Ando, Takatura. Creationism. First published, 1982.

Ando, Takatura. Creationism. Second International Edition, 1983. Hakuun Sanbo Press. 56 color plates of oil marbling.

Asami, Soseki. “A Private Opinion and Dissertation Concerning Suminagashi.” Paper and Beauty. Series No. 13, 1986. Fide Anne Chambers, Suminagashi, 1991, p. 49.

“Buntpapier Ausstellung.” Allgemeiner Anzeiger für Buchbindereien. Jg. 78, No. 7, July 1965, p. 442. Exhibit in Munich arranged by Haemmerle, including suminagashi from 15th and 16th centuries.

“Buntpapier in Berlin.” Allgemeiner Anzeiger für Buchbindereien. Jg. 79, No. 4, April, 1966, p. 239. Review of an exhibit arranged by A. Haemmerle, drawn from several collections. Papers are described and several makers are mentioned by name. On p. 239. An example of suminagashi in very large size, c. 1880–1890 is featured.

Chambers, Anne. Suminagashi: The Japanese Art of Marbling. London: Thames and Hudson, 1991. 80 pp., 64 illustrations, 38 in color. Foreword by Akiro Kurosaki. Bibliography; sources of materials.

Collection of Works from Japanese Dolls Exhibition. October, 23-30, 1983. 93 pp., illustrated in color. Japanese language text.

Easton, Phoebe Jane. “Suminagashi. The Japanese Way with Marbled Paper.” Coranto, Journal of Friends of the Libraries, University of Southern California. Vol. 8, No. 1, 1972. pp. 3–17, illustrated, original sample of suminagashi as frontispiece. Bibliography, history, technique and uses of suminagashi.

Fischer, Otto. “Der Chinesische Farbenholzschnitt.” Jahrbuch für Buch und Schrift. 1940, Neue Folge 3, pp. 87 et seq. (AH)

Glaister, Geoffrey. An Encyclopedia of the Book. Cleveland: World Publishing Co., 1960. Suminagash pp. 250-251. 4 samples of Cockerell paper between pp. 256 and 257. Date for the probable origin of suminagashi given as c. 800, but no evidence is cited.

Glaister, Geoffrey. Glaister’s Glossary of the Book. 2nd ed. Berkeley: University of California Press, 1979. 551 pp., illustrated. Marbling pp. 250-251. 4 samples of Cockerell paper between pp. 256 and 257. Date for the probable origin of suminagashi given as c. 800, but no evidence is cited.

Glaister, Geoffrey. A Glossary of the Book. London: George Allen and Unwin, 1960, 484 pp. Marbling, pp. 250–251. 4 samples of Cockerell paper between pp. 256 and 257. Date for the probable origin of suminagashi given as c. 800, but no evidence is cited.

Guyot, Don. Suminagashi. An Introduction to Japanese Marbling. Seattle: Brass Galley Press, 1988. 24 pp., illustrated with 9 line drawings and an original sample of suminagashi.

Haba, Tokuzo. Suminagashi. Ironagashi. Tokyo: Kokudosho, 1979. 32 pp., illustrated with color. Simple instructions for suminagashi and oil color marbling. Japanese text.

Haemmerle, Albert, in collaboration with Olga Hirsch. Buntpapier… Munich: George D. W. Callwey, 1961. Brief account of suminagashi p. 41.

Hibino, Yosiaki. “Madore-zome” [Flow of Nature]. Senshoku to Seikatsu [Textiles in Life]. No. 7, 1974, p. 44.

Hughes, Sukey. Washi—The World of Japanese Papers. New York, San Francisco,Tokyo: Kodansha International, 1978. 359 pp., illustrated. Suminagashi, pp. 201–202. Collectors’ edition of 1000 copies contains 102 tipped-in samples, none marbled.

Hyakka, Shukan Asahi. “Heian Jidai Koki No Bijutsu, II.” (Art of the Later Heian Period, II.) Sekai No Bijutsu. No. 110, 5/4, 1983. Illustrates Heian suminagashi, and an example of woodblock printing of suminagashi.

