{"id":1626,"date":"2026-02-05T18:23:12","date_gmt":"2026-02-05T09:23:12","guid":{"rendered":"https:\/\/www.yamada-shoten.com\/english\/blog\/?p=1626"},"modified":"2026-02-05T18:23:12","modified_gmt":"2026-02-05T09:23:12","slug":"new-arrivals-books-related-to-serizawa-keisuke-ikeda-masuo-karasawa-hitoshi-takeda-fumiko-wakabayashi-isamu-azechi-umetaro-onchi-koshiro-kiyonaga-kunisada-and-more","status":"publish","type":"post","link":"https:\/\/www.yamada-shoten.com\/english\/blog\/?p=1626","title":{"rendered":"[New Arrivals] Books related to Serizawa Keisuke, Ikeda Masuo, Karasawa Hitoshi, Takeda Fumiko, Wakabayashi Isamu, Azechi Umetaro, Onchi Koshiro, Kiyonaga, Kunisada and more"},"content":{"rendered":"
\n
\n
\n\t\t
\n\t\t\"Hariko
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Hariko iroiro” by Serizawa Keisuke<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Katazome
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Katazome Match Labels” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Exlibris
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Exlibris Collection by Serizawa Keisuke” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Hitori
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Hitori to Futari” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"My
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“My Own America” by Ikeda Masuo<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Potteries
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Potteries by Ikeda Masuo” by Ikeda Masuo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Fujiyama
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Fujiyama Geisha” written by Ikeda Masuo, prints by Kanamori Yoshio\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Fujiyama
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Fujiyama Geisha” written by Ikeda Masuo, prints by Kanamori Yoshio\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Letters
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Letters to Close Friends” by Ikeda Masuo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Hitoshi
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Hitoshi KARASAWA: The Wood-Engraving Prints”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Hitoshi
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Hitoshi KARASAWA: The Wood-Engraving Prints 1971-1996”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Fumiko
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Fumiko Takeda Print Works 1989-1998”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shikisai
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shikisai soko” by Tamura Fumio\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"ISAMU
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“ISAMU WAKABAYAHI: BLUE DRAWINGS & YELLOW DRAWINGS”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures: Outie of Mountain” by Azechi Umetaro<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Azechi
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Azechi Umetaro Works (13) Yama no ehon(Picture book of mountain\uff09” edited by Ran Shigeyuki\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures: Stories of the North and the South” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures: Setsunasa no Yama” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures: Yorokobi no Itadaki” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures: Yorokobi no Itadaki” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Dimples
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Dimples of Mountain” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures: 60 Years of Plodding Along” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures: Outie of Mountain” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Stories
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Stories of the North and the South” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures: Setsunasa no Yama” by Azechi Umetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Copperplate
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Copperplate Prints: Mount Fuji, 21” by Miyashita Tokio\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Prints
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Prints and Sentences: My Walking Path” by Miyashita Tokio\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Personal
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Personal collection of pages of magazines and books”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Jansem
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\tJansem Lithographe<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"New
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“New Concept: Printmaking Techniques” written by Ono Tadashige\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Han
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Han no e \/ Volumes 1-10”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Hanga
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Hanga Dokuhon” edited by Zokei Hanga Kyokai\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"THE
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“THE WOODBLOCK PRINTS OF MUNENORI MAKINO”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Tsukuhae
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Tsukuhae” edited by Inoue Yoshiko, Fujimoto Manami and Teraguchi Junji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Japanese
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Japanese Prints: The Collection of Vincent van Gogh” written by Chris Uhlenbeck, Louis van Tilborgh and Oikawa Shigeru\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"MIYAKE
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey” supervised by Miyake Issey and Aoki Tamotsu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"George
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“George Barbier: Master of Art Deco” written & supervised by Unno Hiroshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"William
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“William Morris: Farther of Modern Design and Pattern” written & supervised by Unno Hiroshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"History
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“History of Women in Aomori Prefecture” edited by Aomori ken Joseishi Hensan Iinkai\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Takehisa
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Takehisa Yumeji” edited by Nagata Mikio\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"X-ray
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“X-ray Film Catalogue, I: Archaeological Evidence”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Mokko
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Mokko” written by Kimura Isao, prints by Fujita Kenji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Tsugaru
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Tsugaru no Warabe uta” by Fujita Kenji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Essays
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Essays with pictures by Sasajima Kihei: Ichijin” by Sasajima Kihei\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Le
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Le Theatre Japonais” written by Albert Maybon\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Visual
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Visual Magome Bunshimura 2” edited by Nishimura Toshiyasu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 1 of Volume 1” edited by Onchi Koshiro<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 2 of Volume 1” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 3 of Volume 1” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 4 of Volume 1” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 5 of Volume 1” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 1 of Volume 2” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 2 of Volume 2” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 2 of Volume 2” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 5 of Volume 2” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 6 of Volume 2” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 2 of Volume 4” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 2 of Volume 4” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Supplement
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Supplement for Shoso Magazine, No. 5 of Volume 4: Paper Samples”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Supplement
