‎Chine‎

‎CHINA‎

‎Flagpole at the top of the peak Hong Kong.‎

‎c.1870. . Albumen print. Very good tonal range and in good condition. c.1870]. unknown‎

Referenz des Buchhändlers : 81162

‎CHINA‎

‎River view Canton.‎

‎c.1870. . Albumen print. Very good tonal range and in good condition. c.1870]. unknown‎

Referenz des Buchhändlers : 81524

‎China Export Watercolours on Pith Paper.‎

‎Ceremonies with fantastic animals.‎

‎Canton 2nd half of 19th century. . A set of 10 watercolour and gouache studies on pith paper; one with a long horizontal closed tear. Contemporary red patterned silk binding; upper hinge broken and upper cover detached. Pith seems not to have been adopted for painting until about 1820. Some European museums claim that their paintings on pith often erroneously called "rice paper" or "mulberry pith" come from the end of the eighteenth century but there do not seem to be any dateable examples that are so early. There is a record of the Kaiser Franz of Austria buying some albums from an English Consul-General Watts in 1826. We know of an Italian Count who visited Canton in 1828 and had over 350 paintings on pith in his baggage when he died in Ambon two years later. In the British Library there is a scrap-book containing six pith paintings and a journal entry by a serving British officer who sent them home from India in 1829. These examples and contemporary accounts by visitors to Canton suggest that there was a flourishing trade in pith paintings by the early 1830s. Pith presumably came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of uses some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. Carl Crossman in his book The Decorative Arts of the China Trade originally published under the title The China Trade gives an excellent list of export painters with a note of those known to have painted on pith. These include Tingqua Sunqua and Youqua. From 1757 until 1842 Canton was the only Chinese port open to trade with the west and it is no surprise that of the eight studios identified by Crossman as producing works on pith six were in Canton. It seems that the 1830s and 1840s may have been the heyday of pith painting. The international trading bases the waterfront 'factories' on the 'Hongs' in Canton where they were produced were partially burnt during the First Opium War 1839-41 and totally destroyed in a fire of 1856. The foreign trading companies then moved to Honan and subsequently put up splendid new offices on reclaimed land at Shamian Island a little up river. As the result of the Treaty of Nanking in 1842 additional Chinese ports were opened up for foreign trade and Hong Kong was established as a major trading centre. By 1860 references to China in the Illustrated London News plentiful three years earlier were few and far between. That is not to say that painting on pith ceased. Nicholas the second was given paintings on pith when he visited Canton in 1891 and the last Emperor is said to have sent him a gift which included pith paintings in 1907 though these could have been examples of much earlier work. Painters on pith did not in general sign their work the sole exception is Sunqua whose name can be found on the face of three paintings on pith. There are collections of paintings on pith in the Ashmolean the British Museum the Fitzwilliam the Hermitage the Peabody/Essex Museum in Massachusetts and the Hong Kong Museum of Art. However because paintings on pith are not in general regarded as fine art they are usually to be found in ethnographic or specialised collections. Canton, 2nd half of 19th century]. unknown‎

Referenz des Buchhändlers : 91713

‎China Export Watercolours on Pith Paper.‎

‎Courtly Leisure and Activities.‎

‎Canton 2nd half of 19th century. . An album 27.5 x 42.5 cm of 12 watercolour and gouache studies on pith paper; occasional cracks. Contemporary red patterned silk binding. Fine scenes showing rich interiors and fine costumes - this album of especially large format. Pith seems not to have been adopted for painting until about 1820. Some European museums claim that their paintings on pith often erroneously called "rice paper" or "mulberry pith" come from the end of the eighteenth century but there do not seem to be any dateable examples that are so early. There is a record of the Kaiser Franz of Austria buying some albums from an English Consul-General Watts in 1826. We know of an Italian Count who visited Canton in 1828 and had over 350 paintings on pith in his baggage when he died in Ambon two years later. In the British Library there is a scrap-book containing six pith paintings and a journal entry by a serving British officer who sent them home from India in 1829. These examples and contemporary accounts by visitors to Canton suggest that there was a flourishing trade in pith paintings by the early 1830s. Pith presumably came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of uses some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. Carl Crossman in his book The Decorative Arts of the China Trade originally published under the title The China Trade gives an excellent list of export painters with a note of those known to have painted on pith. These include Tingqua Sunqua and Youqua. From 1757 until 1842 Canton was the only Chinese port open to trade with the west and it is no surprise that of the eight studios identified by Crossman as producing works on pith six were in Canton. It seems that the 1830s and 1840s may have been the heyday of pith painting. The international trading bases the waterfront 'factories' on the 'Hongs' in Canton where they were produced were partially burnt during the First Opium War 1839-41 and totally destroyed in a fire of 1856. The foreign trading companies then moved to Honan and subsequently put up splendid new offices on reclaimed land at Shamian Island a little up river. As the result of the Treaty of Nanking in 1842 additional Chinese ports were opened up for foreign trade and Hong Kong was established as a major trading centre. By 1860 references to China in the Illustrated London News plentiful three years earlier were few and far between. That is not to say that painting on pith ceased. Nicholas the second was given paintings on pith when he visited Canton in 1891 and the last Emperor is said to have sent him a gift which included pith paintings in 1907 though these could have been examples of much earlier work. Painters on pith did not in general sign their work the sole exception is Sunqua whose name can be found on the face of three paintings on pith. There are collections of paintings on pith in the Ashmolean the British Museum the Fitzwilliam the Hermitage the Peabody/Essex Museum in Massachusetts and the Hong Kong Museum of Art. However because paintings on pith are not in general regarded as fine art they are usually to be found in ethnographic or specialised collections. Canton, 2nd half of 19th century]. unknown‎

Referenz des Buchhändlers : 93531

‎CHINA EROTICA‎

‎Album of paintings‎

‎20th century. . 8 erotic paintings and 2 calligraphies. Dimensions of the paintings: 31 x 31.5 cm. Bound between two large grey cardboards 37.5 x 39 cm. [20th century]. hardcover‎

