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Yasui Nakaji shashin sakuhin shu 安井仲治写真作品集 (The Photography of Yasui Nakaji) / Nihon shashin shi no shiho 日本写真史の至宝 (Treasures from the History of Japanese Photography)

  • Object type

  • Museum number


  • Title (object)

    • Yasui Nakaji shashin sakuhin shu 安井仲治写真作品集 (The Photography of Yasui Nakaji)

    Title (series)

    • Nihon shashin shi no shiho 日本写真史の至宝 (Treasures from the History of Japanese Photography)
  • Description

    Photobook, one volume, facsimile reprint. No. 469 of a limited edition of 500 copies. 50 loose plates. Large folio. Original cloth portfolio in publisher's cardboard box. Together with a 12pp leaflet with explanations by Iizawa Kotaro and Kaneko Ryuichi in English and Japanese.

  • Producer name

  • Culture/period

  • Date

    • 2005
  • Production place

  • Materials

  • Technique

  • Curator's comments

    This posthumous anthology, published by Ueda Bizan - a founding member of the Tampei Photography Club - in August 1942, is a miracle of printing and publishing. It was originally published in a limited edition of 50 copies and covers all the aspects of Yasui's career from Pictorialist Art Photography to New Photography, Surrealist Photography, and photo-journalism showing his wide scope of his photo-montages, compositions, still-lives, and experimental works. It famously includes two images from May-day demonstrations (1931), as well as four images from the series 'Wandering Jew' (1941) that featured Jewish refugees recently arrived in Kobe. The exact circumstances of the publication remain unclear, but both the risk and the cost of producing such a work in 1942 were considerable. Maybe it is due to the fact that the portfolio was published in a very small edition and was not for sale that it got past the censorship. The Tampei club had been forced to suspend its activities in the latter half of 1941 and it is a tribute to the strength of feeling amongst the members of the club that this work came to fruition. Yasui's vision is as individual as it is artistic, it was as deep as it was free. He exerted a profound influence on the post-war generation on such disparate figures as Domon Ken and Moriyama Daido, who hailed him as the father of Japanese photography. (Titus Boeder, 4/2007)


  • Bibliography

    • Boeder 2007 87 bibliographic details
  • Location

    Not on display

  • Acquisition name

  • Acquisition date


  • Department


  • Registration number


  • Additional IDs

    • PB.344 (Photobook number)

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Object reference number: JCF20446

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