asai chu (20 Ergebnisse)

First edition. 40 lithograph plates. Folio. Original boards with title label on front cover. Overall a very good copy. Tokyo, Useido (Koshiba Eiji), dated: Meiji 20,  This rare album of lithographs is attributed to two Western style (yoga) artists, namely Asai Chu (1857-1907) and Takahashi Genkichi (1858-1913). The female artist Watanabe Yuko (1856-1942) may also have contributed. The plates show an interesting range of professions and social classes in Japan. Only two copies in OCLC (National Diet Library and Waseda). .

[DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai Ichi. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This first volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. However plate seven is missing. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose and the one plate is missing.

[DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai San. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This third volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. However plate four is missing. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in good condition - the pages are loose and the one plate is missing.

[DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai Ni. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This second volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. However plate eight is missing. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose and the one plate is missing.

[DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai Roku. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This sixth volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL contain 8 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose.

[DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU SHU^GAJO 7-kan Jo^ To^kyo^, Yoshikawa Ko^bunkan, Meiji 34 [1901]. 4th printing. Oblong 8vo., wrappers. 18.2 x 26.3 cm. PRACTICE ALBUM FOR MIDDLE SCHOOL, Volume Seven, Part One. Containing 5 sheets of color woodcut reproducing watercolor sketches from part one of volume seven and one odd sheet from part two is laid in. By Asai Chu^ and meant to serve as a guide for middle school students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of Western watercolor rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects. Complete in aof itself as a peret of the series and including an extra plate.

[DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai Go. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This fifth volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose.

[DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Yonshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the fourth volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects.

[DRAWING TEXTBOOK] ASAI CHU^, artist. JIZAIGA KYO^KASHO Dai Yonpen. To^kyo^, Kinko^do^ Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This fourth volume of the series A TEXTBOOK OF FREE SKETCHING contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose.

[DRAWING TEXTBOOK] ASAI CHU^, artist. JIZAIGA KYO^KASHO Dai Gohen. To^kyo^, Kinko^do^ Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This fifth volume of the series A TEXTBOOK OF FREE SKETCHING contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose.

[DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Nishu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the second volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects.

[DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Rokushu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the sixth volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects.

[DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Sanshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the third volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects.

[DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Goshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the fifth volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects.

[DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Isshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the first volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in near fine condition. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects.

[DRAWING TEXTBOOK] ASAI CHU^, artist. JIZAIGA KYO^KASHO Dai Roppen. To^kyo^, Kinko^do^ Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This sixth volume of the series A TEXTBOOK OF FREE SKETCHING contains 6 sheets of color woodcut reproducing watercolor sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil (and in this case Western watercolor) rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in good condition - the pages are loose and the images have a degree of foxing throughout.

[DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Hasshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. A bit of departure from earlier volumes in the series, this eighth volume contains 6 sheets of color woodcut reproducing watercolor sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil (and in this case Western watercolor) rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects.

[EHON] Asai Chu^, artist. TO^SEI FU^ZOKU GOJU^-BAN UTA-AWASE. [Modern Customs in a Comparison of 50 Pairs of Poems]. Tokyo: Yoshikawa Hanshichi, Meiji 40 [1907] Kyoto: Yamada Unso^do^. 2 vols., 24.7 x 18.4 cm. 50 pairs of caricatures, with accompanying poems, all in color woodcut. The overall condition, impressions and colors are very good. This is a copy of the Unso^do^ of Kyoto reprint from the original blocks. Asai Chu^ (1856-1907) was one of the two (with Kuroda Seiki) most important oil painters of late Meiji era Japan. This work is in his "Haiga" literati mode and represents his most important foray into book illustration. Ref: Mitchell, p.534. A lovely copy of an important book. Complete.

