Since 2009 Nihon no hanga has published numerous catalogues. Unfortunately most of the earlier publications have been sold out. These may be found through secondhand book sellers.
Exhibition guides and catalogues can be ordered by sending an email with full address details. You will receive a confirmation of your order, an invoice and instructions for payment. Within EU we accept payment by bank, outside EU we accept PayPal.
currently we are unable to process book orders. if you wish to be added to our waiting list, please send us an email.
Great Tokyo: One Hundred Views by Koizumi Kishio
maureen de vries
Koizumi Kishio (1893-1945) was a creative print (sōsaku hanga) artist who was dedicated to the complete self-production of his prints. One of his greatest ambitions was to create a series of one hundred views of Tokyo. He was inspired by great woodblock print artists such as Katsushika Hokusai (1760-1849) and Utagawa Hiroshige (1797-1858), who both devoted series to the city – then known as Edo. During the course of Kishio’s project, Tokyo changed significantly. Through the city’s hardships of the Great Kantō Earthquake of 1923, and the following period of immense urban upheaval, Kishio continued to find inspiration for his woodblock prints in the ever-changing metropolis of Great Tokyo. From the first print in October 1928 to the hundredth design of December 1937, Kishio worked diligently on what he called his life’s work. Through one hundred views, the exhibition will explore Kishio’s personal interpretation of the reconstructed visual identity of Tokyo, as well as highlighting the intriguing story behind the making of the series. This catalogue is the first to showcase the complete set of the series released by the artist himself in 1940.
Note: the first printing of Great Tokyo sold out during our open weekends (subtitle in white). We only have the second printing in stock (subtitle in yellow). Due to increased printing costs for the reprint we have adjusted the sales price.
Exhibition guide, 84 pp, pb (glued binding), full colour, 105 illustrations (autumn 2019).
Collected and Shared: 30 Years of Collecting, 10 Years of Nihon no hanga
Elise Wessels, Maureen de Vries
In spring 2019 it has been ten years since the doors first opened for Nihon no hanga. For Elise Wessels, collecting started thirty years ago, when frequent trips to Japan sparked an interest in Japanese prints. These two milestones are celebrated in the exhibition Collected and Shared, which will present how the collection came together.
Elise Wessels will reflect upon a number themes that have shaped the development of the Nihon no hanga treasury, through the lens of our past exhibitions. As guardians of this collection, it is our duty to warrant the quality of the prints by limiting their exposure to light. The examples used in the exhibitions in Amsterdam, Geneva and Paris therefore needed to be excluded from this exhibition. Fortunately with the holdings now exceeding 2000 woodblock prints and d books, we can still illustrate Nihon no hanga’s journey through the history of the collection. Collected and Shared will not only be a study of our exploration of 20th century Japanese prints, but will also show the recent trends of expansion as well as what the future might hold for Nihon no hanga.
Exhibition guide, 84 pp, pb (glued binding), full colour, 95 illustrations (spring 2019).
Birds, Beasts and Beloved Pets: Animals in Modern Japanese Prints
maureen de vries
Animals have long been part of the tradition of Japanese woodblock prints, spanning a variety of styles. Kuniyoshi created humorous depictions of the twelve zodiac animals, of playful anthropomorphic fish jumping around and of cats, either impersonating humans or freely being themselves. Hiroshige and Hokusai on the other hand, designed pure prints of birds and other animals often in combination with poetry. In the 20th century part of this ‘pure’ tradition of depicting birds and animals continues in the Shin hanga tradition. In the Sōsaku hanga tradition, however, a new trend can be seen: animals are shown in the countryside, in urban settings and as pets. The use of animal motifs in design books and 20th century Japanese scroll paintings will also be highlighted. The exhibition is organised by theme, based on the animal’s role in the Japanese setting.
Exhibition guide, 62 pp, pb (stapled binding), full colour, 112 illustrations (autumn 2018).
Vincent in Japan: Admired, Worshipped and Copied
MAUREEN DE VRIES
In this booklet we shed light on the appreciation and adoration of Vincent van Gogh in Japan.
Japanese artists became aware of Vincent at a time when their art world was experiencing turbulent change during the first decades of the 20th century. Not only his art, but also his personal life sparked the imagination of many artists. They traveled to France to study western style painting and some of these artists wanted to trace Vincent’s last footsteps in Auvers-sur-Oise. There they visited the hospitable Paul Gachet Jr, the son of Dr Paul Gachet who took care of Vincent during the last months of his life and who kept a collection of paintings and drawings. In Gachet’s carefully kept guestbooks we encounter the names of artists who are familiar to the visitors of Nihon no hanga. This exhibition shows the printed works of artists who were moved by Van Gogh, paintings by the first Japanese biographer of Van Gogh, and culminates in the project of one artist in particular, Okuyama Gihachirō. His ‘translations’ of 23 iconic Van Gogh paintings and drawings in woodblock are included in this booklet.