Jugaku, Bunsho. Japanese Way to Make Paper. Tokyo: Tekeo Paper Co., Ltd., 1969. 14 pp. of English text; 69 pp. of Japanese text. 209 samples, of which No. 85 is suminagashi. Edition of 1000.

Katano, Takashi. Somegami no Giho. Tokyo: Sogokagaku Shuppansha, 1980. pp. 106–113. Suminagashi technique and materials described. Edition of 200.

Kersten, Paul. “Die Geschichte des Buntpapieres.” Wochenblatt für Papierfabrikation. Jg. 69, No. 46, November 12, 1938, pp. 953–955; No. 47, November 19, 1938, pp. 976–979. Japanese marbled paper p. 979.

Kreins, Earl. “Suminigashi for the novice.” Ink & Gall. Taos, NM: Fresh Ink Press, Taos, NM: Fresh Ink Press, Vol. 4, No. 2, Winter, 1990, pp. 26–30. Illustrated.

Kume, Yasuo. Tesuki Washi Shuho [Fine Handmade Papers of Japan]. Tokyo: Yushodo Booksellers, Ltd., 1980. Collection of 207 kinds of handmade paper. Suminagashi pp. 36–37. Edition of 200.

Kuroda, Takaji. Played an active part in the Oji Paper Museums’ exhibition Suminagashi and Marbling, 1988, and wrote an article for the Museum’s house magazine describing his technique. Fide Anne Chambers, Suminagashi, 1991, p. 28.

Lane, Richard. Images from the Floating World: The Japanese Print. New York: G. P. Putnam’s Sons, 1978. 364 pp., illustrated. p. 107, Plate 95, Harunobu: late 1760’s; black and white on a woodblock-printed suminagashi style background.

Leech, Thomas. “Suminagashi. Black Ink Floating.” Focus. Vol. 39, No 2, Summer, 1989, p. 3. Suminagashi illustrated on back cover.

Machida, Seishi. Washi no Shiki. [The Four Seasons of Washi.] Kyoto: Shinshindo, 1978.

Marbling for Mother and Child. Tokyo: Bijutsu, [n.d. The first technical book in Japan for adults and children. (Source: Sho Kida, 1-10-34-406 Jingumae, Shibuya, Tokyo, Japan). Includes a note on vegetable dyes by Sei Ju Yamazaki. Japanese text.

Middleton, Bernard C. A History of English Craft Bookbinding Technique. London: Hafner Publishing Co., 1963. xvi, 307 pp., illustrated, plates. Jacket and frontispiece illustrate marble patterns in color. Scattered references to marbling in text. Suminagashi pp. 33–35. 2nd ed. 1978. Rpt. New Castle, DE: Oak Knoll Press, London: British Library, 1996.

Mitchell, C.H. Handmade Papers of Japan, Including an Abridged Reproduction of One of the Old Classics of Japanese Literature about Paper-Making by Hand, by Kamisuki Chohoki, Originally published at Osaka in 1798. Tokyo: IIS Crafts, 1963. Printed by Chuo Printing Co. A catalog of handmade papers, of which suminagashi is No. 24–25.

Miura, Einen. Art of Marbled Paper. London: Zaensdorf, Ltd., 1989. 152 pp., illustrated in black and white and color. Pattern names in English, French, and German. One original sample before p. 147.

Miura, Einen. Fascinating Marble Paper. Miwaku no Maburu. Tokyo: Atelier Miura, 1988. 155 pp., illustrated in color and black and white. Text in Japanese. Pattern captions in French, English, and German.

Miura, Einen. “Norinagashi” [Paste Slurry Marbling]. and “Tokushuu” [Marbling]. Gekkan Senshoku. 1983, Vol. 2, No. 23.

Miura, Kerstin Tini. Watakushi no Sotei Geijitsu no Sekai [My World of Bibliophile Binding]. Japan: Kyuryudo Co., 1980. Imaginative marbles used as covers and endpapers. Illustrated in color.

