Selected Pages from Engei shashin Volume 3, Number 1, January 1924
IHL Cat. #2740
click on image to enlarge
Engei shashin Volume 3, Number 1
演藝冩眞 第三年一第号
cover art (lithograph):
Sanbasō dancer
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed: 信方 Nobukata within white outlined rectangular cartouche
published: January 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年一月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Preface Translation
A Happy New Year!
The golden fukujusō flowers [Adonis flowers] begin to bloom and the warblers are captivated by the color and fragrance of the red plum blossoms, their chirping sounds are delightful. On New Year's Day, kadomatsu decorations line up, the shichi-go-san ornaments are displayed, and the sounds of hanetsuki [shuttlecock] and tori-oi [female street musician], with the low voices of manzai [a comedic form] performers, rise to laughter in the background. Truly, the joy of early spring is celebrated across Japan, in every corner of the land. Everyone shares toso wine [rice wine steeped with herbs] in celebration, unchanged in this era of peace, as we watch the Hinomaru flag, shining in the morning sun, waving in the wind, symbolizing the prosperity of the reign.
The Engei Shashin magazine, which has received your continued patronage, has swiftly passed its second year and entered its third. We are delighted to see that our esteemed readers remain loyal, and we have received many New Year subscriptions as in previous years. The joy we feel when receiving these subscriptions is like the long-handled choshi pouring sake in a traditional san-san-kudo ceremony, bringing immense happiness. The editor's desk is piled high with greeting cards, resembling the peaks of Mount Fuji.
Looking forward to the New Year, we are proud to present a special feature on the timeless tale of Chūshingura, deeply rooted in the spirit of bushidō, which continues to bloom in our beloved Japan. From the grand opening act to the dramatic climax every scene has been faithfully reproduced with unparalleled precision using vivid offset printing. We will include these scenes, one print each month, inserted into our magazine. Beyond that, the colorful world of kabuki theater awaits, bridging east and west. Not only the famous eighteen acts [juhachiban] performed by actors from both sides of the country but also films that captivate young men, ladies, and children, from the producers Shōchiku and Teikine to Western stars like "fatty" [Roscoe Fatty Arbuckle], Charlie Chaplin, Ruth Rolandd and Mary Pickford. With Anna Pavlova’s glamorous dance routines and the humorous Soga Monogatari by the Soganoya troupe we have something to offer everyone.
We deeply appreciate the tireless efforts of our staff, who have worked like a well-oiled machine to bring these to you, our valued members, and we extend our heartfelt thanks to all of you for your continued support.
And now, we conclude with New Year’s greetings.
新町會十五周年紀念演藝會
『三人片輪』新町演舞塲に於て
Shinmachi-kai 15th Anniversary Commemorative Performance of San'nin katawa* (The Three Oddities -or- The Handicapped Three) at Osaka's Shinbashi Enbujō
Hayashi Chōzaburō as Crippled Tarokichi, Nakamura Kaisha as Mute Okiku, Ichikawa Danji as Blind Hanzōji
* See "Summary of the Play: San'nin katawa"
*Summary of the Play: San'nin katawa
Source: Bulletin of the National Institute of Multimedia Education, No. 12, 1995, "View of Deafness: On the Socially Constructed Meanings of Deafness in Japan, Shigeyuki Tsuzuki and Angela Miyuki Nonaka, p. 234-235.
A kindly rich man decides to open his home and employ disabled persons. He hangs a sign outside his door announcing his intentions, and three men (one at a time) promptly appear to take advantage of his offer. These three men, who appear to be blind/mo, crippled (in the leg)/izari, and deaf/oshi, are really con men who, having lost their homes, savings, etc. at gambling, are looking for a way to make ends meet.
After an extended series of comical questions and answers, in which the three con men demonstrate the nature of their handicaps, the rich man eventually agrees to allow all three to work for him, and he assigns each of them a job to do right away, for the rich man is about to depart on a trip. The deaf man, supposedly skillful with a spear, is assigned the task of guarding the master's money. The crippled man is assigned the job guarding the sake warehouse, and the blind man is given no specific task.
The rich man takes his leave, but as soon as he exits, the three men stop pretending and begin drinking, laughing, singing, and dancing about. The master unexpectedly returns home, however, and in their hurry to resume their roles, the three con men forget which disability they originally claimed to have. Having exposed their fraud, the game is up.
大坂中座 曾我酒家劇 師走狂言
『耍求の前後』
Osaka Naka-za Theater: Soganoya* Year-end Performance of The Sequence of Demands?
Company President's Wife Kikuko (Ōsumiko) Company President Sekikawa Kiyoshi (Kojirō) Foreman Honda Hideyoshi (Gorō)
Worker Yamamoto (Chōroku)
*see "Soganoya Comedy Troupe"
**see translated Summary of the Play (right margin).
*Summary of the Play (right margin): The Sequence of Demands.