Vincent in Japan: Admired, Worshipped and Copied highlights how dedicated artists collaborated with devoted enthusiasts to maintain the Japanese adoration of Van Gogh, a legacy in its own right.
Exhibition guide, 62 pp, pb (stapled binding), full colour, 75 illustrations (spring 2018).
Printing Styles: Techniques of Japanese printmaking
MAUREEN DE VRIES
The most asked question in our museum has always been: how are these prints made? In this small booklet, we will give a detailed answer: highlighting woodblock printing techniques illustrated by prints from the collection. Printing Styles covers anything from traditional woodblocks to the differences in production of Shin hanga and Sōsaku hanga, special techniques, materials, and tools used printmaking.
Exhibition guide, 46 pp, pb (stapled binding), full colour, 50 illustrations (autumn 2017).
Adventurous Artists: Depicting Japan and the World
MAUREEN DE VRIES
West studies East and East studies West. For our 2017 exhibition we delve into the beginnings of 20th century Japanese printmaking. In the 19th century many western artists were infatuated with anything Japanese, and with Japan opening its doors to the world and new modes of travel, a journey to this intriguing country became a possibility for some. While many notable western painters used the imagery and composition of Japanese prints as an inspiration, a few set their hearts on learning the elaborate process of woodblock printmaking.
This exhibition is dedicated to western and Japanese artists who became part of an intricate and fluid network of early 20th century printmaking, which even extended to contemporary western artists making their own Japanese style woodblock prints without ever adventuring to Japan.
Exhibition guide, 46 pp, pb (stapled binding), full colour, 87 illustrations (spring 2017).
Waves of renewal: modern Japanese prints, 1900 to 1960
Selections from the Nihon no Hanga collection, Amsterdam
Chris Uhlenbeck, Amy Reigle Newland and Maureen de Vries
only for sale in the museum
Waves of renewal traces the history of Japanese printmaking following an era of decline beginning in the late nineteenth century. The early twentieth century witnessed the emergence of two principal printmaking movements. The first shin hanga (new print) reinvented and revitalised the conventional genres of landscape, beauties and actors. Shin hanga adhered to a traditional production method that was based on the cooperation between artist, block-cutter, printer and publisher. At the same time, it strove to forge a new visual language in both style and technique. The second sōsaku hanga (creative print) was inspired by the dialogue between Western and Japanese art and aesthetics. In the main, sōsaku hanga adherents advocated the participation of the artist in the entire creative process from design to production.
Waves of renewal is the most comprehensive publication to date to focus on the holdings of the Nihon no hanga collection in Amsterdam. The 277 prints included showcase the sophistication of shin hanga and the boldness of sōsaku hanga. An introductory essay sets the stage, followed by ten shorter essays by noted scholars in the field that centre on aspects integral to our understanding of early to mid-twentieth century Japanese printmaking. Each print is documented and annotated in the extensive catalogue section.
This book coincided with the very successful exhibition ‘Modern Japanese prints: 1910-1960’ held at the Baur Foundation – Museum of Far Eastern Art in Geneva, Switzerland from 3 March – 22 May 2016.
Chris Uhlenbeck; Amy Reigle Newland; Shōichirō Watanabe; Setsuko Abe; Kendall H. Brown; Mikiko Hirayama; Junko Nishiyama; Chiaki Ajioka; Noriko Kuwahara; Kiyoko Sawatari; Maureen de Vries
Publication Date: March 2016
Pages, Illustr.: 320 pp.; ca. 380 color illus.
Imprint: Hotei Publishing
This book is available for sale in the museum during our open weekends for the reduced price of Euro 55 (RRP Euro 65), or can be bought through Brill.
nozomi naoi, sabine schenk and maureen de vries
Takehisa Yumeji (1884–1934) remains today one of the most celebrated Japanese artists. His unique style — characterised by a romantic, melancholic image of women—has remained popular with contemporary Japanese audiences. The six museums dedicated to his work as painter, printmaker and illustrator are testimony to his enduring appeal. Takehisa Yumeiji is the first publication outside Japan devoted to Yumeji’s life and art. It chronicles the individuality of his art practice as well as the diverse sources of his creative inspiration, ranging from traditional Japanese ukiyo-e print designers such as Kitagawa Utamaro (1753–1806) to Western graphic design and modern art movements such as Jugendstil and Cubism. This fully illustrated volume features over one hundred and eighty works drawn from the Nihon no Hanga museum in Amsterdam, which boasts the largest collection of Yumeji prints outside Japan.
