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Volume iii of 3.\u003cbr\u003eOctavo 242 x 165mm\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e47 colored woodblock plates on 54 leaves (including 7 ‘diptych’ plates.) Stitched\u003cbr\u003ewith cloth head-bands within limp blue paper covered boards, later calligraphic\u003cbr\u003etitle on mounted section on upper cover (some light scuffing and discoloration),\u003cbr\u003emodern blue cloth box, blue morocco lettering-piece.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA fine example of Meiji era kacho-e (bird and flower images), featuring 47\u003cbr\u003ewoodblock plates of various flower varieties. An introductory table containing information on the chinese and japanese names, flower type, genus, local, flowering season, and more proceeds the polychrome plates. Accompanying the illustrated plates of the flowers are physical descriptions of each flower and their foliage printed within the plate image.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45564797026348,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SenshunoHana-14.png?v=1779399182"},{"product_id":"utagawa-sadahide-1807-1873-gokaiko-yokohama-no-zenzu-trans-a-complete-panoramic-view-of-yokohama-port","title":"UTAGAWA Sadahide (1807-1873 ) Gokaiko Yokohama no Zenzu (trans. A complete panoramic view of Yokohama port)","description":"\u003cp\u003eUTAGAWA Sadahide (1807-1873)\u003cbr\u003e\u003cem\u003eGokaiko Yokohama no Zenzu \u003c\/em\u003e\u003cem\u003e(trans. 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At the bottom are two numbered keys in both Latin and German.\u003cbr\u003eIn the top corners are two decorative cartouches, one naming the place mapped\u003cbr\u003ewithin an architectural surround, the other filled with beautifully engraved images of the martial prowess of Russia, including cannon, forts, a warship and\u003cbr\u003eglobes surmounted by the crest of the Russian Empire.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eSeutter’s map is believed to be directly copied from the first Russian plan of the\u003cbr\u003ecity, drawn by George Wolffgang Krafft for the Akademiya Nauk and published\u003cbr\u003ein 1737. In Seutter’s edition, the only significant modification is the replacement\u003cbr\u003eof Cyrillic Russian by Latin text.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45564806692908,"sku":null,"price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/YokohamaPort_2.jpg?v=1779400131"},{"product_id":"imao-keinen-1845-1924-goshawk-hunting-no-30-winter","title":"IMAO, Keinen (1845 -1924 ) Goshawk Hunting No. 30 (Winter)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGoshawk Hunting No. 30 (Winter)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 20\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566905253932,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-1.jpg?v=1779465869"},{"product_id":"imao-keinen-1845-1924-geese-no-4-autumn","title":"IMAO, Keinen (1845 -1924 ) Geese No.4 (Autumn)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGeese, No.4 (Autumn)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 20\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566905745452,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-3.jpg?v=1779466240"},{"product_id":"imao-keinen-1845-1924-tree-pipet-no-10-spring","title":"IMAO, Keinen (1845 -1924 ) Tree Pipet, No. 10 (Spring)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTree Pipet, No. 10 (Spring)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 20\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566905974828,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-5.jpg?v=1779466203"},{"product_id":"imao-keinen-1845-1924-pigeons-no-7-autumn","title":"IMAO, Keinen (1845 -1924 ) Pigeons, No. 7 (Autumn)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePigeons, No. 7 (Autumn)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 20\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566911578156,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-2.jpg?v=1779466797"},{"product_id":"imao-keinen-1845-1924-rooster-hen-canola-no-18-spring","title":"IMAO, Keinen (1845 -1924) Rooster, Hen, Canola, No. 18 (Spring)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRooster, Hen, Canola, No. 18 (Spring)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 20\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566912004140,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-4_1d6bd0be-559d-4ff6-8708-75bbce0eb20c.jpg?v=1779466870"},{"product_id":"imao-keinen-1845-1924-paradise-flycatcher-long-leaf-pine-no-1-spring","title":"IMAO, Keinen (1845 -1924) Paradise Flycatcher, Long Leaf Pine, No. 1 (Winter)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eParadise Flycatcher, Long Leaf Pine, No. 1 (Winter)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566913282092,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-11.jpg?v=1779467030"},{"product_id":"imao-keinen-1845-1924-quail-saggitarius-no-13-autumn","title":"IMAO, Keinen (1845 -1924) Quail, Saggitarius, No. 13 (Autumn)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eQuail, Saggitarius, No. 13 (Autumn)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566915969068,"sku":null,"price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-8.jpg?v=1779467167"},{"product_id":"imao-keinen-1845-1924-raven-no-17-winter","title":"IMAO, Keinen (1845 -1924) Raven, No. 17 (Winter)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRaven, No. 17 (Winter)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566917214252,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-9.jpg?v=1779467222"},{"product_id":"imao-keinen-1845-1924-thrush-wheat-no-17-spring","title":"IMAO, Keinen (1845 -1924) Thrush, Wheat, No. 17 (Spring)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThrush, Wheat, No. 17 (Spring)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566917836844,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-13.jpg?v=1779467343"},{"product_id":"imao-keinen-1845-1924-finch-lespedeza-no-18-autumn","title":"IMAO, Keinen (1845 -1924) Finch, Lespedeza, No. 18 (Autumn)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFinch, Lespedeza, No. 18 (Autumn\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566918557740,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-6.jpg?v=1779467435"},{"product_id":"imao-keinen-1845-1924-kinglets-jasmine-no-21-autumn","title":"IMAO, Keinen (1845 -1924) Kinglets, Jasmine, No. 21 (Autumn)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFinch, Lespedeza, No. 18 (Autumn\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566919901228,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-15.jpg?v=1779467518"},{"product_id":"imao-keinen-1845-1924-flycatcher-chestnut-no-23-autumn","title":"IMAO, Keinen (1845 -1924) Flycatcher, Chestnut, No. 23 (Autumn)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFlycatcher, Chestnut, No. 23 (Autumn)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566921015340,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-12.jpg?v=1779467640"},{"product_id":"imao-keinen-1845-1924-jay-japanese-oak-no-26-autumn","title":"IMAO, Keinen (1845 -1924) Jay, Japanese Oak, No. 26 (Autumn)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJay, Japanese Oak, No. 26 (Autumn)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566921605164,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-7.jpg?v=1779467766"},{"product_id":"imao-keinen-1845-1924-azure-winged-magpie-eurya-no-29-winter","title":"IMAO, Keinen (1845 -1924) Azure Winged Magpie, Eurya, No. 29 (Winter)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAzure Winged Magpie, Eurya, No. 29 (Winter)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566922915884,"sku":null,"price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-10.jpg?v=1779467951"},{"product_id":"imao-keinen-1845-1924-starling-day-lily-no-31-spring","title":"IMAO, Keinen (1845 -1924) Starling, Day Lily, No. 31 (Spring)","description":"\u003cp\u003eIMAO, Keinen (1845-1924)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eStarling, Day Lily, No. 31 (Spring)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom:\u003cem\u003e Keinen Kacho Gafu (trans. Keinen’s Flower-and-Bird Painting)\u003c\/em\u003eKyoto, 1891\u003c\/p\u003e\n\u003cp\u003e14 1\/2\" x 10\"\u003c\/p\u003e\n\u003cp\u003eSeasonal woodblock prints from Keinen Kacho Gafu, a popularized kacho-ga\u003cbr\u003epublications of the time, illustrated by Imao Keinen (1845-1924), a leader in the\u003cbr\u003eShin-Hanga movement.\u003c\/p\u003e\n\u003cp\u003eImao studied painting and calligraphy under ukiyo-e artist Umegawa Toukyo\u003cbr\u003eand traditional ink painter Suzuki Hyakunen. He taught painting as a professor\u003cbr\u003eat the Kyoto Prefecture School, starting in 1880, and soon grew to become one\u003cbr\u003eof the most well known painters of his time, in large part due to his famed work\u003cbr\u003eKeinen Kacho Gafu. Published first in 1891, these woodblock prints were released in sets of forty and in four volumes pertaining to a specific season, with\u003cbr\u003ethe blocks carved by Tanaka Hirokichi. Each print featured both striking large\u003cbr\u003ebirds and beautiful small songbirds set against scenery such as abundant chestnut trees or blossoming cherry branches. They were lauded for their naturalistic\u003cbr\u003epresentation of birds in their native habitat with wonderful lifelike detail and\u003cbr\u003eduly solidified Imao’s importance to Japanese art. Soon after their publication,\u003cbr\u003eImao was enlisted as a member of both the Imperial Household Art Committee\u003cbr\u003e(1904) and the Imperial Art Academy (1919).