"At a certain zinc company factory, due to the losses incurred, the workers' night shift allowance was not paid. As a result, dozens of workers demanded payment and caused an uproar. The company, lacking funds, was unable to easily meet the workers' demands, which only made the commotion grow larger. However, the situation took an unexpected turn when the sister of foreman Hideyoshi was seduced by President Sekikawa and given a gold watch. Hideyoshi went to the president's residence and convinced the president's wife, Kikuko, to buy the watch from him. The money from this sale was then used to pay the night shift allowances for many of the workers. . . This is a satirical comedy depicting a contemporary situation where the pure silence of an innocent young woman resolves the uproar caused by dozens of men."
帝劇第七期生女優の兒童劇 メンバーサン
Members of the Teigeki (Imperial Theater)
7th Class Honorary Children's Theater
left margin commentary: The children's theater, organized by the actresses of the Imperial Theater's seventh class, was strongly encouraged under the guidance of Dr. Tsubouchi. However, since the Great Earthquake, prospects for performances in Tokyo diminished, so they finally took their efforts to Kansai to promote it there. Their first performance was held on November 1 at the Osaka Central Public Hall.
大阪樂天地十二月興行 『想夫憐』 高尾山橋の塲
Osaka Rakutenchi, December Performance: The Scene at Mount Takao Bridge from the popular shinpa [shimpa] play "Sōfuren" (Sympathy of mutual love)
木下の雅子 Kinoshita as Masako
[Kinoshita Kichinosuke 木下吉之助]
河原のお玉 Kawara as Otama
[Kawara Ichimatsu 河原市松 ]
藤山の岩崎一蒼 Fujiyama as Iwasaki Ichisō
[possibly Fujiyama Sōnosuke 藤山総之介]
大山の中野清助 Ōyama as Nakano Kiyosuke
高橋の小泉修藤 Takahashi as Koizumi Shūzō
[Takahashi Yoshinobu 高橋義信]
*see "Summary of the Play: Sōfuren." The text in the left margin tells us the play is so popular that a play summary is not being provided.
*Summary of the Play: Sōfuren
Source: "Chronology of Japanese Cinema" http://eiga9.altervista.org/chronology.html [accessed 8-16-24]
A popular shinpa [shimpa] theater play based on a novel of the same title by Watanabe Katei (1884-1926), first serialized in 1903. Sofuren tells the story of Masako, a young woman from the burakumin outcast community who is adopted by Koizumi Shuzo, a relative and navy officer. Hiding her origins, Masako gets engaged to Iwasaki Kazuhiko, the head of a wealthy Kyoto family, but Shuzo requests money from her and her father to keep her burakumin background secret.
Colophon Details
Performing Arts Photographic, issue 12 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on December 28, Taishō 12 (1923)
Published on January 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第二年第十三號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十二年十二月廿八日印刷納本
大正十三年一月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Selected Pages from Engei shashin Volume 3, Number 2, February 1924
IHL Cat. #2741
click on image to enlarge
Engei shashin Volume 3, Number 2
演藝冩眞 第三年 第二号
cover art (lithograph):
Matsumoto Kōshirō [VII] as Benkei
[七代目] 松本幸四郎 辦慶
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed: 信方 Nobukata within brown outlined oval cartouche
published: February 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年二月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Left margin edited commentary on Utaemon's Osaka visit: At the New Year's performance at Osaka Nakaza Theater, Nakamura Utaemon [V], a leading figure in the Tokyo theater world from the Narikomaya family [yagō], appeared in the grand kabuki performance uniting eastern and western troupes. He traveled to Osaka with his sons, Fukusuke [Nakamura Fukusuke V] and Kotarō [Nakamura Kotarō III]. This was Utaemon's first appearance in Osaka in eight years where he performed three of his renowned roles. . . After a long absence, he made a strong return to the Kansai theater scene.
帝劇の三花形浪花座初春興行へ出勤
The three leading actors from the Imperial Theater reporting for the Spring Opening Performance at the Naniwa-za (the Osaka Naniwa Theater)*
Azuma Hideko (1911-1943), Murata Kakuko (1893-1969), Matsujirō Shirai (1877-1951) the President of Shochiku, Otowa Kaneko, and, in the back, Mr. Ninomiya Yukio (Imperial Theater, head of literary department).
*Translation of commentary in right margin (Spring Opening Performance at the Naniwa-za) The January performance at the Osaka Naniwa-za theater featured the three leading actors from the Imperial Theater and stage director Yukio, who came to Osaka. They performed the comedy "Shūshin no Oni," written by Tarokaja Masuda (1875-1953), impressing the audience with their lively energy. Otowa Kaneko played the wife Kiyoko, Murata Kakuko played the servant Chiyo, and Azuma Hideko played Shingo the dog-man, all excelling in their roles with dynamic performances. It's no wonder the Osaka audience was captivated.
