Serizawa’s return to Don Quixote: a new, enlarged version published 40 years after his groundbreaking book. The present copy belonged to an Osaka-based collector named Kawabata Kazuo (dates unknown), who has carefully kept his copy with original paperwork and ephemera relating to the book’s publication and sale.
In 1936 Serizawa made an edition of the Don Quixote, entirely printed in katazome stencil dye with beautiful hand-colouring. This was the result of a collaboration with the American bibliophile Carl T. Keller (1872-1955), who was an avid collector of Cervantes. Only 75 copies of this edition were printed, of which 25 went straight to the US. Forty years later, in 1976, Serizawa returned to the subject through a collaboration with the art book publisher Gohachi. Together they produced a ‘new edition’ of 185 copies, which were bound luxuriously in silk cloth with a gold-leaf design, encased in a beautiful lacquerware box. It was quite a departure from the original book, as Serizawa made entirely new stencil illustrations, which he dyed in multiple colours as opposed to hand-colouring them. Additionally, while the very first edition does not include any captions, each of the 31 plates in the new edition is accompanied by text. There is also a supplementary booklet which was issued with the book, which further expands upon the captions.
What is interesting about the present copy is how the original owner, Kawabata, kept ephemera relating to the book which tells us a lot more about the complexities of its publication. Inside an envelope addressed to his home in Osaka there is a wonderful mix of paperwork. The earliest letter dates to December 1975, with an official apology issued by Gohachi regarding the announcement of the book. Due to strikes, not all of their customers received notice of the book at the same time, which meant that it was fully subscribed before some of their mailing got word. The letter explains that Serizawa agreed to increase the limitation by a further 35 copies to accommodate some of the people who missed the original prospectus. This is why the limitation is 185 copies as opposed to the original plan of making 150. Clearly this did not affect our collector, who secured copy no.54.
The next letter from Gohachi is dated May 1976 and outlines an increase in price to ¥400,000, with an explanation of the design decisions that were made which affected the price. The letter tells us Kawabata had paid ¥350,000 to date. This is followed by a postcard from Gohachi in August apologising for the delay in completion, which was scheduled for July. In the next letter, dated September 1976, Gohachi announces the completion of the first 74 copies of the book. We learn from this letter that the book was sent out to the subscribes as they were completed, rather than in one go at the end. The letter also mentions the supplementary booklet with an essay by Jugaku Busho, as well as a special gathering to celebrate the launch of the book where Serizawa himself would make an appearance. Clearly the production of this edition was a bit of a saga, with the publisher having to delicately manage the expectations of enthusiastic collectors.
Three more pieces of ephemera are included:
1. Issue XIX of Collection Sephir from July 1965. This is a privately printed translation of an extract from the Don Quixote by the Presse-Bibliomane based in Tokyo. Though not strictly related to Serizawa, it is rather nice that Kawabata kept this lovely piece of printed ephemera with his copy of Serizawa’s edition.
2. Issue 61 of Korekushon [Collection], Gohachi’s small publication circulated among subscribers, dated Showa 1975. This issue is dedicated to Serizawa’s Don Quixote, with a forward by Serizawa explaining why he has decided to do a new edition in collaboration with Gohachi. Then there is a notice from the publisher explaining how to order a copy – a deposit of ¥50,000 would need to be paid and distribution would be strictly limited to one copy per person, with no trade discounts.
3. An announcement for the Hankyu Department Store exhibition of Serizawa’s new edition of Don Quixote, dated April 1977.
Together these tell a fantastic story of supply and demand, and Gohachi’s rocky journey to producing the final 185 copies of this special edition. As such, the book and its accompanying ephemera can be seen as a mini archive of its publishing history.
Very rarely complete and in this condition. OCLC lists 4 copies.
