WRIGHT, Frank Lloyd. The Japanese Print: An Interpretation . Chicago: Ralph Fletcher Seymour, Co., 1912.
WRIGHT, Frank Lloyd. The Japanese Print: An Interpretation . Chicago: Ralph Fletcher Seymour, Co., 1912. 8 o (208 x 130 mm). Original tan decorative boards lettered in blue, washi endpapers. Provenance : Small library shelf label on front cover. "WRIGHT WAS DISPLEASED WITH THE FIRST EDITION, AND ALL BUT A FEW COPIES WERE DESTROYED..." (Sweeney) FIRST EDITION. Printed three times in 1912, this is the first variant recorded by Sweeney, printed on Japanese paper, bound in tan boards with lettering in blue, and the Crane device, which is repeated on the title-page, printed in green, with the copyright statement on the verso of the title-page. Wright first traveled to Japan and to collect Japanese wood block prints in 1905. "Unlike his contemporaries in the United States who saw European architecture as their legacy and a European Grand Tour as their goal, Wright viewed Japan and Japanese culture as the model for his aesthetics. He mounted his first exhibition of Japanese prints, works by Hiroshige, at the Art Institute of Chicago in 1906" ( DNB ). Sweeney 109.
WRIGHT, Frank Lloyd. The Japanese Print: An Interpretation . Chicago: Ralph Fletcher Seymour, Co., 1912.
WRIGHT, Frank Lloyd. The Japanese Print: An Interpretation . Chicago: Ralph Fletcher Seymour, Co., 1912. 8 o (208 x 130 mm). Original tan decorative boards lettered in blue, washi endpapers. Provenance : Small library shelf label on front cover. "WRIGHT WAS DISPLEASED WITH THE FIRST EDITION, AND ALL BUT A FEW COPIES WERE DESTROYED..." (Sweeney) FIRST EDITION. Printed three times in 1912, this is the first variant recorded by Sweeney, printed on Japanese paper, bound in tan boards with lettering in blue, and the Crane device, which is repeated on the title-page, printed in green, with the copyright statement on the verso of the title-page. Wright first traveled to Japan and to collect Japanese wood block prints in 1905. "Unlike his contemporaries in the United States who saw European architecture as their legacy and a European Grand Tour as their goal, Wright viewed Japan and Japanese culture as the model for his aesthetics. He mounted his first exhibition of Japanese prints, works by Hiroshige, at the Art Institute of Chicago in 1906" ( DNB ). Sweeney 109.
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
