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1788réf. ST20889Paris: Chez l'Auteur 1788 1788. FIRST EDITION. 565 x 400 mm. 22 1/4 x 15 3/4". 50 leaves. Two separately published works bound in one. Modern retrospective calf-backed tan paste paper boards smooth spine profusely gilt with a repeating pattern of grape vines red morocco label lettered in gilt vellum tips. ENGRAVED THROUGHOUT WITH A TOTAL OF 48 FULL-PAGE ILLUSTRATED PLATES each accompanied by either one or two plates of engraved text. SHEETS UNCUT AND UNFOLDED the first work printed only on the recto; the second with three sheets printed on both sides. Reed and Dematté China on Paper 20 21; Cohen-de Ricci 479. Edges and lower corners slightly worn but the binding with only just minor signs of use; free endpaper in front and back with vertical crease one sheet with an early marginal repair isolated inconsequential faint spotting but still AN EXTREMELY FINE COPY the wide-margined sheets exceptionally fresh and bright and with strong impressions of the engravings. This pair of lavishly illustrated fully engraved works produced by a talented French engraver after earlier Chinese artworks are here presented in an enormous volume made up of uncut and unfolded sheets. According to Benzit Parisian engraver and print seller Isidore Stanislas Henri Helman 1743 - ca. 1809 "stands out among the engravers of the end of the 18th century" and his skill is evident in the two works bound together here. The first is a pictorial history of the Chinese emperors from the earliest mythical rulers to the Northern Song dynasty 960-1126. It is based on the Dijian Tushuo composed in 1573 to educate the Ming-dynasty Wanli Emperor 1563-1620 who had ascended to the throne at the age of nine. In accordance with its didactic aims it presents the very best and worst of imperial behavior and the original handwritten album was published as a block-printed book to great popularity. Two centuries later the Qing-dynasty Qianlong Emperor 1711-99 commissioned a Western-style edition of the famous work which was executed by two French artists the Jesuit painter Jean-Denis Attiret and the engraver Charles-Nicolas Cochin II. The enterprising Helman was able to see the Attiret-Cochin book in the collection of French statesman Henri Léonard Jean Baptiste Bertin 1720-92 and having had great success with a previous reproduction of a Chinese work Conquêtes de l'Empereur de la Chine ca. 1783 he created the present reproduction. The second work the life of Confucius was also reproduced from plates in Bertin's collection. The source material in this case was the biography of Confucius assembled by the Jesuit Joseph-Marie Amiot 1718-93 as part of his informational series on China meant to educate missionaries. Amiot was a correspondent of Bertin and had sent him the biography and accompanying album of drawings which were based on the Shenji tu Illustrated Traces of the Sage a popular Confucian work throughout the Ming and Qing dynasties. Helman selected 24 scenes from each creating books that balance serene scenes of mountainous landscapes and temples with dramatic fight scenes and dragons. The quality of the engravings is excellent with delicate linework creating faint wisps of smoke and subtle shadows. These two works apparently both published in 1788 were released in several formats. The format here with the engravings laid out on the recto of large uncut sheets appears at auction very infrequently: we have been able to trace only two copies of both works in this format since 2004 and neither in such fine condition as the present example. Chez l'Auteur unknown
réf. 913569; 84; 102 folding leaves. 30 parts in three vols. Large 8vo 306 x 202 mm. orig. patterned yellow-brown wrappers new stitching. Korea: final volume with date 1903. A rare metal movable type edition printed at the Ministry of Justice in Seoul in 1903 using a font cut in 1816. The text was originally compiled in ChosÅn Korea on royal command in ca. 1440. The earliest edition that can be confidently dated was printed by woodblocks in KyÅngju in 1536. The text explains the descriptions of crimes and punishments contained in the Great Ming Code which was the penal code of the Chinese Ming empire 1368-1644. This book in the form in which we now have it is the result of a series of revisions in the late 14th century. It represents an important moment in Chinese legal history as a kind of legal Renaissance in that it was deliberately modeled on the centuries-old Tang code whereas the preceding Mongol Yuan empire had not had an official Chinese legal code. The Ming legal