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKeinen Kacho Gafu is closely linked to the realm of Japanese textile and was\u003cbr\u003eused as a source for kimono design and decoration at the time. The book was\u003cbr\u003ecommissioned by Nishimura Sozaemon (1855-1935), a major textile producer\u003cbr\u003eand trader in Kyoto specializing in embroidery and hand-painted yuzen. As did\u003cbr\u003emany artists in Kyoto, Keinen supplemented his painting career by working\u003cbr\u003efor Sozaemon in the laborious effort of painting yuzen textiles. Imao’s Keinen\u003cbr\u003eKacho Gafu was conceived and realized in close contact with the naturalist Yamamoto Akio and two renowned artisans, the carver Tanaka Jirokichi and the\u003cbr\u003eprinter Miki Jinzaburo. Keinen Kacho Gafu was published initially by Tanaka\u003cbr\u003eJihei, a Kyoto publisher who curated the printing, publication and distribution\u003cbr\u003ethough the ownership of the woodblocks always remained with Nishimura Sozaemon. Later in 1894, the publisher Unsodo acquired Tanaka Jihei’s stock and\u003cbr\u003epublication rights and also reprinted the work with the original woodblocks,\u003cbr\u003erecognizable by the replacement of Tanaka Jihei’s name with Unsodo’s own.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566923243564,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/IMAO_Keinen-14.jpg?v=1779467910"},{"product_id":"geographical-fan-double-hemisphere-world-map","title":"Geographical Fan, Double Hemisphere World Map","description":"\u003cp\u003eGeographical Fan, Double Hemisphere World Map\u003c\/p\u003e\n\u003cp\u003eJapan: ca 1870s\u003c\/p\u003e\n\u003cp\u003e2 wood-engraved leaves (5 4\/8 inches in depth), printed in black with original\u003cbr\u003ehand-colour, over 29 bamboo rods (10 inches in length), held together by a\u003cbr\u003ebrass spindle (some insect damage and loss to extremity of paper leaves).\u003cbr\u003eA fine Japanese geographical fan showing a double hemisphere map of the\u003cbr\u003eworld, with the flags of the nations on each side, the verso decorated with\u003cbr\u003eviews of Paris, Hong Kong, Moscow, London, Washington and Osaka.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45567314985004,"sku":null,"price":6800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/1870sDoubleHemisphere_GeographicalFan_A.jpg?v=1779482638"},{"product_id":"geographical-fan-double-hemisphere-world-map-copy","title":"Geographical Fan, China, Korea and Japan","description":"\u003cp\u003eGeographical Fan, China, Korea and Japan\u003c\/p\u003e\n\u003cp\u003eJapan: ca 1870s\u003c\/p\u003e\n\u003cp\u003e22 lithographed leaves (7 inches in depth), printed in red and black, over 16 black lacquered bamboo rods\u003c\/p\u003e\n\u003cp\u003e(12 inches in length), held together by black lacquered\u003cbr\u003ebamboo spindle and engraved bone discs.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45573386633260,"sku":null,"price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/1880sEnkoji_GeographicalFan_A.jpg?v=1779810302"},{"product_id":"geographical-fan-double-hemisphere-world-map-1","title":"Geographical Fan, Double Hemisphere World Map","description":"\u003cp\u003e\u003cem\u003eGeographical Fan, \u003c\/em\u003e\u003cem\u003eDouble Hemisphere World Map\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eJapan: ca 1870s\u003c\/p\u003e\n\u003cp\u003e2 wood-engraved leaves (5 4\/8 inches in depth), printed in black, over 30 bamboo rods (9 4\/8 inches in length), held together by a brass spindle, verso decorated with a map of\u003cbr\u003eJapan and view of a shrine.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45573391122476,"sku":null,"price":6800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/1880sDoubleHemisphere_GeographicalFan_A_1.jpg?v=1779810566"},{"product_id":"anonymous-map-of-suruga-province","title":"ANONYMOUS. Map of Suruga Province","description":"\u003cp\u003eAnonymous\u003cbr\u003e\u003cem\u003eMap of Suruga Province\u003c\/em\u003e\u003cbr\u003eOriginal pen and ink and watercolor map on\u003cbr\u003eseveral sheets of washi paper\u003cbr\u003e71” x 68” combined sheet;\u003cbr\u003e75” x 72” framed\u003c\/p\u003e\n\u003cp\u003eManuscript map of Suruga Province, featuring Mount Fuji, and showing significant villages and other notable landmarks, calligraphic notations in the margins and throughout detail the local economy.\u003c\/p\u003e\n\u003cp\u003eA fascinating and important map of Suruga province (present day Shizuoka and\u003cbr\u003eparts of Yamanashi and Kanagawa prefectures) showing the seven prefectureS of Suruga: Shida, Mashizu, Abe, Udo, Ihara, Fuji, and Sunto, with a magnificent view Mount Fuji and surrounding foothills. This giant provincial map was mostly produced for use as an economic report from the Japanese lords (daimyo) to promulgate the decisions of the Shogunate in Edo. Given its monumental size and multidirectional text, it is understood that Shogunate leaders likely viewed these maps standing from above, in large tatami mat ceremonial rooms at Edo Castle. Place names are denoted within round labels with red and yellow wash, while main roads and routes to the shogunal court are marked in\u003cbr\u003ered vermillion paint, a mapmaking practice derived from China.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45574215630892,"sku":null,"price":100000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SURUGA_1.jpg?v=1779832605"}],"url":"https:\/\/aradernyc.com\/collections\/japanese-books-prints-and-maps.oembed?page=3","provider":"Arader Galleries","version":"1.0","type":"link"}