| No. |
¤•i–¼ |
’P‰¿(‰~) |
’˜ŽÒ/•ÒŽÒ |
o”ÅŽÐ |
à–¾ |
‚©‚²‚Ö |
| N_M_012 |
r–ØŒoˆÒŽÊ^W@‰Ô‹È |
11,000 |
r–ØŒoˆÒ/’˜ |
V’ªŽÐ |
ƒJƒo[@‘Ñ@1997 |
w“ü |
| N_M_013 |
r–ØŒoˆÒŽÊ^W@Fˆú |
7,500 |
@ |
ƒA[ƒgƒ‹[ƒ€ |
ƒJƒo[”wã•”ƒCƒ^ƒ~AÜ‚è•Ô‚µ•”•ªƒCƒ^ƒ~@2005 |
w“ü |
| N_M_014 |
•“cŒõˆêŽÊ^W@’e“¹Šw |
2,000 |
@ |
ÔXŽÉ |
ƒJƒo[@“V’nƒCƒ^ƒ~@ƒTƒCƒ““ü@2008 |
w“ü |
| N_M_015 |
ŽÂŽR‹IM@RIONA ŒÀ’è”Å |
7,500 |
@ |
‚Ô‚ñ‚©ŽÐ |
”Ÿƒ„ƒPi—A‘—” ‚ÍŒ‡j@}”Å67ƒV[ƒg+ŽB‰eŒ´”Ń|ƒWƒtƒBƒ‹ƒ€1–‡“ü@1998 |
w“ü |
| N_M_016 |
\•¶Žš”üM@‚í‚Ñ |
9,800 |
\•¶Žš”üM/’˜ |
’WŒðŽÐ |
”Ÿ”wƒ„ƒPAƒXƒŒ@–{‘Ì”wƒ„ƒP@2002 |
w“ü |
| N_M_017 |
XŽR‘哹ŽÊ^W@ƒnƒƒC |
7,500 |
@ |
ŒŽ—jŽÐ |
ƒJƒo[”wã•”ƒCƒ^ƒ~@‘Ñ@ƒTƒCƒ““ü@2007 |
w“ü |
| N_M_018 |
_‘ ”üŽqŽÊ^W@ƒiƒ`ƒ…ƒŠƒ^ |
1,500 |
@ |
IPCiƒAƒCƒs[ƒV[j |
ƒJƒo[@1990 |
w“ü |
| N_M_019 |
Γà“sŽÊ^W@CLUB & COURTS YOKOSUKA YOKOHAMA |
8,800 |
Γà“s |
‘“âuŽÐ |
“›ƒP[ƒX•t‚«@ƒTƒCƒ““ü@2007 |
w“ü |
| N_M_020 |
‘q“c¸“ñŽÊ^W@‘刟׈Ÿ |
3,000 |
@ |
IPCiƒAƒCƒs[ƒV[j |
”Ÿ”wƒVƒ~@ƒvƒ‰ƒXƒ`ƒbƒNƒJƒo[@1990 |
w“ü |
| N_M_021 |
‘哌ˆŸí‘ˆŽÊ^Žj@‘S4û‘µ |
3,800 |
X‚”É—Y/•Ò |
•xŽm‘‰‘ |
‘Sû”ŸƒCƒ^ƒ~AƒJƒo[ƒ„ƒPAƒCƒ^ƒ~@ƒpƒ‰ƒtƒBƒ“ƒJƒo[”j‚ê@1954 |
w“ü |
| N_M_022 |
’ª“c“o‹vŽqŽÊ^W@–XŽq@HATS |
2,000 |
@ |
ƒpƒƒ‹ŽÉ |
ƒJƒo[@Œ£’æƒTƒCƒ““ü@2004 |
w“ü |
| N_M_023 |
“ÆjƒOƒ[ƒfƒ“”ŒŽÝ‘¼ŽÊ^WyWilhem von Gloden, Guglielmo Pluschow, Vincenzo Galdi ET IN ARCADIA EGOz |
5,000 |
Tobias G. Natter and Peter Weiermair |
EDITION OEHRLI |
ƒNƒƒX‘•ƒn[ƒhƒJƒo[@¬Œû‚Ɖœ•t•Å—]”’‚ɃVƒ~@2000 |
w“ü |
| N_M_025 |
•§jƒŒƒCƒ‚ƒ“ƒhEƒfƒBƒpƒ‹ƒhƒ“ŽÊ^W@7~3 |
3,500 |
Raymond Depardon |
Foundation Cartier |
ƒn[ƒhƒJƒo[@2004 |
w“ü |
| N_Q_001 |