code was very influential in East Asia. In Korea the Ming code’s influence can be discerned already in the second half of the 15th century when we see references in the penal section in the official collection of statutes specifying that certain matters should be handled according to the Ming code. Even in the last Korean code issued before the advent of Japanese rule dated 1905 the influence of the Ming code is still discernable. Our edition of the book belongs to the uncertain period in the late 19th and early 20th centuries when the Korean leadership tried to navigate between the surrounding empires and establish the country as an independent state. The laws of Ming China which had collapsed more than two and a half centuries earlier were still being studied by prospective officials in the Korean judiciary on the eve of the Russo-Japanese War which made Korea a Japanese protectorate. Our edition was printed with metal movable type using the chÅnsaja å…¨å²å— set. This copper font of approximately 20000 characters was cast privately in 1816 by Pak ChonggyÅng 朴宗慶. Fine and handsome set. A seal states that this set belonged to the collection of the Institute for the Training of Officials for the Judiciary PÅpkwan YangsÅngso 法官養æˆæ‰€ in Seoul founded in 1895 as part of an attempt to modernize the civil service. It was intended as a textbook for the institute’s students. "At the end of the book is a double leaf of errata a novelty among Korean government publications" Fang The Asami Library 18.45 References Fang Chaoying. The Asami Library: A Descriptive Catalog. Edited by Elizabeth Huff. Berkeley: University of California Press 1969. Jiang Yonglin trans. The Great Ming Code. Seattle: University of Washington Press 2014. Tanaka Toshimitsu 田中俊光. “ChÅsen kan Daiminritsu kÅkai” æœé®®åˆŠã€Žå¤§æ˜Žå¾‹è¬›è§£ã€ã«ã¤ã„㦠TÅyÅ hÅseishi kenkyūkai tsūshin æ±æ´‹æ³•åˆ¶å²ç ”究会通信 no. 28 2015. unknown
réf. LCS-18269“One of the great maps of the golden era of pictorial mapmaking”. Lithographed & Published by The Peiyang Press, Ltd., Tientsin-Peiping, 1936. In-8 de (1) f. de titre, 22 pp. de texte explicatif et carte repliée en couleurs de 86 x 74 cm. Deux petites déchirures dans la marge blanche de la carte. Conservé dans la brochure et dans l’étui d’origine. Dimensions du livret : 181 x 132 mm. Dimensions de la carte : 860 x 740 mm.
réf. 11290Paris, J. Caboche, Demerville et Cie, Editeurs, 1848 (deuxième Edition, mise en un meilleur ordre). 2 volumes in-folio, (30 pp.), reliure ancienne demi-maroquin, dos ornés de fleurons, enrichi de 181 planches dessinées et coloriées, rousseurs habituelles sinon très bon état.
2000réf. 0803760China Renmin University Press 2000-01-01. paperback. Used - Good. Ship out in 2 business day And Fast shipping Free Tracking number will be provided after the shipment.Language: Chinese. The work is a corpus of the secret telegraph archives of the Grand Council of the Qing Dynasty. which are stored in the First Historical Archives of China. The 40.000 telegraphs collected here dated from the 10th year of Emperor Guangxus reign to the 3rd year of Emperor Xuantongs reign. These original archives contain rich information and reflect the inside stories concerning the various major decisions of the government on politics. military and foreign affairs as well as . Satisfaction guaranteedor money back. China Renmin University Press paperback
1606réf. 602014 3/8 x 18 3/8 inches. Fine original hand color; slight split at centerfold fine condition. A brilliant example in rich original hand color of the rare and only English language edition of the earliest printed folio-size western map specifically of China and "the first to show the Great Wall"Nebenzahl. "This map remained the standard type for the interior of China for over sixty years" Tooley. Although 2 pocket-sized English language editions of an abbreviated version of Ortelius' Theatrum entitled Epitome were published previously in 1601 and 1603 with brief texts in English the English text in the present edition runs to 2 large folio pages printed on the back of the map giving an extensive description of China drawn from recent publications of observations by European travelers to the area particularly Jesuits. With its three lushly designed cartouches and many illustrations of indigenous shelters modes of transportation i.e. the famous wind wagons and animals this is one of Ortelius's richest engravings and among his rarest. Nebenzahl Mapping the Silk Road and Beyond 4.6; van der Krogt 8410:31:051; Tooley Maps and Mapmakers p. 106 pl. 78 p. 108; Walter Japan: A Cartographic Vision 11F p. 186.
