderful and rare "special ex libris, monogram, and extra illustrated copy" of Brinkley's classic work, embellished with over 600 original watercolours and paintings on silk, lacquer, and cut velvet, in addition to the over 350 prints, photographs and plates called for. One of the very small group thus illustrated, issued purely by subscription, this copy elegantly bound by Riviere. Records show just a handful of sets of this ultimate edition appearing at auction over the last century. The astonishing range of artistic techniques on display in this edition includes: original colour paintings on silk bound before and after the text in every volume; 75 watercolours on paper; 25 paintings in lacquer; 29 paintings on silk; and 17 paintings on cut velvet. The pages are adorned in the margins with 540 original watercolours, and accompanying these are 371 other illustrations, many tinted and hand-coloured, including prints, photographs, and plates. Many of the bound-in illustrations are window-mounted with tissue or mulberry paper guards, and a folding map of East Asia and the Pacific completes this remarkable ensemble. Visually, the illustrations combine to capture the romanticism, colour, and splendour of East Asian history and culture. They include a wide range of traditional Japanese and Chinese subjects, including landscapes of lakes, mountains and farms, flora and fauna (including flowers, blossoms, fish, and birds), and different members of traditional society, such as farmers, geishas, weavers, and scholars. The illustrations also exhibit the varieties of art, weaponry, and antiquities discussed in the text. The illustrations for the extra illustrated copies were supplied by a team of artists and photographers including the influential photographer Ogawa Kazumasa (1860-1929). Ogawa spearheaded the development of photography and photochemical printing in Japan and, "While Commodore M. C. Perry opened Japan to the world in 1854, it was the distinguished and influential artist Ogawa, many years later, who put the country on display for all the world to see and appreciate" (Smith). This set was bound for the distinguished Gilded Age American bookseller Charles Emelius Lauriat (1874-1937), himself a noted collector of rare editions, who subscribed to one or more sets for his bookshop. The initial buyer was most likely Annie Edgerly Thayer (1870-1957), with her bookplate to the front doublure of vol. I. Thayer was a member of the Daughters of the American Revolution whose uncle served under Custer at the Little Bighorn. She resided at Thayercrest in Farmington, New Hampshire, where this set remained until the dispersal of the Thayercrest library in 2014. The English-born Francis Brinkley (1841-1912) first visited the country in 1867 to work as a gunnery instructor before moving into the fields of education and journalism. During the Russo-Japanese War, he reported on behalf of the Times and, for his work strengthening Anglo-Japanese relations, he was awarded the Order of the Sacred Treasure by the Meiji Emperor. Japan and China, a landmark publication in its breadth and depth, discusses commerce, economics, military affairs, foreign relations, social life, religion, art, and architecture. "The importance of this work, beyond its inherent elegance, resides in its contributing to a greater understanding in the West of the history and culture of East Asia at the very time when travel and increased commerce were becoming common. In Europe especially, the fascination with Asian art forms appeared in the works of painters like Van Gogh, Monet, Degas, and other Impressionists in the late 19th century. In this aesthetic cross-fertilization between Japan especially and the West, the woodblock prints by Hiroshige, Utamaro, and Hokusai, for instance, came to be known around the world. In this milieu the work of Frank Brinkley was of major importance" (ibid.). Bardwell Smith, "Frank Brinkley", in Every Book, a Tale: Selections from Special Collections in the Laurence Mckinley Gould Library of Carleton College, p. 71. 15 volumes, large octavo (231 x 155 mm). Finely bound by Riviere & Son for Charles E. Lauriat Co., Boston in red full crushed morocco, spines lettered in gilt with five raised bands, board edges tooled with paired gilt fillets, gilt-panelled citron and blue morocco doublures, turn-ins bordered with paired gilt fillets enclosing a Greek-key frame divided by stylised gilt chrysanthemums, red silk-coated free endpapers, top edges gilt, other edges untrimmed. With numerous original artworks throughout. A lovely set, beautifully bound, contents notably fresh, trivial rubbing to a few volumes, front joint of vol. XII beginning to crack but professionally coloured and consolidated, else in fine condition.

