Impey, Oliver R.; Jörg, Christiaan:Japanese Export Laquer 1580-1850
- eerste uitgave 2007, ISBN: 9789074822725
pocketboek, gebonden uitgave
Nihon Keizai Shimbun, Inc., 2005 Book. Very Good. Soft cover. 1st Edition. Japanese text with English captions.; Paperback.; 23 x 30 cm; 1.85 Kg.; 400 pages with colour illustrations thro… Meer...
Nihon Keizai Shimbun, Inc., 2005 Book. Very Good. Soft cover. 1st Edition. Japanese text with English captions.; Paperback.; 23 x 30 cm; 1.85 Kg.; 400 pages with colour illustrations throughout.; Catalogue from the exhibition held at the Tokyo National Museum from the 25th of October until the 4th of December 2005.; "This exhibition displays approximately 500 works dating from Hokusai's earliest period until he put down his brish and took to his final sickbed in the spring of his 90th year. This selection introduces the audience to Hokusai's unwavering creativity and the diversity of his unique artistic world." excerpt from the October 2005 Preface by Nihon Keizan Shimbun, Inc.; "Unquestionably the most thoroughly instructive study of the work of Katsushika Hokusai ever presented. How fitting that the prints, paintings, and drawings of this master gathered from around the world are assembled in Ueno, not far from the neighborhood where Hokusai crafted the humane yet haunting images that have seduced international audiences for nearly a century-and-a-half." excerpt from the introductory message by Julian Raby, Director, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C., October 2005.., Nihon Keizai Shimbun, Inc., 2005, 3, 2002. Bangkok, River Books, 2002. 22.2 cm x 28.8 cm. 281 pages. Original Hardcover with dustjacket in protective collector's Mylar. Very good+ condition with only minor signs of external wear. Only very minor discoloration to margins of pages. Otherwise bright, clean and in excellent condition. The price for this heavy book includes international shipping per Courier ! Includes for example the following chapters: A Hidden Culture / Princes and Politics / Culture and Design / Status, Protection, Ethnicity: La Nan Court Dress 1781-1871 / Textile Design / Nineteenth Century Trade / Craft Workers at the Court etc. The unique character of the 19th century Lan Na culture of Northern Thailand is seen in its sumptuous textiles and court dress reflecting a diverse cultural heritage. This work aims to situate this textile history within the context of the complex marital and political alliances of the time. Susan Conway is currently a Research Associate at the School of Oriental and African Studies. She was previously teaching at The New School, New York. Her books and papers cover the culture, arts and crafts of South-east Asia, specialising in Thailand and the Shan States of Burma (Myanmar). She has conducted field work for thirty years, organising conferences and exhibitions in South-east Asia, Europe and the USA. Susan Conway has worked in inland South-east Asia since she graduated with a fine arts degree in 1983. She lived in many villages and when time allowed, added a photographic record of local arts and crafts. This included women engaged in sericulture, raising cotton, dyeing thread with vegetable and aniline dyes, and weaving cloth. Some of those photographs, and the textiles associated with the fieldwork, are now in the permanent collection of the Horniman Museum, London. Since then she has published books on the culture, arts and crafts of North Thailand (“Silken Threads, Lacquer Thrones", 2003) and the Shan States of Burma (“The Shan: Culture Arts and Crafts”, 2006). She has also contributed to many books, including “ Burma: Art and Archaeology”, British Museum Press, 2002, “Through the Thread of Time, James H.W. Thompson Foundation, 2004 and “Myth, Status and the Supernatural”, James H.W. Thompson Foundation and River Books, 2007. (Susanconway.com), 2002, 0, Philip Wilson Publishers, London for Sotheby's Publications, 1985 Book. Good. Hardcover. 