*Soganoya Comedy Troupe
Source: Soganoya, Gorō (1877–1948) by Fukushima Yoshiko, Routledge Encyclopedia of Modernism, Taylor and Francis, https://www.rem.routledge.com/articles/soganoya-goro-1877-1948
Soganoya, Gorō (1877-1948) was a Japanese actor, director and playwright who created a new genre of modern comedy called kigeki (also shinkigeki.) He wrote around 1,000 short comedies under the pen name Ikkai Gyojin. His comedy style was inspired by humor as well as the satirical and ironical laughter of Western comedy such as that of Moliére. Many of his works are still performed by the comedy troupe, Shōchiku Shinkigeki. His signature pieces include The Flower of the Luffa (1917) and Cherry Trees in Leaf (1933).
Soganoya became a student of the kabuki actor Nakamura Sangorō in 1892 and made his stage debut as the utility actor Nakamura Sannosuke at Osaka’s Naniwaza in 1893. In 1902 he met Nakamura Tokizo’s student, Nakamura Jidai (1869–1925) at the traveling kabuki troupe Osaka’s Fukuiza. In 1903, using their new names, Sannosuke as Gorō and Jidai as Jūrō, they formed Soganoya Brothers Troupe in order to create new comedy to replace the old style of comedy called niwaka which had been established by Tsuruya Danjurō in Osaka. Their debut in 1904 at Yūokaza in Itami near Osaka was a failure, but their first success came with Funny Kanjinchō acted for the traveling kabuki troupe, Nakamura Fukuen Ichiza in Wakayama, in which Gorō acted the role of Benkei and Jūrō Togashi.
Colophon Details
Performing Arts Photographic, issue 2 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on January 28, Taishō 13 (1924)
Published on February 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第二號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年一月廿八日印刷納本
大正十三年一月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Selected Pages from Engei shashin Volume 3, Number 3, March 1924
IHL Cat. #2742
click on image to enlarge
Engei shashin Volume 3, Number 3
演藝冩眞 第三年 第三号
cover art (lithograph):
Nakamura Ganjirō [I] as Togashi
[初代目] 中村鴈治郎 富樫
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed: 信方 Nobukata within red outlined rectangular cartouche
published: March 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年三月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Preface (partial translation)
Since the beginning of this spring, the theater world has been thriving not only in the revitalized capital but also in Kyoto, Osaka, Nagoya, Kobe, Yokohama, and other locations. Both new and traditional performances have been a great success, with a harmonious blend of Eastern and Western styles. Whether it’s new productions, traditional plays, dances, or jōruri (puppet theater), the variety of entertainment has been met with enthusiastic applause and sold-out shows every day.
As a result, our entertainment photo magazine, which you have always graciously supported, has undergone a renewal starting with the New Year's issue. We are committed to meeting the expectations of our readers by offering a fresh and improved experience.
Our company has been in publication for three years now, and we are deeply grateful for the continued support from all of you. Unlike imitation magazines, we have never once relied on outdated photos or the deceptive use of color prints, even during the busy months of February and March. Our hallmark is always presenting fresh and innovative scenes. Therefore, we hope you will not be swayed by the criticisms or the flashy color prints of other publications, but rather, continue to favor us by recognizing our true quality in comparison [to our competitors].
麻布南座二月狂言 米國東部或町醫者の應接室
クレプトメ一ニア [クレプトマニア]
Azabu Minami-za Theater February Performance: Kleptomania - A doctor's reception room in a certain town in the eastern United States
守田勘彌のドクター・バークレー
right: Morita Kanya [XIII] as Doctor Barclay
森律子の夫人グレース・ロー
center: Mori Ritsuko as Madame Grace Law
佐々木積の豪商フラン・ロー
left: Sasaki Tsumoru as Wealthy Merchant Frank Law
*see below for additional details on "Kleptomania"
*Kleptomania
In this American comedy, there was a doctor named Barclay in a town. One day, a self-proclaimed wealthy merchant brought his wife to the doctor for treatment. The doctor, feeling confident, took on the case. The gentleman explained to the doctor that his wife had a habit of stealing things. To test this, the gentleman took out a wallet containing $500, and Barclay did the same, placing both wallets on the mantelpiece as they pretended not to notice. While the two men were talking, the wife quickly and skillfully slipped both wallets into her purse. Barclay was shocked, but the gentleman reassured him, saying they would return to the hotel and have tea, at which point the wallets would be returned. Later, when Barclay called the hotel to follow up, he received a reply that they were not staying there.