Referenz des Buchhändlers : 94212

‎CHINA SAUNDERS William attributed to.‎

‎Temple Peking.‎

‎c.1870. . Albumen print. Very good tonal range and in good condition. c.1870]. unknown‎

Referenz des Buchhändlers : 81525

‎China Export Watercolours on Pith Paper.‎

‎Wise men‎

‎Canton c.1860. . A set of 4 watercolour and gouache studies on pith paper each surrounded by blue fabric borders. Pith seems not to have been adopted for painting until about 1820. Some European museums claim that their paintings on pith often erroneously called "rice paper" or "mulberry pith" come from the end of the eighteenth century but there do not seem to be any dateable examples that are so early. There is a record of the Kaiser Franz of Austria buying some albums from an English Consul-General Watts in 1826. We know of an Italian Count who visited Canton in 1828 and had over 350 paintings on pith in his baggage when he died in Ambon two years later. In the British Library there is a scrap-book containing six pith paintings and a journal entry by a serving British officer who sent them home from India in 1829. These examples and contemporary accounts by visitors to Canton suggest that there was a flourishing trade in pith paintings by the early 1830s. Pith presumably came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of uses some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. Carl Crossman in his book The Decorative Arts of the China Trade originally published under the title The China Trade gives an excellent list of export painters with a note of those known to have painted on pith. These include Tingqua Sunqua and Youqua. From 1757 until 1842 Canton was the only Chinese port open to trade with the west and it is no surprise that of the eight studios identified by Crossman as producing works on pith six were in Canton. It seems that the 1830s and 1840s may have been the heyday of pith painting. The international trading bases the waterfront 'factories' on the 'Hongs' in Canton where they were produced were partially burnt during the First Opium War 1839-41 and totally destroyed in a fire of 1856. The foreign trading companies then moved to Honan and subsequently put up splendid new offices on reclaimed land at Shamian Island a little up river. As the result of the Treaty of Nanking in 1842 additional Chinese ports were opened up for foreign trade and Hong Kong was established as a major trading centre. By 1860 references to China in the Illustrated London News plentiful three years earlier were few and far between. That is not to say that painting on pith ceased. Nicholas the second was given paintings on pith when he visited Canton in 1891 and the last Emperor is said to have sent him a gift which included pith paintings in 1907 though these could have been examples of much earlier work. Painters on pith did not in general sign their work the sole exception is Sunqua whose name can be found on the face of three paintings on pith. There are collections of paintings on pith in the Ashmolean the British Museum the Fitzwilliam the Hermitage the Peabody/Essex Museum in Massachusetts and the Hong Kong Museum of Art. However because paintings on pith are not in general regarded as fine art they are usually to be found in ethnographic or specialised collections. [Canton, c.1860]. unknown‎