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Supplement for Shoso Magazine, No. 5 of Volume 4: Paper Samples”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 1 of Volume 5” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 1 of Volume 5” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 1 of Volume 6” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Magazine \/ No. 1 of Volume 7: Modern Book Culture” edited by Onchi Koshiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Stencil
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Stencil Printing \/ Nos. 1-5&6 (combined issue) of Volume 1” edited by Wakayama Yasoji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Stencil
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Stencil Printing \/ Nos. 1-4 of Volume 1” edited by Wakayama Yasoji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Stencil
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Stencil Printing \/ Nos. 1-3 of Volume 1” edited by Wakayama Yasoji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Stencil
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Stencil Printing \/ Nos. 1-3 of Volume 1” edited by Wakayama Yasoji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Art of Bookplates: World of Exlibris” written by Hida Naoto\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Japanese
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Japanese Exlibris” written by Unno Hiroshi, Sakamoto Kazutoshi and Cliff Parfit, edited by Nippon Exlibris Association\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Golden
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Golden Age Exlibris” written by Cliff Parfit, supervised by Nippon Exlibris Association\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Bookplate
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Bookplate Art and Graphic Art”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Prints
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Prints in Japan and the Artist Motoi Yanagida” written by Aulo-Gelio Severino Godinho\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Modern
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Modern Japanese Prints”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Exlibris
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Exlibris by Mitsui Eiichi” by Mitsui Eiichi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Sotherby's
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Sotherby’s Huguette Beres Collection”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Komai
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Komai Tetsuro Exhibition”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Wind
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Wind of Karuizawa: Japanese Contemporary Art 1950-2012”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Ota
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Ota Ward Depicted in Works”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Fujimaki
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Fujimaki Yoshio”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Maeda
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Maeda Toshiro and Kawakami Sumio”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Fujimaki
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Fujimaki Yoshio”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"SEIMIYA
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“SEIMIYA NAOBUMI”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Onuki
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Onuki Yoshiichiro”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"YOSA
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“YOSA BUSON: On the Wings of Art”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"KAWASE
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“KAWASE HASUI” edited by Chiba City Museum of Art and NHK Service Center\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Onchi
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Onchi Koshiro”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"KABUKI:
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“KABUKI: Theaters during the Edo Period”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Avant-garde
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Avant-garde Graphics in Russia” by written & supervised by Unno Hiroshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Dreams
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Dreams of Taninaka Yasunori”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Eyes
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Eyes and Hands of Sugiura Hisui”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Special
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Special Exhibition: 400 Years of Nakasendo”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Takahata
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Takahata Isao: A Legend in Japanese Animation”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Munakata
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Munakata Shiko Exhibition: Lithographs”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"TORII
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“TORII KIYONAGA: The Birth of Venus in Edo”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Utagawa
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Utagawa Kunisada: 150th Anniversary of his death” edited by Ota Memorial Museum of Art\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Bessatsu
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Bessatsu Taiyo magazine: Tsukioka Yoshitoshi – 120 Years after His Death” supervised by Iwakiri Yuriko\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Ukiyoe
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Ukiyoe jiten (teihon)” written by Yoshida Teruji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Map
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Map of Edo”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Suzuki
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Suzuki Harunobu”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"YOSHITOSHI
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“YOSHITOSHI” edited by Yokoo Tadanori and Nakayama Toyohiko\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Tsutaya
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Tsutaya Juzaburo: Publisher who Discovered Utamaro and Sharaku”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"HOKUSAI
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“HOKUSAI UPDATED” supervised by Nagata Seiji\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Otsu-e\"
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Otsu-e”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Last
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Last Ukiyoe: Inheritors of Ukiyo-e”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Ima
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Ima ni ikiru Ukiyoe”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Kiyochika
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Kiyochika gaden” written by Kurosaki Makoto\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Kawanabe
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Kawanabe Kyosai Memorial Museum News \/ Volume 1, 1977-1992”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Journal
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Journal KYOSAI \/ No. 72”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Journal
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Journal KYOSAI \/ No. 73”<\/a>\n\t<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

“Hariko iroiro” by Serizawa Keisuke “Katazome Match Labels” by Serizawa Keisuke “Exlibris Collection by Serizawa Keisuke” by Serizawa Keisuke “Hitori to Futari” by Serizawa Keisuke “My Own America” by Ikeda Masuo “Potteries by Ikeda Masuo” by Ikeda Masuo “Fujiyama Geisha” written by Ikeda Masuo, prints by Kanamori Yoshio “Fujiyama Geisha” written by Ikeda Masuo, prints […]<\/p>\n","protected":false},"author":1,"featured_media":1629,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1626","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-new-arrivals"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1626","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1626"}],"version-history":[{"count":8,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1626\/revisions"}],"predecessor-version":[{"id":1635,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1626\/revisions\/1635"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/media\/1629"}],"wp:attachment":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1626"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1626"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1626"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}