Publication Date: 2015
Pages, Illustr.:160 pp.; ca. 150 illus.
Imprint: Hotei Publishing & Nihon no hanga
Troubled Times and Beyond: Japanese Prints 1931-1960
maureen de vries
For our tenth catalogue we have decided to look at the production of prints during a period when artists were dealing with the wars Japan was engaged in on the East Asian mainland and the Pacific. During the 1930s Japan was slowly changing into a militaristic nation and the government was coming down hard with censorship on all media, including woodblock prints. Prints produced during the war years are easily marginalized, excluded from artist’s biographies and summaries of their work. This overview of prints shows the early signs of militarism in the 1930s, the strain of militarism and governmental control on woodcuts during the war period and the subsequent unexpected post-war success of Japanese prints abroad as a result of the American influx.
68 pp, pb (glued binding, with dust jacket), full colour, c. 50 illustrations (autumn 2013).
The Kansai View: Prints from Kyoto, Osaka and Kobe
chris uhlenbeck, maureen de vries
The most important developments in the field of 20th century printmaking happened in Tokyo from the early 1910s. The Shin hanga and Sōsaku hanga traditions developed through an intense artistic dialogue taking place in the rapidly growing capital. This catalogue looks at the Kansai region, the area Kyoto and Osaka and the international port city of Kobe. The differences in the individual histories of the cities and their art traditions of the 19thcenturies have resulted in very distinct trends in printmaking. Also the region was spared from the devastations of the Great Kanto Earthquake of 1923. By focusing on the Kansai region, we bring lesser known artists to the fore, resulting in an exhibition which holds numerous surprises.
64 pp, pb (glued binding, with dust jacket), full colour, c. 50 illustrations (spring 2013).
The pupils of Kaburaki Kiyokata: New Ukiyo-e from the Greater Taisho period
chris uhlenbeck, maureen de vries
In the early Taishō period (1912-26) five of the most influential print designers of the ‘New Print’ (Shin hanga) movement trained under painter and Ukiyo-e artist Kaburaki Kiyokata (1878-1972). After the demise of traditional Ukiyo-e his students were able to answer the call for fresh imagery, sought after by commercial publishers such as Watanabe Shōzaburō.
In the field of female portraiture (bijin ga) Itō Shinsui, Kobayakawa Kiyoshi and Torii Kotondo developed into the foremost artists while Kawase Hasui and Kasamatsu Shirō, specialised in landscapes. To link their contemporary style to the tradition of Ukiyo-e, Kiyokata named their work ‘New Ukiyo-e’, which followed the beginning of the Shin hanga movement.
64 pp, pb, full colour, c. 50 illustrations (autumn 2012).
Nostalgia and Modernity: The Styles of Komura Settai and Kawanishi Hide
chris uhlenbeck, maureen de vries, alessandra d’orlando
This catalogue is dedicated to two specific artists: Komura Settai (1877-1940) and Kawanishi Hide (1894-1965).
The juxtaposition of the works of Settai and Hide gives expression to two different attitudes towards the past and the present prevalent in the early 20th century: Settai harks back to the Edo period and to the world of classical Ukiyo-e, whereas Hide is only interested in contemporary society and the innovations emanating from the influx of foreigners.
In terms of style Settai is precise and lineal, using a restricted colour palette whereas Hide’s compositions are rough and are accompanied by an explosion of colour.
64 pp, pb (glued binding, with dust jacket), full colour, c. 50 illustrations (spring 2012).
The Male Image: 20th Century Japanese Portraiture
henk herwig, inge klompmakers, chris uhlenbeck, maureen de vries
In the history of Japanese printmaking portrayals of men were usually limited to the depiction of actors from the Kabuki stage, sumo wrestlers and heroes from a distant past or folktales. Men from daily life or politics were not considered legitimate subjects for portraiture in printed form. With the exception of Kabuki actors, there were seldom true portraits.
In the 20th century the portrait, under the influence of trends in western style painting, became an accepted format although pictures of men remained a marginal subject, especially compared to the numerous images of women. However, male portraiture from this period shows a variety of contemporary prominent men, from self-portraits to prints of fellow artists, friends or patrons. This catalogue contains works by artists such as Sekino Junichirō, Natori Shunsen and Yamamura Kōka.
64 pp, pb (glued binding, with dust jacket), full colour, c. 50 illustrations (autumn 2011).
Feminine and Independent, The Modern Women of Pre-War Japan
chris uhlenbeck, maureen de vries
Although full political rights for women would come only after World War II, Japanese women found a marked increase in social and cultural liberties during the first decades of the 20th century. This was largely the result of a rapid process of participation in the capitalist economy, providing women with financial independence. At the same time the tremendous development of mass media created an enormous demand for textual and visual material related to women and women issues.