Referenz des Buchhändlers : 79604

‎MONGOLIA and CHINA‎

‎The Angus Ivan Ward Collection of Russian accounts of Mongolia and China.‎

‎various publication places and dates 1764 - 1914. . Collection of 18 titles. Extensive collection of Russian works focusing mostly on Northern China and Mongolia including important and rare travel trade and exploration accounts. Assembled by Angus Ivan Ward us consul in China and Russia during troubled times and ambassador in Afghanistan. Ward 1893-1969 served in the U.S. Army during World War I and then became U.S. Vice Consul in Mukden China in 1926; then in Tientsin in 1927-29 and again in 1932. He was sent to Moscow in 1938 and served as U.S. Consul General in Vladivostok during WWII in 1943. Before becoming U.S. Ambassador in Afghanistan in 1952-56 he was back in Mukden as Consul in 1948 where he became the subject of the Ward Incident 1948-49. During the final years of the Chinese Civil War Ward and the consulate staff were imprisoned and held under house arrest by Mao Zedong's People's Liberation Army for almost a year creating a diplomatic rift with the United States. Ward's collection is remarkable for its wide range comprising 150 years of Russian approach to China and their neighbouring region Mongolia before the Russian revolution. Including important as well as lesser works most in first editions and all rarely found on the market the collection not only presents an excellent panorama of Russian exploration of the region but also allows a rare understanding of the commercial and diplomatic relations between these two giant states. It is completed by scholarly works on local languages and cultures. Although Russian envoys and merchants were visiting and residing in Mongolia and China in the 17th century printed accounts of the relations between these countries became available to Russian readers only in the mid 18th century. At first they were Russian translations of works by Chinese authors such as An Account of the Chinese Mission to the Kalmyk Khan on the Volga in 1714 and Their Journey through Russia by Tulishen 1667–1741 which describes in detail the first official diplomatic mission of China to a European State. This early and important work later published in English by Staunton himself is represented here by a fine example of the first edition in Russian. One of the first Russian scholars of China is the celebrated and prolific monk Iakinf Bichurin 1777-1853. Leader of the 9th Russian Mission to Peking he spent 14 years in China learning the language and exploring the region. His Notes on Mongolia 1828 illustrated with fine hand-coloured plates is the first fundamental study of Mongolia by a Russian sinologist. When Bichurin's mission left Beijing the smooth transition with the new mission was under the control of the diplomat Egor Timkovskiy 1790-1875. His 3-volume Travels through Mongolia to China in the years 1820 and 1821 1824 became the first significant travel account of a Russian to China collecting material on Eastern Turkestan Mongolia Tibet China and Korea. The 1860 Beijing agreement ending the Second Opium War brought a new turn to the Russian exploration of the region. It was the result of Russian diplomatic efforts to facilitate negotiations between China on one side and Britain and France on the other and it allowed the establishment of a permanent Russian diplomatic presence in Beijing. The negotiations and Russia's role are described in detail in Baron Buksgevden's Russian China 1902. The last quarter of the 19th century was the most fruitful period for Russian exploration and the Ward collection includes some of the most important accounts published at that time. Due to an extension of the Great Game to the East many scientific Russian expeditions to Tibet and China were subsidized by the Russian Imperial Geographical Society with often a hidden agenda focusing on mapping the region and gathering intelligence data. An excellent example is given by Mikhail Pevtsov 1843-1902 a Russian army officer and student of Nikolay Przhevalskiy. His Account of a Travel around Mongolia and Northern Provinces of Continental China 1883 mapped unknown parts of Mongolia and Inner China which he discovered during his 1878-79 exploration. Similarly a generation later another military Vasiliy Novitskiy published an account on central Mongolia 1911 accompanied by fifteen accurate and detailed maps of the region. One of the most famous Russian explorers of the region is Grigoriy Potanin 1835-1920 who conducted eight expeditions to Mongolia Tibet and China with some of them lasting up to two years. The present collection includes his rare and fundamental 2-volume study of Central Mongolia and the Eastern border of China published in 1893 to which Ward added a scarce volume of articles by Alexandra Potanina 1843-93 Potanin's wife and the first woman to be accepted as a member of the Russian Geographical Society. A diplomat himself Ward extended his interest to the economic and diplomatic relations between Russia China and Mongolia. Exploration missions were indeed often useful to trade missions organized by the largest Russian trading companies trying to find new routes to the East and to understand the legal and economic aspects of trading in the region. Fascinating accounts were published including for example an Expedition to China in 1874-75 by Yu. Sosnovskiy 1883 Notes the Russian-Mongolian Trade by M. Bogolepov 1911 and Moscow Trade Mission to Mongolia by V. Popov 1912. Ward was a bibliophile and took great care of his purchases. All books are in excellent fresh condition and except the very rare Timkovskiy they are all complete with maps and illustrations. They have been bound in the mid 20th century in a uniform dark burgundy or brown colour in full cloth or in a quality half calf for the most important works except a couple of books such as the Tulishen which is in contemporary Russian half calf. During the binding work the maps were usually professionally laid on linen and carefully stored at the back of each volume in a pocket specially made. Most of the books bear Angus Ward's bookplate on the upper pastedown; some have supplementary earlier provenances. The full collection comprises the following titles. A detailed description of each with notes is available on request. Detailed description of the books: 1. -- . TULIŠEN Larion Kalinovich ROSSOKHIN translator Gerhard Friedrich MILLER publisher. 