[Kyoto 1909, Unsodo]. Green boards, thread-tied spine, tall folio 24.6 x 37.5 cm., very clean. a bit of edge/corner wear contents solid, 8 color woodblock prints, 81 b.w. collotype photos, [Small Edition ca.200 Copies] THE RARE FIRST EDITION . . * * A STUNNING COLOR WOODBLOCK PRINTED MONOGRAPH * * . . AN IMPORTANT JAPANESE PAINTER AND INFLUENTIAL ARTIST . * This is a stunning work, with 8 full-page color woodblock printed illustrations, plus 81 b.w. collotypes, showing 89 examples of Asai's and other artist's paintings. . A DELUXE BOOK: This work was beautifully printed with 8 color woodblock prints, before which are tissue guards with the Japanese painting title and the owner's name. This copy also contains seven additional typed English sheets giving the title, owner's name for the first 8 color prints, [lacks 1 sheet] and translation of the Japanese. . The work was compiled by the committee from the MOKUGO KAI [MOKUGO CLUB] and includes the works of Nakazawa Iwata, Ikebe Gissho, Tsumaki Tsuruichi, Yamamoto Shunkyo, Kagoi Toshiro, Kikuchi Samataro and Miyakodori Eiki. *** . *** WHO WAS THE ARTIST ASAI CHU [Tadashi] [1856-1907]: . Per Roberts below states, he was a "Western-style painter, born in Kazusa province, moved to Tokyo, later Kyoto, a pupil of Kunisawa Shikuro at his private school Shogido in 1875, and Antonio Fontanesi the next year at the Kobu Daigaku Bijitsu Gakko. In 1888, with Kawamura Kiyo-o and others, set up the Meiji Bijutsukai. In 1898 taught at the Tokyo School of Fine Arts. Served as a war artist in the Sino-Japanese war. From 1900 to 1902 in France, living first in Paris, then in Grez [near Paris], where he did some of his best work; exhibited at the Paris Exposition of 1900. On his return moved to Kyoto and became professor at the Kyoto Kogei Gakko; also took a leading part in Kyoto art circles as director of the Kansai Bijutsuin and founder of the Shogoin Yoga Kenkyusho. Among his best pupils were Ishii Hakutei, Umehara Ryuzaburo, and Yasui Sotaro. A leading painter of his time, most influential in the development of Western-style painting in Japan." He is well collected by world museums. . *** Wikipedia has an excellent article on Asai Chu. Asai Chu was a Japanese painter, noted for his pioneering work in developing the yoga (Western-style) art movement in late 19th century and early twentieth-century Japanese painting. . Asai was born to an ex-samurai class household in Sakura, in the Kanto region of Japan, where his father had been a retainer of the Sakura Domain. He attended the domain school, where his father was principal, and left home in 1873 to pursue English language studies in Tokyo. However, he became interested in the arts, and enrolled as a pupil of Kunisawa Shinkuro in western oil painting classes. In 1876, he enrolled as one of the first students in the Kobubijutsu Gakko [the Technical Fine Arts School], where he was able to study under the Italian foreign advisor Antonio Fontanesi, who had been hired by the Meiji government in the late 1870s to introduce Western oil painting to Japan. . He also tutored the noted poet Masaoka Shiki in the techniques of Western art, and was the model for a character in Natsume Soseki's novel "SANSHIRO." . Asai also used a number of "Go" or "studio names: Go: Mokugo, Mokugyo. . A number of Asai's works have been recognized by the Japanese government's Agency for Cultural Affairs as "IMPORTANT CULTURAL PROPERTIES.". . *** THE TWO EDITIONS: [AND UNSODO THE PUBLISHER]: . The title was printed in two editions: The FIRST EDITION OF 1909, superbly done, and a much later and poor quality edition of 1927. . This the FIRST EDITION OF 1909 is an exceptionally fine printing of the first pull off the woodblocks in full color. The quality of Unsodo in their early days was of the highest standard in Japan of the period. . The second edition was printed some eight years later in 1927, reflecting the world-wide depression attitude of poor-quality Japanese goods. This edition is cannot compare to the high quality First Edition. . *** THE BINDING: The work is bound in the original green-pictorial paper covered boards, with a decoration of flowers from the artists collection. The binding is solidly stitched with [recent] purple threads. . *** . PROTECTED IN CHITSU: . The book is protected in a typical indigo-blue cloth covered Chitsu [Japanese folding] case, circa the 1940's-50's period. It is very clean and solid, without any issues, complete with 2 bone clasps, all in all, in excellent condition. . *** Color photos are posted to our website . *** CONDITION: The book covers show signs of use and wear at the corners and edges, the contents is very clean, with all tissue guards placed before each illustration. There was a tiny worm hole on 2 pages, in the lower margins, properly restored ages ago, this is not anywhere near the graphics, the work is very solid. . *** REFERENCES: . * ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, cites this artist on p.6, left column. * Listed in world cat: by title: title/mokugo-nihongashu/oclc/8447778 77/editions?editionsView=true&referer=br * Author Cited in Wikipedia:: /wiki/Asai_Ch%C5%AB * Link: myjapanesehanga dot com/home/artists/asai-chu-1856-19 07 This illustrates a number of his drawings, and prints, with biographical data. . ***.

[EHON] Asai Chu, artist. TOSEI FUZOKU GOJU-BAN UTA-AWASE. [Modern Customs in a Comparison of 50 Pairs of Poems]. Tokyo: Yoshikawa Hanshichi, Meiji 40 [1907] 2 vols., 24.7 x 18.4 cm. 50 pairs of caricatures, with accompanying poems, all in color woodcut. Save some very slight worming, the overall condition, impressions and colors are very good. This is a copy of the first edition, which preceded the Unsodo of Kyoto reprint from the original blocks. Asai Chu (1856-1907) was one of the two (with Kuroda Seiki) most important oil painters of late Meiji era Japan. This work is in his "Haiga" literati mode and represents his most important foray into book illustration. Ref: Mitchell, p.534. A very good copy of an important book, the blind-patterned covers are a bit soiled.