Japanese Duvet Covers


Below is an example of a rather unique binding, at least for Hasegawa books. Sign in to add this to a playlist. Don't have an account? Obwohl Investoren in der Regel ihre beabsichtigten Trades über das Wochenende durch eine traditionelle Börsenmaklerfirma platzieren können, werden diese nach Stunden Trades nicht tatsächlich ausgeführt, bis der Handel am folgenden Geschäftstag wieder aufgenommen wurde.

Find a copy in the library

The editors further note awards of any of the following literary prizes: The volume also includes a number of highly useful indexes: I might note in passing that this situation has sometimes led to fundamental misunderstandings of the original. South of the Border, West of the Sun , a discussion of the translation among the panel of reviewers on the popular German television show "Literarisches Quartett" Literary Quartet led to a dispute between the eminent literary critic Marcel Reich-Ranicki and his colleague Sigrid Löffler over the description of the sex scenes in the work.

To some extent, their debate had its roots in problems with the translation from the English version. Astonishingly, these critics did not even consider the issue of possible interference from a third language, nor that the drastic wording they were discussing might not in fact appear in the original. Even a quick look through the bibliography will attest that a broad array of Japanese works is already available in German—a fact emphasized, too, by the volume's colorful, eye-catching, cover, which shows the covers of German translations of twenty-five Japanese novels.

As this sampling shows, some books sport quite If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'. View freely available titles: Book titles OR Journal titles. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Built on the Johns Hopkins University Campus. This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless. Regardless, the total number of pages is pages on 54 folded leaves.

First Page of Each Section: The books published by Takejiro Hasegawa are in the nature of books falling under the Japanese generic descriptive title of Ehon "e" - picture "hon" - book. They are generally bound in the traditional Japanese book binding style know as "fukuro-toji" which means "pouch binding. They are then folded in half with the printed side out.

The folded printed sheets are then stacked together along with similarly printed and folded covers and the unit secured along the spine, which is the side opposite the folds, to form the book.

This technique gives you the folded pages double leaves which are open at the top and bottom forming the pouch "fukuro" which the binding technique is named after. Generally the spine is not covered except for small portions at the top and bottom.

Hasegawa seldom used this form of binding. However, some of the early first editions are found secured in the traditional four hole string tie fashion. I have only seen this with the plain paper books. Most Hasegawa books were secured at the spine using two stab type holes one at the top and one at the bottom and secured by silk string or silk ribbon ties Yamato toji binding.

Large books consolidating several individual books are found bound with Kangxi bindings. A very few were tied in a Western style with the string binding concealed under the outside portion of the front and back covers. The paper used was a high quality wood no rag content based "washi," generally manufactured from mulberry.

The majority of the books were crepe "chirimen" paper. These are referred to as "chirimen-bon" crepe paper book in Japanese.

The crepe paper process occurred between the printing process and binding processes. Hasegawa's books were uniformly of high quality in all aspects; paper, ink, execution of the art and text, printing woodblock printing and Western type face text printing , assembly and binding. Key Actors in the Production Process. These books involved several key actors in the production process.

Since these books were intended for markets outside of Japan, Hasegawa employed numerous prominent foreigners for this task. Many famous Westerners living in Meiji Japan were associated with Hasegawa's work. Occasionally, Hasegawa would be commissioned by others to produce their work.

However, the overwhelming majority of the books were published at his initiative and under his control. Hasegawa retained a group of artists to execute the illustrations for his work. The text printing in the books was executed by a different printer from the woodblock printer. The woodblocks would be produced from the artist's work and then printed by the woodblock printer. It appears that most of the woodblock printing was done by the Komiya family. In his bibliography of these books, he documents the books and, as far as the information was available, gives the names of these key people.

His book also provides an in depth discussion of Hasegawa's life and business and the key authors and translators he employed. Sharf's work is an essential resource for the collector and student of these books.

There are four basic sizes of the crepe paper books. The smallest size I have seen in the Japanese Fairy Tale books not calendars, however. This is the standard size for the Fairy Tale Series books. It is possible to generalize on size of crepe books versus plain paper books.

As a general rule the plain paper books measure Since the crepe books were first completed in a plain paper format and the paper then creped, perhaps the difference is shrinkage during that process.

They were also sold in crepe paper versions. Discussed and illustrated below. When the books are enclosed in these hinged cases, the top and bottom of the case are open.

The following have been confirmed with folding cases: The books contain Japanese language colophons, generally at the rear. These colophons usually state: A word of caution is necessary regarding colophons in these books.

It was not unusual for a later reprint of a book to contain the same colophon found in the earlier edition. Dating these books can be a complicated undertaking and that is discussed below.

Amelang's Verlag, Leipzig Messrs. These books are generally found bound into four volumes but sometimes unbound and in the original state. With offices in London and Sydney, and with a solid reputation for their children's books, the firm was an important client for Hasegawa in the 's. The books that Griffith, Farran contracted with Hasegawa to produce were more in the Western vein, with sewn and glued spines , and with Griffith, Farran identification on the cover.

Sharf at page 22, underlining is mine From a binding perspective the major distinction in these special production books is that they are not bound by stab ties or external string ties. Additional information on several of these books is found here. The Fairy Tale books were printed several languages. The same three titles were translated into Swedish see below. A Dutch language calendar has also been reported Almanak voor An early edition Battle of the Monkey and the Crab is reported on plain paper in medium size In this book the covers are in color but the internal woodblocks are black and white.