1714 . " ". An Account of the Chinese Mission to the Kalmyk Khan Ayuk on the Volga in 1714 and their Journey through Russia. Published in "Monthly Essays on Scientific Affairs". Publication: Imper. Akad. Nauk Skt. Peterburg 1764. A LOVELY FRESH EXAMPLE OF THIS EARLY ACCOUNT OF THE CHINESE MISSION TO THE KALMYK KHANATE - THE FIRST RUSSIAN EDITION OF THE FIRST DIPLOMATIC MISSION OF CHINA TO A EUROPEAN STATE according to the sinologist Mikhail Kapitsa. In the beginning of the 18th century the Kalmyk khanate situated in the South-East of the Russian Empire enjoyed autonomy in managing its domestic and foreign affairs. Ayuka Khan had a considerable authority both within the khanate and abroad and the Russian government relied on his military support to protect the borders of the Empire and make allies with the Asian states. The Tulišen's mission was pre-approved by Peter the Great and aimed at forming a military union against the Dzungar Khanate. Originally published in Beijing in 1723 in Chinese and Manchurian this account became known in Europe thanks to the French translation issued in 1729. In 1732 a scientist of a German origin based in Saint Petersburg and the publisher of the "Ezhemesiachnye sochineniya" "Monthly essays" Gerard Miller issued his German translation of the account. Miller however didn't fully trust the accuracy of the French text on which he based his German translation; he wished to use a Russian translation based directly on the Chinese or Manchurian original. Miller's goal was achieved when he discovered a Russian translation of the travel account done by Larion Rossokhin a knowledgeable translator from Chinese and Manchurian and a resident at the Imperial Academy of Sciences. He resided in China for many years and had a chance to work with the original Manchurian text. Before passing away in 1761 Rossokhin left all his documents and translations to the Academy of Sciences including the unpublished translation of the Tulišen's work which Miller tracked down. For clarity Miller supplied his own notes and comments in addition to those of Rossokhin. Description and Bibliographical references: July 1764: title 96 pp.; August 1764: title 99–192 pp.; September 1764: title 195-288 pp.; October 1764: title 291-384 pp.; November 1764: title 387-480 pp.; December 1764: title 481-576 pp. An account of the Chinese mission: pp. 3-48; 99-150; 195-234; 291-353; 387-427; missing upper fly leaf and small part of title page with no loss of text light spotting throughout. Contemporary half calf over marbled boards two red calf labels to spines; corners slightly bumped. 2. TIMKOVSKIY EGOR. 1820 1821 Travels through Mongolia to China in the years 1820 and 1821. Publication: Tip. meditsinskogo dep. Ministerstva vnutrennikh del Sankt Peterburg 1824. For several decades after its publication this account remained the most comprehensive and reliable source of information about the region and was subsequently translated into English German and French. In 1820 Egor Timkovskiy 1790 - 1785 writer diplomat and a Privy Councillor was entrusted to accompany a new Russian mission to Beijing led by Archimandrite Petr Kamenskiy. On the way back to Russia he was to ensure a safe return of the 9th mission headed by Iakinf Bichurin who spent 12 years fulfilling his duties in Beijing. Timkovskiy set off from Kiakhta in August 1820 and returned a year later having stayed in Beijing for 9 months. He used this time to explore geography history and culture of the region and subsequently published his findings in 1824 upon the Imperial order. The first volume of his work follows the caravan route between Kiakhta and Beijing; the second one provides an overview of China Eastern Turkistan Tibet and Korea; and the third one is dedicated entirely to the description of history geography religion as well as political and economical organization of Mongolia. First edition very rare. Description and Bibliographical references: 3 vols octavo 22.3 x 14.5 cm. Half-title engr. title letterpress title XVIII 388 pp. with 1 folding plan and a map laid on linen and inserted in pocket at rear ; Half-title frontispiece letterpress title 8pp. 409 pp. with 2 facsimile 1 plate and a folding plan plan laid on linen and inserted in pocket at rear; Title 6 433 2 37 4pp. with 3 plates; lacking pp. 159-160 frontispiece and a plate in vol 3 small light marginal waterstain to some ll. in vol. 1 and 2 title and p. IX in vol. 1 with neat marginal repair not affecting text. Later half calf over maroon cloth gilt lettering to upper covers and spine exlibris of Ward to upper pastedowns. Provenance: Nikolay Kolchin owner's inscription to half-title in vol. 2 Rayskiy's library at the theologival seminary of Tambov ink stamp to title of vol 2. 3. FAR EAST – BICHURIN Monakh Iakinf. Notes on Mongolia. Publication: Skt. Peterburg 1828. A LOVELY FRESH COPY OF A RARE BOOK ILLUSTRATED WITH HAND-COLOURED PLATES BY ONE OF THE MAJOR RUSSIAN SCHOLARS ON CHINA. Bichurin 1777-1853 was named in 1805 leader of the 9th Russian Mission to Peking and head of the Sretenskiy monastery in this town. During his 14-year stay he learnt Chinese compiled his own dictionary and prepared other scholar works for later publication. The first volume of the present work gives an account of the journey and the second volume a detailed examination of the geographical and political condition of the Mongols and their life and customs. Description and Bibliographical references: Two volumes in one 8vo 20.5 x 13.2 cm. xii 231pp. with 5 hand-coloured lithographed plates; vi 339 pp. folding engraved map with hand-coloured outlines laid on linen and inserted in pocket at rear; occasional marginal notes in pencil. Later half calf over maroon cloth boards gilt lettering to upper cover and spine ex libris of Ward to upper pastedown. Obolyaninov 1027. 4. . ORLOV A. - Mongolian-Buryat grammar. Publication: Gladysheva Kazan 1878. Description and Bibliographical references: Octavo 25 x 16 cm. Title X 265 VI pp; light marginal waterstain to several pages at rear traces of removed label on title. Later calf over maroon cloth boards gilt lettering to upper cover and spine ex libris of Ward to upper pastedown. 5. PEVTSOV M.V. . Account of the Travel around Mongolia and the Northern Provinces of the Inner China. Publication: Omsk 1883. FIRST EDITION OF THIS TRAVEL ACCOUNT DESCRIBING UNKNOWN PARTS OF MONGOLIA AND INNER CHINA. Mikhail Pevtsov 1843-1902 a young Russian army officer devoted traveler and student of Nikolay Przhevalskiy went with a caravan of merchants from Bijsk to Kalgan and back through the Southern Altai Mongolia and Gobi Desert thoroughly mapping the territory of altogether about four thousand kilometers. His detailed account covers the region's terrain rivers lakes brief history of its settlements; and characterizes local trade and animal productions. The large folding map of Mongolia clearly delineates the main geographical points of the territory between Irkutsk in the north Peking in the south and Lake Zaysan modern Kazakhstan in the west. A 20-pp. extract was published earlier in Izvestija Imperatorskogo Russkogo Geograficheskogo Obschesctva 1880 Vol 16. issue 5 pp. 435-457. Provenance: E.I. Yakushkin important historian and ethnographer with a library of about 15000 volumes 1826-1905; stamps to wrapper and title; Library of Shanyavskiy University Moscow stamps to wrapper and title. Description and Bibliographical references: Title 2 IV 354 2 pp. with folding map of Mongolia laid on linen and inserted in pocket at rear; library stamps to title and upper wrapper. Later maroon cloth gilt lettering to spine original wrappers bound in ex libris of Ward to upper pastedwon. Cf. for Yakushkin: Ivask IIp. 96. 