Colophon Details
Performing Arts Photographic, issue 3 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on February 28, Taishō 13 (1924)
Published on March 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第三號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年二月廿八日印刷納本
大正十三年三月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Selected Pages from Engei shashin Volume 3, Number 4, April 1924
IHL Cat. #2743
click on image to enlarge
Engei shashin Volume 3, Number 4
演藝冩眞 第三年 第四号
cover art (lithograph):
Nakamura Utaemon [V] as Yoshitsune
[五代目] 中村歌右衛門 源義經
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed: 信方 Nobukata within red outlined oval cartouche
published: April 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年四月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
哀れ山長 狂人となつて松澤病院に.....
Alas, “Yamachō” [Yamazaki Chōnosuke] became insane and was admitted to Matsuzawa Hospital....."
Performance at Matsuzawa Hospital
In the center, seated and holding a cane, is Yamazaki Chōnosuke ["Yamacho"] (1877-August 23, 1924), a once famous actor of the Shinpa [Shimpa] theater.
"Both the actors on stage and the audience are all lunatics."
*for additional details about Yamazaki see "Yamazaki Chōnosuke"
* Yamazaki Chōnosuke
[translation of text in right margin]
"From around the years of Taishō 2 or 3, Yamazaki Chōnosuke gained widespread popularity through a series of successful performances and became a nationally recognized figure. However, as the times changed, he inevitably lost touch with the theater world and eventually disappeared from the public eye. Rumors spread that he had retired to the countryside due to illness. In reality, after being cast aside by the once-glamorous theater world, Yamasaki began to lose his sanity. Last summer, he was admitted to Matsuzawa Hospital, outside Tokyo, where he now spends his days among many other mentally ill patients. It is heartbreaking, and there are few who know Yamazaki who do not shed a tear upon hearing of his plight. On March 4th, during an entertainment event at the hospital, the patients performed a play. Despite having lost his mind, Yamazaki, with skills honed in his earlier years, joined the troupe and participated in the performance..."
*Kurōhoshi
The newcomer to the Kansai traditional theater scene, Ichikawa Aratarō, along with his beloved wife Azuma Aiko, has broken through many years of entrenched practices in the theater world and joined Shōchiku Kinema. To commemorate the couple's entry, the company's Kamogawa studio is currently producing the grand film "Kurōhoshi," with an unprecedented budget of 800,000 yen, a scale never before seen in Japan's cinema industry. Ichikawa Aratarō will play the lead role of Kurōhoshi, and the film, directed by Henry Kotani (小谷ヘンリー), features an extraordinary cast of around 500 actors [including "extras"]. The film is expected to premiere soon in Tokyo, Osaka, and Kyoto, and it is anticipated to electrify movie fans. (The photo shows the filming of "Kurōhoshi" at the ruins of Yodo Castle, where many local spectators gathered to watch the shoot, creating quite a commotion.)
Onoe Baikō and Ichimura Uzaemon, two renowned kabuki actors, temporarily left their troupe to travel to Osaka and perform in the February program at the Naka-za Theater, captivating the discerning theatergoers of the Kansai region with their masterful performances. . . The theater was packed to capacity every day from opening night to the final performance.
To celebrate this success and show appreciation to the troupe, a garden party was hosted by the two actors on March 4th at the Yamato villa of Mr. Sakai Itarō. Even Shirai [Matsujiro Shirai (1877-1951)], the usually stern-faced president of Shōchiku Co., was all smiles that day, sharing kantō-ni (a regional dish of simmered vegetables) with geishas, a scene not typically seen in Osaka.
Colophon Details
Performing Arts Photographic, issue 4 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on March 28, Taishō 13 (1924)
Published on April 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第四號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年三月廿八日印刷納本
大正十三年四月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Selected Pages from Engei shashin Volume 3, Number 5, May 1924
IHL Cat. #2744
click on image to enlarge
Engei shashin Volume 3, Number 5
演藝冩眞 第三年 第五号
cover art (lithograph):
Ichimuara Uzaemon [XV] as Kanpei
[十六代目] 市村羽左衛門 勘平
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: 信方 Nobukata; sealed: 伊毛古 within red outlined oval cartouche
published: May 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年五月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
淨瑠璃界を隱退する豊竹呂昇
Toyotake Roshō* [1874-1930] retires from the Jōruri world.
今の豊竹呂昇
right: The current Toyotake Roshō
豊竹呂昇の舞臺姿
center: Toyotake Roshō in stage appearance
十五年前の豊竹呂昇
left: Toyotake Roshō from fifteen years ago
*Toyotake was the top female gidayu player (jōruri chanter) from the Meiji period to the Taishō period.
