WOODBLOCK BOOKPLATE FROM KATSUSHIKA HOKUSAI’S EHON MUSASHI ABUMI; lit. “Ehon” (Picture Book) “Musashi Abumi” (The Stirrups of Musashi)

STRONG IMPRESSION. BRIGHT, CRISP IMAGE. VERY LIGHT TONING. EXCELLENT STATE OF PRESERVATION. RARE. Usual edge, corner wear or slightly thumbed, bit of soiling. All of this is to be expected from generations of admiration and attrition.

First publication date: Edo 1836, Nishimiya

This bookplate is printed from the original 1836 blocks. Production date later, but definitely during the Edo Period. 

BOOKPLATE FROM ONE OF HOKUSAI’S MOST CHERISHED AND SOUGHT AFTER WORKS

Done at age 77, Hokusai signed this work, “Old Man Mad On Drawing.”

EHON MUSASHI ABUMI—One of Hokusai’s most dynamic and best known picture books of sword wielding Samurai charging and defending against enemy attacks.

Musashi Abumi is the name of the samurai armor made in Musashi Japan (named after the greatest samurai of all, Miyamoto Musashi).

In these drawings famous samurai take on their advisories etc: fighting the great carp; paying homage to the great serpent; riding fearless steed into war; sword fighting against the forces of evil, while saving the helpless and the meek. These drawings are synonymous with the samurai spirit (Bushidō), and as such are indispensable to the culture of Japan.

Much has been made of the fact that Egawa Tomekichi, Hokusai’s preferred craftsman. He cut the blocks for the musha-e books as well as all 3 volumes of 100 Views of Fuji. His fine and detailed work is superb and still keeps much of its beauty even in later issues pulled from the blocks.

Egawa Tomekichi (Flourished c. 1830 to 1850):

Hokusai had studied carving as an apprentice and as an exceptional draughtsman he relied on the woodblock carver to accurately replicate the quality of his line when it came to printing. In an 1835 letter sent to various publishers he complained about the standard of cutting in earlier editions of his Manga, Musha-e zukushi, and other books, and urged repeatedly that they employ Egawa Tomechiki of Asakusa in the future. Egawa is credited in the twelfth volume of the Manga published in 1834, and Hokusai praised his work on his recently issued Fugaku Hyakkei, writing that: “From the first to the third volume, I found not a singe corner of the carving that left me dissatisfied. For this reason, if Egawa were to take care of the carving I should also be more motivated and could concentrate better on my own work ... My one concern is to produce a well-made book.”

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KATSUSHIKA HOKUSAI (1760-1849)

Katsushika Hokusai is one of Japan’s most cherished artists. His works are full of cheerfulness, humor and optimism. He had a refined knack of both capturing and creating the true nature of his times. His works will never need an explanation, nor a philosophy, nor a reaction to any condition. The message is a large splinter embedded in the art of art—creation!

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ORIGINAL, AUTHENTIC, EXCEEDINGLY STRONG EXAMPLE — REPRESENTING THE FINEST CALIBER OF HOKUSAI’S OPUS.

AUTHENTICITY GUARANTEED—YEARS OF SOUND ARTISTIC UNDERSTANDING AND A PASSIONATE INTEREST IN THE AESTHETICS AND HISTORY OF HUMANITY HAVE BROUGHT MUCH INSIGHT INTO THESE RARE ARTIFACTS.

My prices are extremely reasonable and far below what one would be expected to pay for this caliber of art in a gallery or at auction.

COMBINED SHIPPING: If you have payments due on more than one item, please wait for me to send you an invoice. I will adjust the cost of shipping fairly.

I work hard to provide fast and courteous service, as my aim is complete customer satisfaction. Thank you for visiting my store.

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A bit of friendly advice on matting bookplate diptych prints before framing:

All bookplates that I have up for auction haven’t been butchered down the center seam waiting to be pieced together. Since these images were never intended to be assembled as a single print no attempt has been made to do so. Personally, and for justifiable aesthetic reasons, I prefer to mat bookplate diptychs with a half inch or 1.2 centimeter space left between the two separate panels. It is also more archival, saving the print from harmful and messy taping or glueing at the seam. If you do attempt this, you may find that the two halves don’t even line up from top to bottom (end result—you’ll be wearing a suit from a tailor who’s not paid the dues). Remember, once this action is done it can’t be undone. When considering the fact that the art is forever fresh and alive as it is, what reason is there to meddle with it by reassembling it to your particular preferences (hubris perhaps?). Just a bit of friendly advise, but as always, I leave such matters to the discretion of the buyer.