6. SOSNOVSKIY Y. A. 1874-75 . Expedition to China in the years 1874-75. Publication: Ivanov Moskva 1883. An account compiled by the Ukrainian born Colonel Sosnovskiy 1842 — 1895 who headed the 1874-75 expedition to China aimed at finding new land routes to Chinese trade markets. Among other tasks set by the Russian government the expedition was to evaluate opportunities for expanding trade with China find most favourable locations for Russian consulates and fabrics and also collect intelligence information on the Dungan revolt taking place in the Eastern regions of the country. The expedition resulted in establishing a new route to China which was 1600 versts shorter than the one used before. In the mid 1870s still weakened after Russo-Japanese war the Russian Empire concentrated its geopolitical interests in Asia. Its activity in Central Asia and attempts to create spheres of influence in Tibet and China brought Russia on the brick of war with England which was itself aiming to dominate in the region. Both countries were actively conducting military intelligence in China considering it a possible future war arena. At that point Russian Empire sent multiple missions to Mongolia China and Tibet with most of them being headed by officers of the General headquarters. Sosnovskiy headed two such expeditions. His account of the 1874-75 mission first appeared in the Izvestia Russkogo Imperatorskogo Obshchestva 1876 vol 12 issues 1 2 3 5 6 with the offered example being the first edition in the book form. Description and Bibliographical references: Title V 894 II pp. with large folding map of China laid on linen and inserted in pocket at rear; lacking pp. 141-2 instead bound duplicate of pp. 189-190 ink stamp and inventory number to title light occasional spotting. Later maroon cloth gilt lettering to upper cover and spine ex libris of Ward to upper pastedown. 7. POTANIN Grigoriy Nikolaevich. - Tangut-Tibetan border of China and Central Mongolia. Publication: Skt. Peterburg Suvorin 1893. An account of the two years expedition led by the famous Russian explorer and scientist Potanin 1835 - 1920 to the territories on the border of China and Tibet. Apart from Potanin himself the expedition of 1884-6 included his wife ethnographer Alexandra topographer A. Skassi and zoologist M. Berezovskiy. The group travelled from Beijing through two northern Chinese provinces to arrive in Gansu in 1884. Having spent a year researching the territories on the Eastern border of Tibet they travelled back to Russia in 1886 through Nanshan district and Central Mongolia. This work presents richly illustrated material collected during the expedition including geography ethnography and zoology of the region. Description and Bibliographical references: 2 vols quarto 29 x 22.5 cm. Title XVIII 657 XVIII 2 pp. with 42 photogravures and 3 maps incl. 2 large folding laid on linen and inserted in pocket at rear; Frontispiece title XII 437 XIX pp. Later half calf over maroon cloth gilt lettering to upper cover and spine ex libris of Ward to upper pastedowns; very slightly rubbed. 8. DEKEN Constant de. A Travers l'Asie Publication: Polleunis et Ceuterick Bruxelles 1894. Description and Bibliographical references: Octavo 22.6 x 16.4 cm. XI including title 367 pp. with 30 plates and 1 folding map; some light occasional spotting. Contemporary brown cloth gilt lettering to spine; traces of a removed label on upper pastedown. 9. POTANINA A.V. : . Travels around Eastren Siberia Mongolia Tibet and China: collection of articles. Publication: Moskva Gerbek 1895. A posthumous publication of the complete collection of articles including the unpublished ones by Potanina 1843 - 1893 a famous explorer of Asia and the first women to be accepted as a member of the Russian Geographical Society. Along with her husband Grigoriy Potanin who made a very significant contribution to the research of Central Asia she took part in four expeditions to the region researching ethnography geography and economy of Mongolia Tibet and Inner China. Description and Bibliographical references: Octavo 24.5 x 17 cm. Frontispiece title 4 XLII 296 pp. 5 lithographed plates incl. 3 in colour. Later maroon cloth gilt lettering to spine and upper cover ex libris of Ward to upper pastedown; extremities of spine slightly rubbed. 10. . BUKSGEVDEN Baron A. : 1860 . Russian China: notes on the diplomatic relations between Russia and China The Convention of Peking of 1860. Publication: Noviy Kray Port Artur 1902. The publication of this work was triggered by the events in China in 1900 when the massive rebellion against foreign intervention in Chinese provinces resulted in extensive violent attacks on foreigners official missions and Christian monuments. To protect their interests German American British and Russian forces advanced on Beijing and put an end to the rebellion which was supported by the Chinese government. The author found the developments of 1900 to have direct connection to the ones that took place 40 years before when at the culmination of the Second Opium War the British and French troops entered the Forbidden City in Beijing. Reflecting on these events Baron Buksgevden describes the diplomatic efforts of the Russian representative Ignatiev in 1860 to facilitate the negotiations between China on one side and Britain and France on the other and their successful outcome for the Russian Empire. The editor was planning to continue the work with description of the events of 1900 in China but the second part was never published. Description and Bibliographical references: Small quarto 21.5 x 15.5 cm. Title 2 II 2 III 239 pp. Later maroon cloth binding gilt lettering to spine ex libris of Ward to upper pastedown. 