新劇座四月浪花座公演
『塵境』
小山內薰氏作
April performance at the Shingeki-za and Naniwa-za theaters
Jinkyō (This Dusty World)
Written by Kaoru Osanai [1881-1928]
藤村秀夫の雇人六造
right: Fujimura Hideo as the woodcutter Rokuzō
高橋義信の地主野村仙吉
center: Takahashi Yoshinobu as the landlord Senkichi Nomura
花柳章太郎の雇人お松
left: Hanayagi Shōtarō as Omatsu, Senkichi's mistress
Colophon Details
Performing Arts Photographic, issue 5 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on April 28, Taishō 13 (1924)
Published on May 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第四號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年四月廿八日印刷納本
大正十三年五月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Selected Pages from Engei shashin Volume 3, Number 6, June 1924
IHL Cat. #2745
click on image to enlarge
Engei shashin Volume 3, Number 6
演藝冩眞 第三年 第六号
cover art (lithograph):
[Onoe] Baikō [VI] as Okaru
[六代目] [尾上] 梅幸のおかる
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed: 信方 Nobukata within black outlined oval cartouche
published: June 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年六月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Preface - Partial Translation
Recently, an issue has arisen where certain unscrupulous individuals, taking advantage of our name and similar branding, have been deceitfully circulating counterfeit goods under the pretext of our company’s work. Such actions are not only morally wrong but also an infringement on others' rights, which we consider to be a serious issue. We ask all readers to be vigilant in discerning the authenticity of such publications and to report any suspicious activity.
大阪朝日新聞連載
前田曙山氏原作
栗山狭衣氏脚色
『燃ゆる渦卷』
岡山 岡山劇塲
神戸 松竹劇塲 五月興行
An original work by Maeda Shozan [1872-1941]
Adaptation by Kurashima Sagoromo [1876-1945]
Moyuru uzumaki (Burning Spiral)
May performance playing in Okayama at the Okayama Theater and in Kobe at the Shōchiku Gekijo
實川延若の下男與吉實桂小五郎
right: Jitsukawa Enjaku [II] as the servant Yokichi, actually Katsura Kogorō
阪東壽三郎の林清之助
left: Bandō Jusaburō [III] as Hayashi Kiyonosuke
神田劇塲五月狂言『月魄』久松少佐宅の場 (成美團一派) [成美団一派]
May dramatic performance at the Kanda-za Theater: Tsukishiro (Moon Spirit) - The Scene at Major Hisamatsu's Residence (Seibidan Troupe)
小織桂一郎の陸軍中將川上益荒
right: Saori Keiichirō [1870-1943] as Army Lieutenant General Kawakami Masurao
都築文男の陸軍少佐久松喬 center: Tsuzuki Fumio [1883-1946] as Army Major Hisamatsu Takashi
喜多治郎の梅小路伯爵
left: Kita Jirō 喜多治郎 [?-?] as Count Umekōji
雄島濱太郎氏作『陽炎』
谷崎農園の塲
(角座五月狂言)
May dramatic performance at Kado-za Theater:
Kagerō (Heat Haze) - The Scene at Tanizaki Farm
Written by Ojima Hamatarō
花柳章太郎の妹辰子
right: Hanayagi Shōtarō [1894-1965] as Tatsu, the younger sister [of Tanaizaki Ryōma]
藤村秀夫の谷崎龍馬
left: Fujimura Hideo [1889-1968] as Tanizaki Ryōma, [a family friend and farm owner]
時代映書『それからの文覺』
Historical Film: Sorekara no Mongaku
現代映書『美濃屋の娘』
Modern Film: Minoya no musume (The Daughter of Minoya)
市川荒太郎の遠藤武者盛遠right (top image): Ichikawa Aratarō as Endō Musha Moritō [later becoming the monk Mongaku]
東愛子の袈裟御前
center (top image): Azuma Aiko as Kesa Gozen
柳唉子さ梅村容子
left (bottom image): Yanagi Sakuko [柳さく子 (1902-1963)] and Umemura Yōko [1903-1944]
Note: There seems to be no record of the Mongaku film pictured in the top image in the Shochiku or other Japanese film databases. There is a passing reference to it in a 1924 issue of Kinema junpō キネマ旬報 (the movie times).
Colophon Details
Performing Arts Photographic, issue 6 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on May 28, Taishō 13 (1924)
Published on June 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第四號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年五月廿八日印刷納本
大正十三年六月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Selected Pages from Engei shashin Volume 3, Number 7, July 1924
IHL Cat. #2746
click on image to enlarge
Engei shashin Volume 3, Number 7
演藝冩眞 第三年 第七号
cover art (lithograph):
Nakamura Kichiemon [I] as Kajiwara Heizo
[初代目] 中村吉右衛門 梶原平三
artist: Koshō Nobukata 古荘信方, active 1896-1926)
signed: no signature; sealed: unread within red outlined square cartouche
published: July 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年七月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Preface
Notification to Members
(rough partial translation)
We must inform you of a regrettable situation. Some unscrupulous individuals have been taking advantage of our company’s success to deceive readers, using similar names or formats to create fake publications.