1st Edition. English text.; Hardcover (cloth with dust jacket in slipcase); 25.5 x 30 x 7 cm (with slipcase); 25 x 34 cm.; 4.4 Kg.; 569 pages with black and white a a few colour illustrations throughout.; Used with minor signs of wear on the dust jackets and on the interior. The slipcase is worn and show signs of wear, namely a tear throughout all the bottom, which is now glued with book tape.; The Japanese word surimono means "a printed objet". During the 1760s, it began to be applied to a new form of woodblock print whose popularity lasted well into the nineteenth century: the privately commissioned print, published in a limited edition for distribution among a circle of friends or associates. Most surimono fall into one of two categories: those which commemorate a special event and those which combine a picture with verse. Both types incorporate a written text, and one of the most rewarding qualities of surimono lies in the extraordinary subtlely (especially in verse surimono) with which the artist complements with his imaginary the content of the text, so that picture and words together yield a richer experience than either could create independently. The advent of surimono coincided with major advances in colour-printing, and the form was to attract artists to the stature of Gakutei, Hokkei, Hokusai, Kunisada, Shinsai and Shumman. Drawing their subject-matter from siuch veried sources as legend and literature, social customs, topography, the theatre, crafts and ordinary life, these and other masters share with us a vision of the world which explores every shade of human feeling and response. There is no more comprehensive collection of surimono in Europe than the one which the English scholar Jack Hilier began to assemble in the 1950s for the Chester Beatty Library Dublin: this book provides an illustrated catalogue of the collection. The first and largest of its three sections includes surimono in the Ukiyo-e style procuced in the Edo between the 1760s and 1840s. The second includes the privately printed illustrated books and albuns which are also in the library. The third consists of prints by artists of the Shijo school, mostly created in Osaka 1850-70. The catalogue is preceded by a historical introduction; biographies of the artists are given before the relevant entries and two final sections are devoted respectively to an index of the kyoka poets whose verses appear on the surimono in the first section and to later copies of the prints. This lavishly illustrated book will provide an essential source of reference for collectors and students of Japanese prints.., Philip Wilson Publishers, London for Sotheby's Publications, 1985, 2.5, Hotei Publishing, Amsterdam, 2005 Book. Very Good. Hardcover. 1st Edition. English text; Hardcover (cloth with dust jacket in slipcase); 25.5 x 33 cm; 3.023 Kg; 384 pages with 650 illustrations mainly in colour. Includes ribbon bookmark; Used book with signs of wear on the slipcase, namely edge wear, scuffs and wear marks. Signs of wear on the dust jacket. The interior of the book is in very good condition.; Japanese Laquer ranks among the most beautiful crafts produced in Asia for Western markets and had a profound influence on European art and decoration. The quantities shipped from Japan in the period 1580-1850 and the documentation available underscore the need for the study of this material. This publication is the first full treatment of lacquerware made to European demand, its trade in Asia and Europe, as well as the effect of lacquer and its use in a European context. Trading patterns are described in detail, based on documentary evidence of Westerners in the Far East and on the important and comprehensive archives of the Dutch East India Company (VOC). Furthermore, the archives of the English East India Company as well as Japanese sources yielded important information. Reference is also made to records of American ships' captains and officers from New England. Full use is made of contemporary comments and inventories in Europe. The authors describe and illustrated the huge variety of known lacquer shapes and decorations produced for Asian and European markets, starting with Namban lacquer, the demand for which was initiated by the Portuguese. Private English and Dutch merchants followed, but it was the VOC which included Japanese lacquer as a commercial item in its assortment, making it widely available in the seventeenth century. In the eighteenth and first half of the nineteenth centuries private trade resumed, ordering specific shapes and decorations, sometimes bases on European models. Japanese lacquer was widely recognised as the best available and seems never to have gone out of the fashion in Europe. Japanese lacquer furniture was dismantled and incorporated in European furniture as tastes changed. This important feature in the history of European furniture is discussed at length and illustrated by many examples. Over 650 illustrations provide a unique survey of lacquer in private and public collections worldwide, including the important documented collections in Italy, France, England, German, the Netherlands, in Denmark, Sweden, and the USA.., Hotei Publishing, Amsterdam, 2005, 3<