‰pjƒƒ“ƒYƒtƒ@ƒbƒVƒ‡ƒ“ŽjyA HISTORY OF MEN'S FASHIONz |
4,900 |
FARID CHENOUNE |
Flammarion |
ƒJƒo[ƒCƒ^ƒ~@ŽO•û”–ƒ„ƒP@1995 |
w“ü |
| N_R_001 |
‰pjƒVƒ`ƒŠƒA“‡‚̃Œ[ƒX@ƒ^ƒ‹ƒKEƒtƒ[ƒŠƒI‚Ì—ðŽjyTARGA FLORIO 20th CENTURY EPICz |
9,800 |
Gianni Cancellieri/•Ò |
GIORGIO NADA EDITORE |
ƒJƒo[@ƒn[ƒhƒJƒo[480•Å@2006 |
w“ü |
| N_R_002 |
‰pjƒXƒpƒCƒ_[‚ƃVƒ‹ƒGƒbƒgƒJ[@1972-1981ySPYDERS & SILHOUETTESz |
7,000 |
JANOS WIMPFFEN |
DAVID BULL PUBLISHING |
ƒJƒo[”w”–ƒ„ƒPAƒVƒ@ƒn[ƒhƒJƒo[400•Å@“Vƒ„ƒP@2007 |
w“ü |
| N_R_003 |
‰pjƒxƒ“ƒgƒŒ[@ƒuƒ‹ƒbƒNƒ‰ƒ“ƒYyTHE BENTLEY BROOKLANDSz |
9,800 |
@ |
CLASSIC DRIVER/MERRELL |
ƒNƒƒX‘•”Ÿ@ƒn[ƒhƒJƒo[206•Å@2010 |
w“ü |
| N_T_001 |
ŠCã‰ëb‚ª„‚·@íŒã”üp‚Ì3l“W |
1,800 |
@ |
”~–ì‹L”OŠG‰æŠÙ |
“›ƒP[ƒX@3•ªû‚Ì“àAˆäã—Lˆê•т̔wƒVƒ~@2009 |
w“ü |
| N_T_002 |
ŽO—Ö“c•ÄŽR‚Ì‘ |
2,000 |
¬“cŽR‘“¹”üpŠÙ/ŠÄC |
—¢•¶o”Å |
ƒJƒo[@‘Ñ@“Vƒ„ƒPAƒVƒ~@‰”•Mƒ‰ƒCƒ“Á‚µÕ—L@2004 |
w“ü |
| N_T_003 |
‘ |
2,600 |
ŒF’JŽçˆê/’˜ |
_–³‘–[ |
ƒJƒo[ƒVƒ~A‰˜@‘Ñ@2000 |
w“ü |
| N_T_004 |
‘׊¿Š¢ác•¶ |
5,800 |
ˆÉ“¡Ž /•Ò’˜ |
“ú–{KŽš•‹y‹¦‰ï |
”Ÿ”wƒ„ƒPAƒLƒY@–{‘Ì”wƒ„ƒP@–`“ª”•ŃVƒ~@1995 |
w“ü |
| N_T_005 |
”j‘Ì‘‚Ì‚·‚·‚ß |
1,800 |
¼–{’}•õ/’˜ |
“ú–fo”ÅŽÐ |
ƒJƒo[•\–ʃCƒ^ƒ~AƒXƒŒ@“VE¬Œû‰˜@1983 |
w“ü |
| N_T_006 |
•ÄŽR‚Ì–£˜f |
1,500 |
•ÄŽRŒ°²‰ï/ŠÄC |
´—¬o”Å |
ƒJƒo[@‘Ñ@“VƒVƒ~@2008 |
w“ü |
| N_T_007 |
–vŒã100”N‹L”O@‘“ŠC@•›“‡Žíb |
4,000 |
@ |
²‰êŒ§—§”üpŠÙ |
ƒ\ƒtƒgƒJƒo[@”wƒCƒ^ƒ~@“VƒVƒ~@’nƒCƒ^ƒ~@‰”•Mƒ‰ƒCƒ“Á‚µÕ—L@2006 |
w“ü |
| A_001 |
‚‚·‚蔎•¨ŠÙŽû‘ @Ž‘—¿W4@‚Í‚â‚è•a‚̋ъG |
2,500 |
ˆÉ“¡‹±Žq/•Ò |
“à“¡‹L”O‚‚·‚蔎•¨ŠÙ |
ƒ\ƒtƒgƒJƒo[@}”Å111“_@2001 |
w“ü |
| A_002 |
ƒjƒbƒ|ƒ“‚̉æ‹S@àÍX‹¶Ö“` |