Woodblock print artists also participated in satisfying this demand and the ‘Modern Girl’ (modan gaaru, abbreviated to moga) because an important subject for them. She was feminine, erotic, independent and exciting: this is the subject for this catalogue, showing works by some of the most famous artists of the time.
64 pp, pb (glued binding, with dust jacket), full colour, 50 illustrations (spring 2011).
Ode to the Countryside, Japanese views of rural Japan and beyond
chris uhlenbeck, maureen de vries
With the onset of the 20th century, landscapes became the subject of choice for printmakers in both traditions of print design. Among the founding fathers of the Sōsaku-hanga movement, the portrayal of the landscape was an idealization of rural society. Among the Shin-hanga artists it was the celebration of nature. Both groups of artists considered their own version as a demonstration of the essence of Japaneseness.
In this catalogue we hope to show the shift that was made from meisho-e, images of famous places so characteristic of the great 19th century masters Hiroshige and Hokusai to the anonymity of the 20th century landscapes of rural Japan. Those that worked in the Sōsaku hanga tradition, such as Yamamoto Kanae, Maekawa Senpan and Katsuhira Tokushi idealized rural culture and values. Their choice of subject matter stressed agrarianism and the cultural alternatives to the city.
The Shin-hanga artists Ishii Hakutei, Kawase Hasui, Itō Shinsui and others travelled with their sketchbooks and documented an unspoiled countryside, not cluttered up by people and without the signs of rapidly encroaching modernity. They showed nature’s poetic power in full. Their works met with great approval among the foreign visitors to Japan who found in their imagery the Japan they wanted to remember.
64 pp, pb (glued binding, with dust jacket), full colour, 50 illustrations (autumn 2010).
Emerging from the Bath, The Nude in 20th Century Japanese Prints
chris uhlenbeck, maureen de vries
When Japanese artists at began to study in Europe during the Meiji period, they learned how to sketch from real models, and the early pioneers of Western-style art in Japan used oil paintings to produce their first true nudes. When these paintings were shown back in Japan, they sparked enormous outrage.
In the first decades of the 20th century, the subject became gradually acceptable and the artists experimented with the nude; first the ‘bathing beauty’ became a regular feature in the work of almost all of the Shin-hanga artists. The Westernized Sōsaku-hanga artists embraced the same subject with zeal, but added the pure nude, which often had distinctly non-Japanese features, their subjects were more voluptuous, Rubenesque women.
‘Emerging from the Bath’ explores the subject of the nude and the favored setting for nudity, the public and private bath.
64 pp, pb (glued binding, with dust jacket), full colour, 50 illustrations (spring 2010).
Urban Landscapes and Leisure, Prints of Modern Tokyo 1910-1940
chris uhlenbeck, noemi raquet
On 1 September 1923 around lunchtime, a huge earthquake struck Tokyo. It devastated the city: about 100.000 people died and 40.000 went missing. The destruction was followed by a frantic rebuilding of the metropolis taking on the contours of present day Tokyo. New modern buildings were erected, steel bridges replaced the wooden constructions, parks were created throughout the city and initially at least, the city vibrated with a sense of urban modernity. Print artists, especially those from the sosaku hanga tradition made numerous works, documenting this architectural and social renewal.
Nihon no hanga is richly endowed with examples of the prints showing ‘New Tokyo’. ‘Urban Landscape and Leisure’ will take you through the major neighborhoods of Tokyo as portrayed by artists such as Onchi Kōshirō, Oda Kazuma, Koizumi Kishio, Hiratsuka Un’ichi, Kawase Hasui and many others.
64 pp, pb (glued binding, with dust jacket), full colour, 47 illustrations (autumn 2009).
Broad Strokes and Fine Lines, The Dual Tradition in 20th Century Japanese Printmaking
During the 19th century Japanese prints of the ukiyo-e (pictures of the ‘floating world’) tradition, captured the attention of audiences in Europe and the United States, and were sought after vigorously by collectors, museums and artist on both continents; at the same time, the traditional Japanese printmaking world faced near extinction due to the onslaught of rival printing techniques imported from the West. However, two new and completely different trends in Japanese printmaking emerged at the beginning of the 20th century. A renewed form of ukiyo-e was established by publisher Watanabe Shōzaburō which relied heavily on Japanese traditional but also modern imagery, the so-called Shin-hanga, ‘new prints’. Apart from these prints a new type of artist appeared, who was more interested in independence and having control over their own creativity, and therefore made Sōsaku-hanga, ‘creative prints’. This catalogue is an introduction to the collection at Nihon no hanga, but most of all the birth of these two fascinating print traditions.
48 pp, pb (glued binding, with dust jacket), full colour, 40 illustrations (spring 2009).