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Text jap., some Russian text, some engl. captions. - Probably a catalogue produced by a Russioan Festival in Japan, 2014. - Nur Kurztitelaufnahme. Check entry.

Text engl. - This similar-to-an-album book is composed of 24 hand colored collotype plates from photographs by Tamamura. Each plate has an English explanation of what it depicts. The images follow Miss "Tokimatsu" through a day. They start with receipt of a letter inviting her to a social event at a friend's home - dressing and preparing (several Kimono views) - arriving at the event (a tea) - the actual "tea ceremony" - playing the koto - drinking sake - return home in a jinrikisha - disrobing (several views of the kimono coming off but no nudity) - eating supper, smoking a pipe, going to sleep and dreaming of her "hero." The collotypes pages measure 7 x 9 1/2 inches. The image areas vary slightly but measure 4 1/4 ~ 4 1/2 x 5 1/2 ~ 6 inches. The collotypes are protected with tissue guards. There is no colophon. Kozaburo Tamamura (1856-1923?) was a foremost Japanese photographer. The book was produced and marketed by Tamamura as well as his successor, Takagi. Possibly the Tamamura books have the decorated cloth boards and the Takagi books have the plain cloth covers.

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Text engl. Design: Jurgen Maelfeyt, 6'56". - „Fascinated by the concept of intimacy in Japan, and Japanese culture at large, Belgian photographer Zaza Bertrand created a documentary photo series inside rabuhos. In these kitschy safe havens, erotic desires roam freely yet anonymously, in utter seclusion. More colloquially known as love hotels, rabuhos epitomise the long-held pragmatic separation of sex and love in Japan. - Even though rabuhos have become pretty normalized in the national mindset, sentiments on this phenomenon tend to run the full gamut, from scandalized through embarrassment to titillate and sheer intrigue. - As an outsider looking in, Zaza attempted to capture these innate dichotomies and paradoxes. Her physical presence yet inability to communicate with her subjects, creates a tension so palpable between her and the visitors she portrays (or models as she prefers to call them), it echoes through in her imagery. Reflecting the ambiguous perceptions on intimacy, the documental photo series captures a frail sense of alienation and poignancy at the same time. - She was wholly dependent on her subjects: they were in charge and decided to let her in or not (in return she would pay for their room). Reliant as she was on the openness of her subjects, she could only direct and stage the shoot to some extent. There was no styling involved and her models picked the location. In these hotels adorned with neon colours and gaudy décor, she experienced a candidness that stands in remarkably stark contrast with traditional cultural hallmarks such as chastity, decency and social conformity.“. (Claire van den Berg, Art Paper Editions Newsletter; 10.2016).

Text fr. - Incl. a section of 19th century Japanese hand-colored nude and flower photographs.

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Text engl. - Japanese Postwar Photography presents work by three of Japan's most influential and prolific photographers of the postwar years, Hiroshi Hamaya, Shigeichi Nagano and Takeyoshi Tanuma. This catalogue includes a selection of 20 photographs taken in the immediate postwar period from the late 1940s to the early 1960s. The catalogue includes an introduction by Marc Feustel and biographies of the three photographers. The catalogue was printed to coincide with an exhibition held in Paris in November of 2005.

Text engl., jap. - Other edition: A Criminal Investigation. Paris: Editions Xavier Barral 2011.