réf. 91713Canton 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
réf. 9037Pékin, Nachbaur, Imprimerie Na Che Pao, 1926 (première édition). 1 volume in-folio, sous reliure demi-percaline noire à bandes, plats de soie orangée d'éditeur, dos lisse muet avec déchirures, [92] feuillets y compris les feuillets explicatifs et de support et les feuillets blancs (quelques images pliées en marge, quelques rares déchirures, bon état général. Edition originale contenant 39 beaux bois en couleurs tirés sur papier de Chine et montés sur feuillet de support dont 2 grandes planches dépliantes, 19 feuillets d'idéogrammes imprimés en noir sur fond rouge de formats variables, volants, et +/- 38 tirages en noir sur papier de Chine sur feuillets de formats variables, volants. Tirage à 220 ex. dont 20 h.c. (N. 106). Bel ouvrage imprimé et décoré à Pékin dans les ateliers de Na Che Pao, contenant principalement des images de nouvel an, mais aussi des images de la 5e et de la 8e lune. Etabli à Pékin en 1916 Albert Nachbaur (1879-1933) y publia de nombreux ouvrages relatifs à la culture chinoise. Please inquire before ordering.
1606réf. 602014 3/8 x 18 3/8 inches. Fine original hand color; slight split at centerfold fine condition. A brilliant example in rich original hand color of the rare and only English language edition of the earliest printed folio-size western map specifically of China and "the first to show the Great Wall"Nebenzahl. "This map remained the standard type for the interior of China for over sixty years" Tooley. Although 2 pocket-sized English language editions of an abbreviated version of Ortelius' Theatrum entitled Epitome were published previously in 1601 and 1603 with brief texts in English the English text in the present edition runs to 2 large folio pages printed on the back of the map giving an extensive description of China drawn from recent publications of observations by European travelers to the area particularly Jesuits. With its three lushly designed cartouches and many illustrations of indigenous shelters modes of transportation i.e. the famous wind wagons and animals this is one of Ortelius's richest engravings and among his rarest. Nebenzahl Mapping the Silk Road and Beyond 4.6; van der Krogt 8410:31:051; Tooley Maps and Mapmakers p. 106 pl. 78 p. 108; Walter Japan: A Cartographic Vision 11F p. 186. books
1621réf. 34518Lisbon and Hangzhou China: Manuscripts ca.1623 and 1621. Very Rare A Similar Manuscript Exists in Brussels. We know of no others. The Latin text of both letters is written in a neat uniform cursive hand in brown. Folio leaves 33 x 20.5 cm The transcripts bound in 18th Century stiff blue wrappers the blank paste-downs and endpapers are late 18th century most likely the third quarter between 1745/1753 and 1776 since they contain a clear "lion/vryheit/pro patria" watermark with a crowned GR countermark which resembles Heawood 3148 3149 and 3154. The paper used for the manuscript contains a faint double-headed eagle watermark and it has been reinforced in the gutters. A very pleasing survival very well preserved edges slightly mellowed the wrappers show some signs of wear. VERY RARE MANUSCRIPT TRANSCRIPTS. Chrysostomus Johann Gall 1586-1643 was a German Jesuit and scholar. He left Ingolstadt Germany to teach astronomy mathematics and navigation in Lisbon fro 1620to 1627 before leaving to work in the Jesuit missions in India. The Colégio de Santo Antŕo benefitted from the arrival of many foreign mathematicians and other scholars as Lisbon serves as a gateway for all missionaries departing for Asia. The original letter by Gall was written in Lisbon September 1623 and concerns a newspaper style description of various events including details of the perseution of Christians in Japan particularly the execution of large numbers of the Christian community in Nagasaki in 1622. The second letter in the present work is especially interesting as the original was written by Johannes Terentius also known as Johannes Schreck an Deng Yuhan Hanpo 1576-1630. Terentius was a prominent Jesuit scholar specialized in natural science and mathematics. Before joining the Jesuits as a novice1611 he already enjoyed a grea reputation in Germany as a scholar. In 1621 Terentius left for China to join the Jesuit mission. The