11. . John Gustaf RAMSTEDT. . Chants epiques des Mongols. Publication: Parovaya tip. gazeta Vostochnoye Obozreniye Irkutsk 1902. FRESH EXAMPLE OF THIS ARTICLE BY ONE OF THE MOST KNOWLEDGEABLE SCHOLARS OF MONGOLIAN FOLKLORE which he published in Irkutsk after returning from a 2-year long scientific expedition to Mongolia. The author expresses his deep fascination with Mongolian epos which was traditionally passed through the generations by word of mouth and provides a detailed analysis of Mongolian fairy tales finding common features distinctive of their folklore. Ramsted 1873-50 was a Finnish diplomat and linguist specialising in historical linguistics of the Urals Altaic Korean and Japanese languages. With a purpose of studying the Altaic languages he undertook two expeditions to Mongolia in 1898-1901 and 1909-19 where he became a personal friend of the highly educated Buryat Mongol Agvan Dorzhiev who acted as a plenipotentiary representative of 13th Dalai Lama. Thanks of his connections Ramstedt was one of the few foreigners who was invited to visit Lhasa but unfortunately the coming events prevented his visit to Tibet. In 1911 the Mongolian delegation in St. Petersburg asked Ramstedt to act as mediator with the Imperial Russian government to support the Mongolian Independence from the Chinese Empire. He managed to assure the Russians of the good will of the Mongolian representatives and they supplied 15.000 modern rifles to the Mongolians to start the uprising against the Chinese rule in Mongolia. Description and Bibliographical references: Octavo 24.5 x 16 cm. Title 8 pp. Original wrappers; postal stamp to upper cover. 12. PODGORBUNSKIY I.A. -- Russian-Mongolian-Buryat dictionary. Publication: Makushin I Posokhin Irkutsk 1909. Compiled by the priest and scientist Podgorbunskiy 1862 - 1913 the dictionary comprises the most used words in the conversational Buryat language each accompanied by a note of the region where it is in use. Description and Bibliographical references: Small quarto 17.5 x 14 cm. Title VI 340 pp. Later maroon cloth binding gilt lettering to upper cover black cloth label with gilt lettering to spine ex libris of Ward to upper pastedown. Provenance: Prof. John Kruger Indiana University stamp to upper fly leaf; library of the Northeastern Mongolian concession Haylar stamp to title and several pages book shop of Shchelokov in Kharbin stamp to title. 13. TSYBIKOV G.Ts. . - -: Guide to the stages of the Path to Awakening. Publication: Vostochniy institut Vladivostok 1910 1913. THE FIRST TRANSLATION INTO A EUROPEAN LANGUAGE OF THE FIRST PART OF THIS IMPORTANT TEXT ON INDIAN BUDDHISM IN A SCHOLAR EDITION WITH TEXT IN MONGOLIAN AND IN RUSSIAN with many linguistic notes. The "Guide to the stages of the Path to Awakening " is the main work of the great Tibetan religious leader Tsongkhapa 1357-1419 which outlines the ideas of Buddhism in the form of a guide and describes the stages of the path of spiritual development up to the achievement of full awakening. Tsybikov 1873 - 1930 an explorer ethnographer and orientalist was one of the first foreigners to travel in Tibet where he secretly conducted research and recorded his journey in photographs. During his travels he obtained Mongolian texts of Lam-Rim from which he wrote a translation into Russian. According to Tsybikov only the first part of Tsongkhapa's work was available in Mongolian at that time. Description and Bibliographical references: Two issues bound in 1 vol. octavo 22.8 x 16.3 cm. 8 pp. incl. title XLVIII 312 pp. 2; 10 pp. incl. title XLI 294 II pp. Later half calf over maroon cloth gilt lettering to upper cover and spine ex libris of Ward to upper pastedown; spine very slightly rubbed. 14. . . BOGOLEPOV M.I. and M.N. SOBOLEV. - Notes on the Russian-Mongolian Trade. Publication: Sibirskoe tov. pechatnogo dela Tomsk 1911. An account of the expedition organized by Tomsk Society of the Siberia Research independently of the Moscow Trade Mission that was initiated in 1910. The expedition was subsidized by the three largest companies trading with Mongolia and aimed at researching all aspects of the Mongolian trade system including its legal and economic aspects. Description and Bibliographical references: Octavo 26.6 x 18 cm. Title VII 498 2 pp. with 20 photoengravings on 10 plates and 1 folding map pasted on linen and inserted in pocket at rear. Later maroon cloth gilt lettering to spine ex libris of Ward to upper pastedown. 15. NOVITSKIY V.F. - - - 1906 Travels around Mongolia in 1906. Publication: Voenneya tipografiya Skt.Peterburg 1911. After the end of the Russo-Japanese war the Russian troops in Manchuria where Colonel Novitskiy served where awaiting relocation that was not promising to take place soon. Therefore it was not difficult for Novitskiy to receive a permission to explore the neighbouring Mongolia in the meantime. During his expedition which was partly sponsored by the Imperial Geographical Society Novitskiy meticulously recorded his geographical and meteorological observations as well as specimens of flora and fauna that he encountered. The account also greatly benefits from the enclosed fifteen accurate maps of the region and expedition routes compiled by Novitskiy. Description and Bibliographical references: Large octavo 27.7 x 17.6 cm. IV including title 400 pp. with 15 folding maps all pasted on linen and inserted in pocket at rear; traces of old tape to inner margin of several leaves small marginal loss to the general map of expedition route in Mongolia. Later maroon cloth gilt lettering to spine and upper cover ex libris of Ward to upper pastedown; extremities of spine slightly rubbed. 16. . . – POPOV V.L. and others. Mo Moscow Trade Mission to Mongolia. Publication: Riabushinskiy Moskva 1912. An account compiled by the participants of the trade mission initiated at the meeting of the Russian industrialists and entrepreneurs in 1910. The expedition was headed by the colonel Popov and included representatives of the biggest trade companies such as V. Shkarin K. Koliadov I. Morozov and others. In Mongolia the group studied stock raising production of fur local banking and trade systems as well as the country's geographical political and administrative characteristics. Description and Bibliographical references: Large octavo 27 x 18.8 cm.Title 2 353 pp. with 35 photoengr. and lith. plates and folding map pasted on linen. Later maroon cloth gilt lettering to upper cover and spine ex libris of Ward to upper pastedown. 17. RUDNEV A.D. - : 1 2 3 Khori-Buryat dialect: issues 1 2 and 3. Publication : Petrograd 1913 – 1914. Description and Bibliographical references:Octavo. 10 pp incl. title CXX; title 128 2 pp.; title 135 2pp. 4 pp. advert. Later maroon cloth gilt lettering to upper cover and spine ex libris of Ward to upper pastedown original upper wrappers of three issues bound in extremities of spine slightly rubbed. Provenance: Library of the Oriental Institute stamps to upper wrapper and titles. 18. ROCKHILL William Woodville editor. The journey of William of Rubruck to the eastern parts of the world 1253-55 as narrated by himself with two accounts of the earlier journey of John of Pian de Carpine. Publication: Hakluyt Society London 1900. Hakluyt Society second series 4. Description and Bibliographical references: First Edition 8vo 22.5 x 15.5 cm. lvi 304 20pp. large coloured folding map in pocket at end. Original purple cloth gilt spine slightly sunned gilt lettering to spine. Provenance: L. Elger ex libris to upper pastedown. [various publication places and dates, 1764 - 1914]. hardcover‎