Should any reader encounter such counterfeit publications posing as ours, we kindly ask you to inform us immediately.
We ask you to remain vigilant and not be misled by any imposters.
(中座六月狂言) 愛宕山連歌の場『天下知桔梗籏揚』
(Naka-za theater, June Performance)
Atagoyama renga scene from Amegashita shiru kikyō no hataage
實川延若の武智日向守光秀
Jitsukawa Enjaku [II] as Takechi Hinata kami Mitsuhide
嵐吉三郎の安田作兵衛
Arashi Kichisaburō [VI] as Yasuda Sakubei
阪東秀調の妻皐
Bandō Shūchō [III] as [Mitsuhide's] wife Satsuki
中村紫香の妹桔梗
Nakamura Shikō [I] as [Mitsuhide's] younger sister Kikyō
*Play summary: "Ten'on," a new school (shinpa [shimpa] 新派) play
The iron factory owner Kawashima Genkichi has been caring for Okyo since she was a child and now intends to marry her off to Sagawa, who has grown into a fine man. Both Okyo and Sagawa are excited about the prospect. However, due to Kawashima’s past connection with the heiress of the ruined Kojogakusha , he rejects Okyo’s marriage. After making significant contributions to the school [the Kojogakusha], Sakai Akira tries to win over the heiress Masumi with all his might, but she refuses. Masumi's father, Tadayuki, then shifts his focus to other matters, trying to prevent the influence of Kawashima’s anger over Sakai's actions. Genkichi decides to take back control of Kojogakusha from Masumi's hands and, while running around to secure funds, finds out that it was all part of Sakai's scheme. Realizing the truth, Sakai is filled with regret and gives up on his plans.
小人島歌劇團の一行
The Little People Island Opera Troupe has arrived
The performers are said to be little people born in Russia. The troupe consists of five members, each with a height of around two to two feet three inches, though they have the appearance of fully-grown adults.
After a successful performance at the Jurakukan Theatre in Kobe, they are now staging the hit "Madame Servin" at the Osaka Shochikuza Theatre starting in late May, which has drawn considerable attention. The photo shows the troupe arriving at Shochikuza, and two members in the back are still sitting in their car. Though they are physically small, they carry themselves like full-grown adults, and none of their actions seem out of the ordinary.
蒲田映畫『日曜日』
フアーストナシヨナル映畫『赤道直下』
Kamata Films "Sunday"
First National Films "Under the
Equator"
right: Hiroshi Masakuni (正邦宏) as company employee Kawamura and Nobuko Satsuki (五月信子) as the typist Michiko in the Kamata Films 1924 movie Sunday (日曜日).
left: Boris Karloff (ポリス・カーロフ) as the Nabob of Menang and Katherine MacDonald (キセリン・マクドナルド) as Lola Daintry in the 1922 movie The Infidel which was released in Japan with the title Sekidō Chokka 赤道直下 (Under the Equator).
Colophon Details
Performing Arts Photographic, issue 7 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on June 28, Taishō 13 (1924)
Published on July 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第四號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年六月廿八日印刷納本
大正十三年七月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Back cover
Advertisement for the "Shashin shinbun" 寫眞新聞, launched in December 1923. The three panel cartoon features the character Shō-chan (正チャン) and his sidekick squirrel Risu telling everyone what a good thing the "Shashin shinbun" is.
The dialogue in the cartoon panels read:
ミンナニコノホノヨイコトヲ
シラ シマセウ
ユカイ
ヒコーキデユコウ!
キット! ミンナ 申込ムヨ!!!
Selected Pages from Engei shashin Volume 3, Number 8, August 1924
IHL Cat. #2747
click on image to enlarge
Engei shashin Volume 3, Number 8
演藝冩眞 第三年 第八号
cover art (lithograph):
Jitsukawa Enjaku [II] as Igami no Gonta
[二代目] 実川延若 いがみの権太
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed: 信方 Nobukata within red outlined rectangular cartouche
published: August 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年八月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Colophon Details
Performing Arts Photographic, issue 8 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on July 28, Taishō 13 (1924)
Published on August 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第四號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年七月廿八日印刷納本
大正十三年八月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Back cover
Advertisement for the "Shashin shinbun" 寫眞新聞, launched in December 1923. The three panel cartoon features the character Shō-chan (正チャン) and his sidekick squirrel Risu telling everyone what a good thing the "Shashin shinbun" is.
The dialogue in the cartoon panels read:
ミンナニコノホノヨイコトヲ
シラ シマセウ
ユカイ
ヒコーキデユコウ!
キット! ミンナ 申込ムヨ!!!