Folio. (20 x 14 inches). 12 ff. letterpress text. 10 lithographic prints (one tinted portrait of Perry on india paper mounted from a daguerreotype by P. Haas, nine hand-coloured views by Heine [two of these chromolithographed, seven printed in two colours on india paper mounted]), all printed by Sarony & Co., all mounted on thick card with smooth glossy backings. Text in the original yellow pictorial wrappers, expertly rebacked to style with purple cloth, the plates loose as issued with the text within a half purple morocco and period purple cloth portfolio, yellow pastedowns and flaps, cloth ties. All within a black morocco backed box. An important work recording Commodore Perry's expedition to Japan: the very rare deluxe, hand coloured issue on card. William Heine was the official artist on Commodore Matthew C. Perry's expedition to Japan in 1853-54. On returning to the United States he produced several series of prints commemorating the trip. A group of six elephant-folio prints appeared in 1855, and the following year the present volume was issued, in a smaller format, with different images and with explanatory text. Both projects employed the New York lithographic firm of Sarony, among the best lithographers in the United States at that time. "As artistic productions, the pictures speak for themselves . none superior to them have been executed in the United States, and they have no cause to shun comparison with some of the best productions of Europe" (Introduction). Copies were produced tinted (though with some plates with several colors) on regular paper and a very rare deluxe hand-coloured issue on card (like the present example). The plates are numbered and titled as follows 1. [portrait of Perry]; 2. Macao from Penha Hill; 3. Whampoa Pagoda; 4. Old China Street, Canton; 5. Kung-kwa at On-na, Lew-Chew; 6. Mia or road side chapel at Yokuhama; 7. Temple of Ben-teng in the harbor of Simoda; 8. Street and bridge at Simoda; 9. Temple of the Ha-tshu Man-ya-tshu-ro at Simoda; 10. Grave yard at Simoda Dio Zenge. Bennett describes the plates as "many times finer than those in the regular account of the Perry expedition." His remarks on the work's great rarity are confirmed by its absence from both of Cordier's Japanese bibliographies. Two distinct issues of Heine's work were published: a regular issue with hand coloured plates on thick card; and the deluxe issue, like the present, with more elaborate hand coloring and on thick cards with glossy paper backings. The deluxe issue is considerably more rare than the regular issue. Bennett, p.53; McGrath American Color Plate Books 123.

End 18th or beginning 19th century. Colour painted on mulberry paper, with Japanese calligraphy, mounted on a wooden roller, endpaper decorated with gold and backed with silk, modern cotton tie, housed in a modern wooden box. A very unusual long botanical scroll, showing 62 different species, each depiction of a plant measures 26 x 17,5 cm. The plants are beautifully painted and heightened with white, showing flowers, foliage and roots and occasionally details of plants. "Has any nation equaled the Japanese as flower lovers? The affinity of painting and calligraphy is not surprising when it is realized that the Far-Eastern culture, at least until recent times, the sole implement for writing, painting and drawing was the brush These brushes were used with ink and water-based pigments on silk or paper" (Brindle & White, Talking in flowers: Japanese botanical art pp. 7-11). In fine condition.

104 pp.First edition of the account of the charting voyage by Maerten Gerritsz. Vries (1589-1646) to the north of Japan, together with the popular account of a Dutch West India Company voyage to Chile under Hendrik Brouwer (1581-1643). Brouwer, one of the directors of the Dutch West India Company, acted as the commander of a fleet of six ships, specially sent to the western coast of South America to activate the trade between the Dutch and the natives. During this voyage, which resulted in the first place in a better knowledge of that coast, Brouwer died at Chiloe and was buried at Valdivia in August 1643. Appended to that journal is the very important account of a charting voyage to Japan. That same year (1643) Maerten Gerritsz. Vries, got "instructions from Governor Van Diemen . to examine the countries to the north of Japan and to assess their economic and trading potential, particularly with regard to mineral wealth" (Howgego). He visited Hokkaido (Yezo) and Sakhalin, discovered the islands Iturup and Urup and gave his name to the strait between those islands. La Pérouse considered him one of the most eminent seafarers of his time. A couple of leaves slightly browned and a few occasional spots and smudges, otherwise a very good copy.l Cordier, Japonica, cols. 354-355; Howgego, to 1800, B169, V63; Landwehr & V.d. Krogt, VOC 372; Muller, America 358 ("of the highest interest"); Sabin 8427; STCN (7 copies).

Second copy recorded of the printed programme (serving also as invitation) to a minstrel show performed on-board Commodore Perry's flagship by the "Japanese Olio Minstrels", comprising sailors from the ship's crew, many performing in black-face, but also with a few African-Americans. Perry made his expedition to Japan to deliver the American President Millard Fillmore's letter of friendship to the Emperor of Japan and negotiate the Treaty of Kanagawa. As the ship left Hong Kong for Japan in January 1854, it set up an on-board printing office with a small press that had been sent from America by the State Department. The treaty was signed on 31 March 1854 and after it was tested at Hakodate (Hakodadi) Perry invited various Japanese dignitaries to attend the minstrel show on-board his ship on 29 May 1854, at 7 pm. The only copy recorded in the literature belonged to the wife of Commodore Perry's grandson and passed to the Naval Academy Museum in Annapolis, Maryland.The programme lists the pieces performed and gives the names of the crew members for each act. Programmes are known for three shows given on the ship, but only two were printed by the ship's own press. They are extremely rare.Somewhat foxed but in very good condition, with only a few folds and with the paper stretched apart at a couple points along the edge. A remarkable document of a unique American musical genre, as performed for Japanese on Commodore Perry's ship.l Morison, Commodore Perry's Japan Expedition Press and shipboard theatre, 1967, pp. 40-41; Yellin, "Mrs. Belmont, Matthew Perry and the 'Japanese Minstrels'", in: American Music, 14 (1996), pp. 257-275, at pp. 267-269 (including fig. 6); cf. Lovett, "The Japan Expedition Press", in: Harvard Library bulletin, 12 (1958), pp. 242-252, illustrating a similar programme for a concert on 26 May 1854.