Referenz des Buchhändlers : 90438

‎China Export Watercolours on Pith Paper.‎

‎Nobility in Costumes.‎

‎Canton ca. 1860. . Album 29.5 x 21.5 cm with 12 watercolour and gouache on pith paper each laid on paper with a light blue ribbon; one a bit stained in brown. Contemporary binding of patterned brown paper; very rubbed. A lovely variety of Chinese official costumes in fine condition and bright colours. Pith seems not to have been adopted for painting until about 1820. Some European museums claim that their paintings on pith often erroneously called "rice paper" or "mulberry pith" come from the end of the eighteenth century but there do not seem to be any dateable examples that are so early. There is a record of the Kaiser Franz of Austria buying some albums from an English Consul-General Watts in 1826. We know of an Italian Count who visited Canton in 1828 and had over 350 paintings on pith in his baggage when he died in Ambon two years later. In the British Library there is a scrap-book containing six pith paintings and a journal entry by a serving British officer who sent them home from India in 1829. These examples and contemporary accounts by visitors to Canton suggest that there was a flourishing trade in pith paintings by the early 1830s. Pith presumably came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of uses some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. Carl Crossman in his book The Decorative Arts of the China Trade originally published under the title The China Trade gives an excellent list of export painters with a note of those known to have painted on pith. These include Tingqua Sunqua and Youqua. From 1757 until 1842 Canton was the only Chinese port open to trade with the west and it is no surprise that of the eight studios identified by Crossman as producing works on pith six were in Canton. It seems that the 1830s and 1840s may have been the heyday of pith painting. The international trading bases the waterfront 'factories' on the 'Hongs' in Canton where they were produced were partially burnt during the First Opium War 1839-41 and totally destroyed in a fire of 1856. The foreign trading companies then moved to Honan and subsequently put up splendid new offices on reclaimed land at Shamian Island a little up river. As the result of the Treaty of Nanking in 1842 additional Chinese ports were opened up for foreign trade and Hong Kong was established as a major trading centre. By 1860 references to China in the Illustrated London News plentiful three years earlier were few and far between. That is not to say that painting on pith ceased. Nicholas the second was given paintings on pith when he visited Canton in 1891 and the last Emperor is said to have sent him a gift which included pith paintings in 1907 though these could have been examples of much earlier work. Painters on pith did not in general sign their work the sole exception is Sunqua whose name can be found on the face of three paintings on pith. There are collections of paintings on pith in the Ashmolean the British Museum the Fitzwilliam the Hermitage the Peabody/Essex Museum in Massachusetts and the Hong Kong Museum of Art. However because paintings on pith are not in general regarded as fine art they are usually to be found in ethnographic or specialised collections. Canton, ca. 1860]. unknown‎

Referenz des Buchhändlers : 90282

‎China Export Watercolours on Pith Paper.‎

‎A Group of twelve Butterflies and Insects .‎

‎. A Group of twelve water-colour illustrations of butterflies and insects all on pith paper framed by a blue silk ribbon. Framed and glazed overall size: 35cm by 26cm. Pith seems not to have been adopted for painting until about 1820. Some European museums claim that their paintings on pith often erroneously called "rice paper" or "mulberry pith" come from the end of the eighteenth century but there do not seem to be any dateable examples that are so early. There is a record of the Kaiser Franz of Austria buying some albums from an English Consul-General Watts in 1826. We know of an Italian Count who visited Canton in 1828 and had over 350 paintings on pith in his baggage when he died in Ambon two years later. In the British Library there is a scrap-book containing six pith paintings and a journal entry by a serving British officer who sent them home from India in 1829. These examples and contemporary accounts by visitors to Canton suggest that there was a flourishing trade in pith paintings by the early 1830s. Pith presumably came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of uses some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. unknown‎

Referenz des Buchhändlers : 97276

‎CHINA‎

‎Stone animals Ming Tombs Tianshou Mountain near Peking.‎

‎c.1875. . Albumen print. Good tonal range and in good condition pasted on original card. c.1875]. unknown‎

Referenz des Buchhändlers : 80796

‎CHINA EXPORT WATERCOLOURS ON PITH PAPER.‎

‎A Group of Twelve Chinese Junks and Barges.‎

‎c. 1860. . Watercolour and gouache studies on pith paper edged in blue silk ribbon. Framed and glazed overall size: 36cm by 26cm. The vessels depicted include variants of the traditional flat-bottomed Junk the similar but European-hulled Lorcha State and pleasure barges and a large floating duck house. Pith came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export watercolours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of uses some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. c. 1860. unknown‎

Referenz des Buchhändlers : 95017

‎CHINA‎

‎City of Nanking.‎

‎Liverpool Jabez Vale n.d. circa 1840. . Broadside 31 x 29.5 cm. approx printed in blue ink with a large pictorial vignette surrounded by an ornamental border. Rare Liverpool printed broadside. The text consists of a quote from Lord Byron followed by a nineteen-line text praising the city and giving details of its topography and features of interest. Nanking porcelain was a major export item and the city would have been of great interest to people in the West. The blue on white of the broadside presumably reflects the distinctive blue-and-white porcelain itself. Liverpool, Jabez Vale, n.d. circa 1840. unknown‎

Referenz des Buchhändlers : 90499

‎CHINA EXPORT WATERCOLOURS ON PITH PAPER.‎

‎A Group of Twelve Deities.‎

‎Canton 2nd half of 19th century. . A group of 12 watercolour and gouache studies on pith paper; occasional spotting. Contemporary red green and black patterned silk binding with a label inscribed in ink in Chinese and French 'Dieux'. Framed and glazed overall size: 33cm by 25cm. A lovely album of these fragile watercolours showing colourful costumes of Chinese deities and processional characters. In a fine original binding with svastikas symbol of prosperity and good fortune. Pith seems not to have been adopted for painting until about 1820. Some European museums claim that their paintings on pith often erroneously called "rice paper" or "mulberry pith" come from the end of the eighteenth century but there do not seem to be any dateable examples that are so early. There is a record of the Kaiser Franz of Austria buying some albums from an English Consul-General Watts in 1826. We know of an Italian Count who visited Canton in 1828 and had over 350 paintings on pith in his baggage when he died in Ambon two years later. In the British Library there is a scrap-book containing six pith paintings and a journal entry by a serving British officer who sent them home from India in 1829. These examples and contemporary accounts by visitors to Canton suggest that there was a flourishing trade in pith paintings by the early 1830s. Pith presumably came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of uses some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. Carl Crossman in his book The Decorative Arts of the China Trade originally published under the title The China Trade gives an excellent list of export painters with a note of those known to have painted on pith. These include Tingqua Sunqua and Youqua. From 1757 until 1842 Canton was the only Chinese port open to trade with the west and it is no surprise that of the eight studios identified by Crossman as producing works on pith six were in Canton. It seems that the 1830s and 1840s may have been the heyday of pith painting. The international trading bases the waterfront 'factories' on the 'Hongs' in Canton where they were produced were partially burnt during the First Opium War 1839-41 and totally destroyed in a fire of 1856. The foreign trading companies then moved to Honan and subsequently put up splendid new offices on reclaimed land at Shamian Island a little up river. As the result of the Treaty of Nanking in 1842 additional Chinese ports were opened up for foreign trade and Hong Kong was established as a major trading centre. By 1860 references to China in the Illustrated London News plentiful three years earlier were few and far between. That is not to say that painting on pith ceased. Nicholas the second was given paintings on pith when he visited Canton in 1891 and the last Emperor is said to have sent him a gift which included pith paintings in 1907 though these could have been examples of much earlier work. Painters on pith did not in general sign their work the sole exception is Sunqua whose name can be found on the face of three paintings on pith. There are collections of paintings on pith in the Ashmolean the British Museum the Fitzwilliam the Hermitage the Peabody/Essex Museum in Massachusetts and the Hong Kong Museum of Art. However because paintings on pith are not in general regarded as fine art they are usually to be found in ethnographic or specialised collections. Canton, 2nd half of 19th century]. unknown‎