2,800 |
•Ÿ•x‘¾˜Y |
‰æ•¶“° |
ƒ\ƒtƒgƒJƒo[@•\ކ”–ƒ„ƒPA‰˜A”wã•”ƒCƒ^ƒ~@•Êüu}”ʼnðà@’ÇŽ§‚Æ•â’ùv•t@ŒÀ’è800•”‚Ì“à1”Ô@1969 |
w“ü |
| A_003 |
ˆÉjƒWƒFƒmƒ”ƒ@EƒLƒˆƒbƒ\[ƒl”Ž•¨ŠÙ@•‚¢ŠG”ʼnæ@yDipinti e stampe del Mondo Fluttuante Capolavori Ukiyoe del Museo Chiossone di Genovaz |
2,000 |
Donatella Failla |
SKIRA |
ƒJƒo[@ƒn[ƒhƒJƒo[256•Å@•\ކŠpƒAƒ^ƒŠ@2005 |
w“ü |
| A_004 |
ˆÉj‘–F‰æW@yKUNIYOSHI Il visionario del Mondo Fluttuantez |
5,000 |
@ |
SKIRA |
ƒn[ƒhƒJƒo[215•Å@2017 |
w“ü |
| A_005 |
‰pj_âá‰À@yKAMISAKA SEKKAz |
4,300 |
Khanh Trinh/•Ò |
ART GALLERY of New South Wales |
ƒJƒo[@ƒn[ƒhƒJƒo[192•Å@2012 |
w“ü |
| A_006 |
‰pj–F”N@”ül‰æ‚ƃoƒCƒIƒŒƒ“ƒX@yBeauty & Violence Japanese prints by Yoshitoshi 1839-1892z |
5,000 |
@ |
Society for Japanese Arts |
ƒ\ƒtƒgƒJƒo[168•Å@•\ކƒCƒ^ƒ~@–{‘ÌŠp”½‚è@ÅI•łɑ ˆó—L‚è@1992 |
w“ü |
| A_007 |
‰pj–{ˆ¢–íŒõ‰x‚ÌŒ|pyTHE ARTS OF HON'AMI KOETSUz |
3,200 |
@ |
PHILADELPHIA MUSEUM OF ART |
ƒJƒo[‚ɃˆƒŒAƒCƒ^ƒ~A•”•ª“I‚Ƀ„ƒP@‘OŒ©•Ô‚µ‚ÉÜ‚êÕ—L‚è@2000 |
w“ü |
| A_008 |
‰~ŽREŽlð”h@ˆí‰¥”üpŠÙ‘ •i |
2,000 |
ˆí‰¥”üpŠÙ/•Ò |
‹ž“s‘‰@ |
ƒ\ƒtƒgƒJƒo[@•\— –ʃ„ƒPA‰˜@1984 |
w“ü |
| A_009 |
‰¢•ÄŽû‘ “ú–{ŠG‰æW¬@ÝŠO”é•ó@•§‹³ŠG‰æE‘å˜aŠGE…–n‰æ |
5,000 |
“‡“cCŽO˜Y/•Ò |
ŠwKŒ¤‹†ŽÐ |
—A‘—”ŸƒXƒŒAƒCƒ^ƒ~—L@›ã“ü@’艿36000‰~@1969 |
w“ü |
| A_010 |
Šâ²–”•º‰qŠGŠª@ŽR’†í”Õ•¨ŒêŠGŠª/–x]•¨ŒêŠGŠª/ò—Ú—ž•¨ŒêŠGŠª |
2,500 |
MOA”üpŠÙ/•Ò |
ƒGƒ€ƒI[ƒG[¤Ž– |
ƒJƒo[@º61 |
w“ü |
| A_011 |
‹ÉŠyŠG |
16,000 |
‹àŽqŒjŽO/ŽÊ^@^•Û‹œ/ŠÄCE•¶ |
–ˆ“úV•·ŽÐ |
“ñd”Ÿ@ŒÀ’è1200•”@’艿5–œ‰~@ŠO”Ÿ‚ɃCƒ^ƒ~@1977 |
w“ü |
| A_012 |
‹ß]‚Ìá•ljæ |
2,900 |
Ί۳‰^Aˆé”Ž/’˜ |
‹ž“s‘‰@ |
“ñd” @’艿48000‰~@º56 |