This type of book would date between and In an advertisement published in , Hasegawa offered the 20 volume set ".. German - "Japanische Marchen" First Series: For more information on the German translations, click here. Japanische Marchen, Momotaro , was republished in To see the covers and book list in this book, click here. In an advertisement published in , Hasegawa offered volumes ".. Spanish - Two series. First series, " Cuentos del Japon Viejo Nos. Several Spanish language calendars have been reported.

Swedish - "Japanesiski Sagor" - were translated by Konni Zilliacus who spent the period from in Japan. During this time he collaborated with T. Hasegawa to translate Fairy Tales No. Hasegawa's Tryckeri" 10 Hiyoshi-cho, Tokyo. To see the front covers of these books, click here. The same three titles were translated into Danish see above. It appears that a series in Polish was proposed but never published.

I have not seen a definitive listing of all the books and calendars produced by The Kobunsha and T. Hasegawa over the years. However, a review of this material that I have seen indicates more than different and distinctive books or calendars were produced over this period. One advanced collector has placed the total at more than This includes crepe and plain paper books of the same title as well as versions of the books in different languages as distinctive publications.

It does not include different printing of the same item. I have not found a record of the output of the various Hasegawa publications. Sharf notes that the books were " I am aware of only one book where the quantity printed is actually stated. That is Japanese Dramen: At least seven editions of the book were produced with a quantity of 1, copies per edition.

In this book the quantity is stated on the folding case, on the title page and in the colophon. Takejiro Hasegawa in Japanese. In the colophon of these books you often see Hasegawa's name in this manner: A listing of addresses and dates is provided in the Sharf book at Appendix Three. A true first edition set of the Fairy Tale series will consist of the first twelve titles on plain paper, with titles in phonetic Japanese, and the imprint Kobunsha. Hollander, at page Unfortunately, it is not as simple as this.

I find it interesting that Sharf does not deal with the matter of the various editions in his comprehensive book on T. Hasegawa aside from presenting printing and publication dates. Since earlier dates were often repeated verbatim in later editions, the dates you find are not absolutely determinative as to whether a book is a first edition.

I believe that the plain paper books predated the crepe paper books for the first 20 English Japanese Fairy Tale Series books. Baxley Copyright and Fair Use Policy is here. If you have material to sell, please visit this page: The first editions of the first 12 English language Japanese Fairy Tale Series have the title spelled phonetically in English transliterated. The title appears translated into English on the first page of the text.

In addition, these books are plain paper and have the Kobunsha imprint. Currently, my research indicates that starting with No. It also appears that starting with No 13 use of the transliterated title was discontinued in favor of the translated title. In a comment somewhat related to this matter, Frederic A. The first printed listing of Kobunsha products seen by the author was issued in December of , and it contained the first twelve volumes of the Japanese Fairy Tale Series.

Each volume was identified with the cover title in Japanese and the English equivalent on the inside first page. The next listing was issued February with fourteen volumes, but at this point all the cover titles were in English, an obvious concession to the need to develop an export market.

Sharf at page 12 Regarding paper type plain and crepe , Sharf notes that the Maruzen firm first listed the Hasegawa books in it's catalogue and at that time they were all plain paper versions Sharf at page He then observes that in an Maruzen catalogue, they were listed in crepe and plain paper. It certainly does appear that in the period around , as the Kobunsha imprint was being discontinued and the T. Hasegawa imprint was being established, there was a definite shift from the production of plain paper books to creped paper books.

I am of the opinion that the plain paper versions of these books were the first editions and probably the same is the case for Nos. With regard to plain paper versions of Nos. They may have a slightly different color scheme on the front cover. Despite the slightly different covers, the colophons and contents are the same.

I am of the opinion that it is accurate to call all the plain paper versions of Nos. My review of these books leads me to the following tentative conclusions. Transliterated Titles on the Front Cover: Type A transliterated titles appear believed used only on Nos. Use confirmed on Nos. Type A1 transliterated and with Fairy Tale no.

Type A1 titles of Nos. Use confirmed on No. Translated Titles on the Front Cover: Type B translated and with Fairy Tale No. Use has been confirmed on Nos. I believe it is very likely that all numbers between have a later first edition but later printing plain paper printing using the Type B title cover.

Further, I believe that starting with No. Type B1 variant translated but without Fairy Tale no. The books discussed above all have illustrated front and back covers. A variant of these books has been recorded with plain brown covers bound in Japanese style with thin string ties.

These books have a white paste on label with a decorative border which reads "Japanese Fairy Tales" at the top. Below that is the name of the tale in Japanese and translated into English. Below that is "Published by Kobunsha" and the No 2.

On the right and left are vertical columns of Japanese text. The left hand columns give the printing and publication dates and all were printed and published in Meiji 18 The dates given correspond to the dates found on the plain paper first editions with color illustrated covers.

The labels do not have a fairy tale number and none is stated internally. Books in this format are reported for "Momotaro" No. All illustrations in these books are in black and white. Sharf, referring to these books, calls them the "first Kobunsha" books and notes they were intended for the Japanese educational market Sharf at page Plain Paper Versions of Nos.

These numbers are probably all found in plain paper versions. The plain paper versions I have seen of these are only found with translated titles which include "Japanese Fairy Tale Series No.

The crepe paper versions carry the same type titles. However, it does appear logical that the plain paper versions were published and distributed before the crepe paper versions. The plain paper versions are uniformly larger than the crepe paper ones, measuring As with most books, values generally vary on a particular item based upon when it was printed and published.