Selected Pages from Engei shashin Volume 3, Number 9, September 1924
IHL Cat. #2748
click on image to enlarge
Engei shashin Volume 3, Number 9
演藝冩眞 第三年 第九号
cover art (lithograph):
Ichikawa Shōchō [II] as Chigusaya Oman
[二代目] 市川松蔦 千草屋おまん
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed: 信方 Nobukata within red outlined rectangular cartouche
published: September 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年九月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Preface (rough translation, in part)
Dear Esteemed Reader: Recently, an entity claiming to operate in the same way as our organization has emerged. We strongly urge caution regarding this impostor, which has been engaging in fraudulent activities under the guise of our brand. Rest assured, we will continue to stand firm against such deceitful behavior, and we ask for your continued support in safeguarding the reputation and integrity of our company.
怪談 「牡丹燈籠」 萩原新三郎宅の塲 (浪花座八月狂言)
Ghost Story "The Peony Lantern" [Kaidan botan dōrō] scene at the Residence of Hagiwara Shinzaburō (Naniwa-za August Program)
萩原新三郎 (中村扇雀)
Hagiwara Shinzaburō (played by Nakamura Senjaku [I])
召使お米の靈 (實川芦紅)
Spirit of the Servant O-Kome (played by Jitsukawa Rohoku) [實川芦雁 Jitsukawa Rogan?]
娘お露の蝶 (中村福太郎)
Maiden Otsuyu (played by Nakamura Fukutarō)
支那大陸視察巡業の途に上る市川左團次一行
The Ichikawa Sadanji Troupe Embarks on a Tour and inspection of Mainland China
*See below for a rough translation of the additional details on this trip as given in the left margin.
*To inspect and tour the Chinese mainland, a group of 80 people, including Ichikawa Sadanji, Ichikawa Sumizō, Ichikawa Arajirō, and Nakamura Shikaku, departed on August 6 aboard the merchant ship Taichū Maru from Kobe. The departure of this significant group, including members of the prestigious Takashima family, who are pillars of the contemporary theater world, made this mainland tour a meaningful event for Shochiku. The send-off was a lively scene, unlike anything seen in Kobe in recent times. The photograph shows the group enjoying themselves on the deck of the Taichū Maru, with Sadanji and Sumizō featured on the lower right.
* Passionately Devoted Movie Actors
The explanatory text in the right margin extols the actor Ichikawa Aratarō, stating in part that he is "a young actor at the Shochiku Kamo studio, [who] has only recently joined the world of cinema, but he has been diligently studying directing methods and costumes for period films. In his latest film, he made a striking innovation by tying his hair in a chignon directly onto his scalp, without using a habutae silk pad. He was the first to try this style, adorning his moon-shaped shaved patch with great care. Following his lead, many young actors . . . have adopted this new hairstyle, but some older actors have turned their noses up at it. Given that actors of all ages tend to be vain, the fact that these young actors have taken such a bold step suggests that they are truly dedicated to their craft and the pursuit of beauty.
名古屋御園座。京都南座八月狂言『血染の瀑布』新聲劇一派
Nagoya Misono-za and Kyoto Minami-za August performance: Blood-Stained Waterfall [Chizome no bakufu] by the Shinsei Theater Group [Shinsei geki]
中田正造の岩瀧の十藏
Nakata Shōzō [1893-1945 - leader of the Shinsei Theater Group] as Jūzō of Iwataki
名越仙左衛門の漁夫作兵衛
Nagoshi Senzaemon as the fisherman Sakubei
山口俊雄の金引の吉三郎
Yamaguchi Toshio [1897-1945] as Kimbiki no Kichisaburō
築地小劇塲夏期公演
ウ井ルヘルム・マイエルフエルスルテル
松居松翁[松井松翁]氏譯 (アルト・ハイデベルヒ)
「思ひ出」リユウダアの家
Tsukiji Small Theater summer performance
Old Heidelberg* written by Wilhelm Meyer-Förster, translated by Matsui Shōō
"Memories" at Lyuda's house
友田恭助のハインリツヒ
Tomoda Kyōsuke [1899-1937] as [Prince] Heinrich
田村秋子のケエテイイ
Tamura Akiko [1905-1983] as Käthie
*Old Heidelberg Brief Summary
Source: Wikipedia https://en.wikipedia.org/wiki/Old_Heidelberg_(play)
A German romantic play by Wilhelm Meyer-Förster first performed in 1901. While studying at the Heidelberg University, Prince Karl [Heinrich] from Saxony falls in love with Käthie, an innkeeper's daughter, but has to give her up when his father dies and he is called to return to his homeland and rule as king.
Colophon and announcement of prize winners
(see Colophon Details for publishing information in left margin)
Right side within border: announcement of prize winners for free subscriptions.