Referenz des Buchhändlers : 91710

‎China Pictorial‎

‎Traditional Opera In Beijing The Charm of Beijing‎

‎2007-01-01. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence excellent customer service! unknown‎

Referenz des Buchhändlers : 7802200679n ISBN : 7802200679 9787802200678

‎China Pictorial; Cang Shi‎

‎China Scenes‎

‎China Pictorial 1980. Hardcover. Good. Disclaimer:A copy that has been read but remains in clean condition. All pages are intact and the cover is intact. The spine may show signs of wear. Pages can include limited notes and highlighting and the copy can include previous owner inscriptions. The dust jacket is missing. At ThriftBooks our motto is: Read More Spend Less. China Pictorial hardcover‎

Referenz des Buchhändlers : GB0041F2RGAI3N01

‎China Williams; Joe Cummings‎

‎Bangkok‎

‎Lonely Planet Publications 2004. Paperback. Acceptable. Disclaimer:A readable copy. All pages are intact and the cover is intact. Pages can include considerable notes-in pen or highlighter-but the notes cannot obscure the text. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Lonely Planet Publications paperback‎

Referenz des Buchhändlers : G1740594606I5N00 ISBN : 1740594606 9781740594608

‎China Press‎

‎The Adventures of Tintin - Chinese Language Edition - Volume 17: The Calculus Affair.‎

‎2007-07-02. Good. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May not contain Access Codes or Supplements. May be re-issue. May be ex-library. Shipping & Handling by region. Buy with confidence excellent customer service! unknown‎

Referenz des Buchhändlers : 7500760817 ISBN : 7500760817 9787500760818

‎China Guide Series Editors‎

‎Hong Kong‎

‎McGraw-Hill/Contemporary 1987. Paperback. Very Good. Disclaimer:A copy that has been read but remains in excellent condition. Pages are intact and are not marred by notes or highlighting but may contain a neat previous owner name. The spine remains undamaged. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. McGraw-Hill/Contemporary paperback‎

Referenz des Buchhändlers : G0844298115I4N00 ISBN : 0844298115 9780844298115

‎Scherz China‎

‎Having People Having Heart: Charity Sustainable Development and Problems of Dependence in Central Uganda‎

‎University Of Chicago Press. Used - Good. Shows some signs of wear and may have some markings on the inside. University Of Chicago Press unknown‎

Referenz des Buchhändlers : GRP114891269 ISBN : 022611967x 9780226119670

‎China Mieville‎

‎La ciudad y la ciudad / The City & The City Spanish Edition‎

‎2018-10-23. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence excellent customer service! unknown‎

Referenz des Buchhändlers : 8417347119n ISBN : 8417347119 9788417347116

‎CHINA HSU Kuo story; YI HSIN Fan illustrations‎

‎Commander Yang's Young Pioneers‎

‎Peking: Foreign Languages Publishing House 1965. Fourth Edition. Paperback. Graphic novel dealing with "an episode in the War of Resistance Against Japan. It describes a group of Young Pioneers composed of Chinese and Korean children like their fathers and elder brothers waged a courageous relentless struggle against the enemy during the occupation of northeastern China by the Japanese imperialists" from introduction. Slim octavo 18.5cm; illustrated wrappers; 88pp; illus. Light wear and dustiness to wrappers with a small tear at upper spine; Very Good. Foreign Languages Publishing House paperback‎

Referenz des Buchhändlers : 46051

‎China Mi?ville‎

‎La Ciudad y la Ciudad / the City and the City‎

‎Ediciones B 2018. Hardcover. As New. Disclaimer:An apparently unread copy in perfect condition. Dust cover is intact; pages are clean and are not marred by notes or folds of any kind. An ex-library book and may have standard library stamps and/or stickers. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Ediciones B hardcover‎

Referenz des Buchhändlers : G8417347119I2N10 ISBN : 8417347119 9788417347116

‎Frederick William Baller China Inland Mission‎

‎An Idiom a Lesson: A Short Course in Elementary Chinese 1921 Leather Bound‎

‎2019. Leather Bound. New. Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine. Reprinted in 2019 with the help of original edition published long back 1921. This book is printed in black & white sewing binding for longer life Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. Lang: - English Pages 119. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED FOR LEATHER BOUND BOOKS. FOLIO EDITION IS ALSO AVAILABLE. hardcover‎

Referenz des Buchhändlers : LB1111002087120

‎Matt Warren; Rafael Wlodarski; China Williams‎

‎Lonely Planet Thailand's Islands and Beaches‎

‎Lonely Planet Publications 2006. Paperback. As New. Disclaimer:An apparently unread copy in perfect condition. Dust cover is intact; pages are clean and are not marred by notes or folds of any kind. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Lonely Planet Publications paperback‎

Referenz des Buchhändlers : G1740599306I2N00 ISBN : 1740599306 9781740599306