Mizoguchi, Saburo. Design Motifs. Translated and adapted by Allison Cort. New York: Weatherhill/Shibundo, 1978. Brief description of suminagashi.

Moskowitz, Ira, Ed. Great Drawings of All Time. New York: Sherwood Publishers, 1962. A drawing by T. Mitsunori, Pl. 917, taken from the Tale of Genji album in the Freer Gallery, is illustrated. Notes each drawing in original is accompanied by a poem on suminagashi.

Nakata, Yujiro. The Art of Japanese Calligraphy. Translated by Alan Woodhull in collaboration Armins Nikovskis. New Yorkand Tokyo: Weatherhill and Heibonsha, 1973. 172 pp. Suminagashi, p. 144, fig. 155. Rpt. 1976.

Narita, Kiyofusa. Japanese Paper-Making. Tokyo: Hokuseido Press, 1954. 60 pp., illustrated. Endpapers are printed suminagashi.Two paper samples. Suminagashi, pp. 55–60.

Narita, Kiyofusa. A Life of Ts’ai Lung and Japanese Papermaking. Revised and enlarged edition. Tokyo: The Paper Museum, 1980. 106 pp., illustrated in color and black and white. Suminagashi, pp. 71–76.

Narita, Kiyofusa. “Suminagashi.” Investigacion y Tecnica del Papel. Vol. 10, No. 36, pp. 487–492. (ATT)

Narita, Kiyofusa.”Suminagashi.” The Paper Maker. Vol. 24, No. 1, 1955, pp. 27–31. Biography inserted opp. p. 27. Double plate and 2 illustrations.Similar to Narita, 1980 and 1954.

Nihon no Kogei [Industrial Arts of Japan]. Kyoto: Tanko Shinsha,1966. Vol. 4, black and white plates Nos. 8 and 23; Suminagashi technique described. Japanese text.

Nishioka, 96 pp., Toshio. “Multi-Color Print.” Senshoku to Seikatsu. 1974, No. 7, pp. 48–50. Method for printing marbled design on textiles.

Noguchi, Yone. Susuki Harunobu. Tokyo: Seibundo, 1932. 96 pp., illustrated in color. Pl. 75, The Monkey Leader, c. 1770, is was executed over a block-printed design in imitation of a suminagashi pattern.

Okamoto, Akira. “Hon Suminagashi Zome.” Zome Ori. [formerly Senshoku to Seikatsu], Aug., 1981, No. 5, pp. 139–142. Describes work of Mangiro Takeya.

Otake, Mariko. “Genso No Moyo Shi. Marble Shi To Suminagashi.” [Designed Paper of Fantasy.] Kikan Ginka. No. 45, Spring, 1981 pp. 149–160, illustrated in color. Largely about the work of the Frenchman, Michel Duval.

Senshoku To Seikatsu [Textiles in Life]. Fall issue, No. 7, 1974. Quarterly issue devoted to suminagashi. Editorial staff et al.

Shensetsu, Kitamura. Kiyu Shoran. 1830. Instructions for suminagashi. (T&T)

Shimura, Asao. Suminagashi Ink Floating. Tokyo: Bunseido Press, 1978. 6 lvs., 8 samples (1 Indian, 7 by Shimura); 1 p. in English, 3 in Japanese. Miniature book.

Shimura, Asao. Suminagashi Ink Floating. Second Edition.Tokyo; Bunseido Press, c. 1978. 4 leaves, 8 samples, one colored. Miniature book, 8.2 cm. Printed on rice straw paper, zumi-uchigami. Samples made in Sri Aurobindo, India, on rag paper, issued in a balsa wood box. (10 cm.) Text in Japanese and English. Edition of 64.