w“ü |
| A_013 |
‹ß¢•—‘}•ˆ1@”N’†sŽ– |
3,000 |
—щ®’CŽO˜Y |
¬ŠwŠÙ |
“ñd”Ÿ@–{‘ÌŽO•ûƒ„ƒP@ŒŽ•ñ•t@’艿18000‰~@1983 |
w“ü |
| A_014 |
‹ß¢•—‘}•ˆ12@El |
3,200 |
—щ®’CŽO˜Y |
¬ŠwŠÙ |
“ñd”Ÿ@–{‘ÌŽO•ûƒ„ƒP@ŒŽ•ñ•t@’艿18000‰~@1983 |
w“ü |
| A_015 |
‹ß¢•—‘}•ˆ3@—Œ’†—ŒŠOi1j |
3,200 |
—щ®’CŽO˜Y |
¬ŠwŠÙ |
“ñd”Ÿ@–{‘ÌŽO•ûƒ„ƒP@ŒŽ•ñ•t@’艿18000‰~@1983 |
w“ü |
| A_016 |
‹ß¢•—‘}•ˆ8@Õ—çi1j |
3,200 |
—щ®’CŽO˜Y |
¬ŠwŠÙ |
“ñd”Ÿ@–{‘ÌŽO•ûƒ„ƒP@ŒŽ•ñ•t@’艿18000‰~@1982 |
w“ü |
| A_017 |
ŒŒ‚̔ӎ`@‘å‘h–F”N‚ÌåYp |
17,000 |
@ |
”Ô’¬‘–[ |
—A‘—”Ÿ‰˜‚ê@”Ÿƒ„ƒP@›ã@•Êû•t@’艿30000‰~@ŒÀ’è1200•”@1971 |
w“ü |
| A_018 |
ŒŽ‰ª–F”N‰æW |
16,000 |
£–ØTˆê/•Ò |
u’kŽÐ |
”ŸƒCƒ^ƒ~A”wƒ„ƒP@}”Å203“_@143•Å@1978 |
w“ü |
| A_019 |
ŒÃ•MŽèŠÓ‚Ɖ撟‚Ì–¼•i@‹ß¢“ú–{‚̃A[ƒgEƒAƒ‹ƒoƒ€ |
1,800 |
@ |
ƒTƒ“ƒgƒŠ[”üpŠÙ |
}˜^@ƒ\ƒtƒgƒJƒo[@2001 |
w“ü |
| A_020 |
Œä‰¾‘ŽqŠGŠª |
9,000 |
‰œ•½‰p—Y/•Ò |
Špì‘“X |
”Ÿ@ƒJƒo[ŽC‚ê@ŒÀ’è”Å@’艿24000‰~@1982 |
w“ü |
| A_021 |
Œä•¨ãÚ¬@‘S4Šª‘µ |
10,000 |
‹{“à’¡Ž˜]E/•Ò |
’©“úV•·ŽÐ |
“ñd”Ÿ@”à•łɯƒVƒ~@ŠG‰æ1EŠG‰æ2E‘Õ1E‘Õ2@ŠeŠª•Êû‰ðà•t‚«@1978 |
w“ü |
| A_022 |
Œõ—Ô•S}@‘S4û‘µ |
4,500 |
’†‘ºŒk’j/‰ðà |
Šâè”üpŽÐ |
ŠO”ŸŒ‡@˜a–{4û›ã“ü@‰ðà–{•t@@1981 |
w“ü |
| A_023 |
]ŒË‚ÌŠG‰æ@A Kaleidoscope of Painting Styles Essays on Edo Period Paintings |
23,000 |
¬—Ñ’‰/’˜ |
åY‰Ø‘‰@ |
”Ÿ‰˜@ƒJƒ‰[}”Å103“_@ŽQl}”Å203“_@584•Å@2010 |
w“ü |
| A_024 |
]ŒË‚ÌŠG—ï |
3,200 |
‰ª“c–F˜N |
‘åCŠÙ‘“X |
ƒJƒo[@‘Ñ@2006 |
w“ü |
| A_025 |
]ŒË‚Ì—m‰æ‰Æ |
2,600 |
¬–ì’‰d/’˜ |
ŽOÊŽÐ |
”Ÿƒ„ƒP@ŽO•ûƒ„ƒP@ŒÀ’è1000•”@1968 |
w“ü |
| A_026 |
]ŒËØŠG}W¬‘æ1Šª@‹g•¶Žš‰®”Â@V•Ò]ŒËˆÀŒ©} |
2,500 |
Ä“¡’¼¬/•Ò |
’†‰›Œö˜_ŽÐ |
”ŸƒCƒ^ƒ~@1981 |
w“ü |