Left side within border: Listing of branch offices of Engei shashin
Colophon Details
Performing Arts Photographic, issue 9 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on August 28, Taishō 13 (1924)
Published on September 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第四號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年八月廿八日印刷納本
大正十三年九月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Back cover
Advertisement for the "Shashin shinbun" 寫眞新聞, launched in December 1923. The three panel cartoon features the character Shō-chan (正チャン) and his sidekick squirrel Risu telling everyone what a good thing the "Shashin shinbun" is.
The dialogue in the cartoon panels read:
ミンナニコノホノヨイコトヲ
シラ シマセウ
ユカイ
ヒコーキデユコウ!
キット! ミンナ 申込ムヨ!!!
Selected Pages from Engei shashin Volume 3, Number 10, October 1924
IHL Cat. #2749
click on image to enlarge
Engei shashin Volume 3, Number 10
演藝冩眞 第三年 第十号
cover art (lithograph):
Ichikawa Chūsha [VII] as Higuchi Jirō Kanemitsu
[in the play Hirakana Seisuiki]
[七代目] 市川中車 樋口冶郎兼光
[ひらかな盛衰記]
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed: 信方 Nobukata within black outlined rectangular cartouche
published: October 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年十月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Prize contest (懸賞)
Who is on the right, and who is on the left? Please clearly indicate... Submit your answers in a postcard by October 20th to the Prize Section of our company.
For the first prize, one winner will receive a one-year subscription to the photography newspaper. For the second prize, two winners will receive a six-month subscription each. For the third prize, ten winners will receive the November issue.
The results will be announced in the November issue.
右は誰・左は誰と明瞭に・・・・・・・・・答案は例刀通り端書にて十月十廿日迄に本社懸賞係宛
壹等當籤者一名へ寫真新聞壹ヶ年講讀券一枚・貳等二名へ同半ヶ年一枚宛 ・参等十名へ同十一月號壹部宛. ・發表は十一月號誌上にて ・・・
Colophon Details
Performing Arts Photographic, issue 10 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on September 28, Taishō 13 (1924)
Published on October 1, Taishō 13 (1924)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第四號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年九月廿八日印刷納本
大正十三年十月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Back cover
Advertisement for the "Shashin shinbun" 寫眞新聞, launched in December 1923. The three panel cartoon features the character Shō-chan (正チャン) and his sidekick squirrel Risu telling everyone what a good thing the "Shashin shinbun" is.
The dialogue in the cartoon panels read:
ミンナニコノホノヨイコトヲ
シラ シマセウ
ユカイ
ヒコーキデユコウ!
キット! ミンナ 申込ムヨ!!!
Selected Pages from Engei shashin Volume 3, Number 11, November 1924
IHL Cat. #2750
click on image to enlarge
Engei shashin Volume 3, Number 11
演藝冩眞 第三年 第十一号
cover art (lithograph):
Nakamura Kaisha [VII] as Ohaya
[七代目] 中村魁車 おはや
artist: Koshō Nobukata 古荘信方, active 1896-1926
signed: no signature; sealed 信方 Nobukata within red outlined rectangular cartouche
published: November 1, Taishō 13 (1924)
publisher: Engei shashin company
大正十三年十一月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Preface
(rumor denial)
We are deeply grateful for the enthusiastic support from everyone, which has greatly contributed to our prosperity. On behalf of all the staff, I would like to express my heartfelt gratitude.
However, recently, there have been surprising rumors that our company may suspend or discontinue operations, which have caused concern among various people. It is with deep regret that I must inform you that due to unforeseen circumstances, the publication of our newspaper has been delayed for two months. I want to assure you that there is no cause for concern regarding the continuation of our services. The delay was primarily due to our efforts to improve the quality of our printing department, which took more time than expected during the busy summer season. We also faced challenges in reorganizing our sales operations, which affected our capabilities. As a result, we ask for your understanding and patience during this time.
Colophon Details
Performing Arts Photographic, issue 11 of the third year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on October 28, Taishō 13 (1924)
Published on November 1, Taishō 13 (1924)
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all rights reserved
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Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
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Editor and publisher: Takashima Komanosuke
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
Colophon Transcription
演藝寫眞 第三年第四號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十三年十月廿八日印刷納本
大正十三年十一月一日發行
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不許複製
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定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
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編輯兼發行人 高島駒之助
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
Back cover
Advertisement for the "Shashin shinbun" 寫眞新聞, launched in December 1923. The three panel cartoon features the character Shō-chan (正チャン) and his sidekick squirrel Risu telling everyone what a good thing the "Shashin shinbun" is.
The dialogue in the cartoon panels read:
ミンナニコノホノヨイコトヲ
シラ シマセウ
ユカイ
ヒコーキデユコウ!
キット! ミンナ 申込ムヨ!!!