Shukan, Asahi. “Heian Jidai koki no bi jutsu, 11.” Hyakka Sekai no Bijutsu [Art of the World]. No. 110, 5/4, 1983. Illustrated. (BS)

Stern, Harold P., Ed. The Freer Gallery of Art. Part 2: Japan. Tokyo: Kodansha, 1971. 184 pp. Illustrated in color. Suminagashi from the Genji Album is illustrated on Pl. 35 and p.163.

Susuki, Fukutomi. “Nori Nagashi-zome.” [Scenery drawn with starch.] Senshoku To Seikatsu. 1974, No. 7.

Takahashi, Seiichiro. Master Works of Ukiyoe. Harunobu. 3rd ed. Tokyo: Kodansha, 1976. English adaptation by John Bester. P1. 33, Performing Monkey, has a woodblock printed suminagashi background. First ed. 1968; second printing, 1972, third printing 1976.

Tanizaki, Junichiro. Seven Japanese Tales. Tr. by Howard Hibbett. A Perigee Book. New York: G.P. Putnam and Sons, 1981, 298 pp. “The Bridge of Dreams” story concerns a poem on suminagashi, p. 95.

Tesukiwashi Taikan [Handmade Japanese Paper]. Tokyo: Mainichi Newspaper Group, 1974. Consists of one thousand mounted specimens in five cloth-covered boxes, and a smaller box containing five books with articles and lists relating to each of the sample boxes. Japanese edition was oversubscribed, but the English was not. Suminagashi treated on pp. 36–37. Two samples of suminagashi by Kouichi Yamada, No. 758.

Thom, Karo. “Suminagashi: Ink Floating.” Fine Print. Vol. 7, No. 3, July, 1981, pp. 79–81, 107, illustrated.

Thom, Karo. “Suminagashi no Giho o Benkyo Shite” [Studying the Technique of Suminagashi]. Hyakumantoh. Sept. 1981, No. 52, pp. 100–105, illustrated. Japanese text with English summary.

Tindale, Keith, and Harriet R. The Handmade Papers of Japan: The Seki Collection. Rutland, VT and Tokyo: Charles E. Turtle Co., 1952. Suminagashi, pp. 110–111. Recipe, method, names of varieties, history, and uses.

“Today’s Suminagashi-Zome, Traditional and Modern Methods.” Senshoku to Seikatsu. No. 7, 1974, pp. 42–50. Historical account of suminagashi given.

Tsien, Tsuene-Huin. Science and Civilization in China: Paper and Printing. Cambridge: Cambridge University Press, 1985. Provides a summarized translation from the 10th century text Wen Fang Si Pu by the 10th century Imperial Scholar-Official Su Yijian. Dr. Tsien suggests that paper marbling originated in China.

Uemura, Rokura. “Suminagashi-Zome Obegaki” [Suminagashi Memorandum]. Senshoku to Seikatsu. Fall issue, 1974, No. 7, pp. 30–34.

Yagi, Tokutaro. “Kanzen Shuroku Suminagashi-zome Denjusho” [Suminagashi Instructions]. Senshoku to Seikatsu. No. 7, Fall, 1974, pp. 51–69. Form of suminagashi developed in Kyoto.

Yagi, Tokutaro. Suminagashi-zome. Translated by Kyoko Mueke. Woodside, CA: Heyeck Press, 1992. 57 pp., 3 wood engravings by Rik Olson, 13 suminagashi sampled by Robin Heyeck. Bound in hand-marbled silk broadcloth. Slip case. Yagi dictated his instructions for making a variety of patterns in 1913 in Kyoto. Edition of 200.

Yagi, Tokutaro. Suminagashi-zome. Translated by Kyoko Mueke. Woodside, CA: Heyeck Press, 1992. 45 pp., illustrated. Marbled sample on front cover. Trade edition of 150.

Yagi, Tokutaro. “Suminagashi-zome.” Translated by Kyoko Mueke, illustrated by Rik Olsen, samples by Robin Heyeck.” Reviewed by Tom Killion. Ink & Gall. Taos, NM: Fresh Ink Press, Vol. 6, No. 1, Summer, 1992, pp. 24–26, illustrated.