original letter by Terentius was written in Hangzhou China on 30 August 1621 to the rector of teh Jesuit College in Munich Jakob Keller 1568-1631. He discusses his journey to China which he started in 1618 his intentions to participate in the planned calendar reform in China and his impressions of the city of Hangzhou which he reached in 1621 Terentius wrote several works on european medicine mathematics and technology in Chinese and together with Johann Adam Schall von Bell and G. Roho introduced European tigonometry and European astronomical instruments to China. In 1629 he began to reform the calendar which J.A. Schall von Bell ocmpleted after Terentius' early death a year later. Backer & Sommervogel VII col. 1929-F Manuscripts unknown
1873réf. 312749Shanghai: Printed at The "North China Herald" Office 1873. First edition. Presentation copy inscribed from the author to Douglas Jones on first blank. Title-page printed preface and text with holograph manuscript by Jones on the Index and Game Register. Pp. vii 116 Diary & Game Register accomplished in ink 4 pages unused; 1-50. 1 vols. 4to 10-1/8 x 8 inches; 257 x 203 mm. Contemporary full brown roan upper cover titled in gilt. Spine neatly rebacked notes on front endsheets. Quarter black morocco slipcase and cloth chemises. First edition. Presentation copy inscribed from the author to Douglas Jones on first blank. Title-page printed preface and text with holograph manuscript by Jones on the Index and Game Register. Pp. vii 116 Diary & Game Register accomplished in ink 4 pages unused; 1-50. 1 vols. 4to 10-1/8 x 8 inches; 257 x 203 mm. "The immense tracts of country available for purposes of sport and well stocked with game the entire absence of game laws and the friendly disposition of the natives combine to render Keang-soo and the adjoining provinces a very Paradise for sportsmen ." Groom from the Preface. Early work on hunting in China with a partly printed dairy and "Register of Game Bagged" here accomplished with an extensive and detailed manuscript of expeditions from 1878 to 1892 recounting trips on the Merlin and other boats after deer waterfowl and other game listing participants names of dogs and game bags. The manuscript is followed by the printed text with notes on boats guns and kit "The Medicine Chest" cookery and chapters on various types of game pheasant snipe wild pig and a printed Vocabulary with Chinese/English translations and phonetic transcriptions. Among the hunting companions of Jones in the 1885 season was Bell-Irving author of Diary of the Ewo Party 1890. Both Jones and Bell-Irving are quoted frequently in Wade's With Boat and Gun in the Yangtze Valley 2nd ed. 1910. Some interesting ephemera has been preserved including printed Chinese broadside shooting permits for Jones for the years 1884 and 1885 a shooting permit for Hong Kong and the New Territories 1894; fivee sketch maps of Kiang Su Le Yang and Kashing; four small photographs of Hong Kong mounted on the verso of a Victorian photographic portrait of Douglas Jones; a manuscript translations of Chinese verse by one of Jones' companions and four autograph letters on sporting topics or introductions and requests to assist Jones in his up country trips; and a stray sheet of printed letterhead of the Union Insurance Society of Canton Shanghai where Jones was Secretary. A UNIQUE AND SUBSTANTIAL RECORD OF SPORT IN CHINA. Czech Asia p. 93. Not in OCLC Printed at The "North China Herald" Office unknown
1813réf. 4205A Paris, de l'Imprimerie impériale, 1813. 1813 1 vol. fort in-folio (490 x 310 mm.) de : [3] ff. (faux-titre, titre, "Traduction en langue européenne des caractères chinois") ; LVI (introduction, Tableau de l'orthographe et de la prononciation, Préface, Méthode pour trouver les caractères au moyen de la table des deux cent quatorze clefs, Table des deux cent quatorze clefs) ; 1112 pp. ; [1] f. (errata). Ex-libris manuscrit au dos du premier plat Benj Stillwell. (quelques tâches aux marges). Demi-vélin à coins ancien, dos lisse, pièce de titre de maroquin rouge, plats recouverts de papier marbré, exemplaire non rogné à très larges marges. (Défauts d'usage, couture fragile).
réf. 673480Johannem Janssonium á Waesberge & Elizium Weyerstraet Amsterdolami 1667 In-folio ( 380 X 250 mm ) de ( 14 ), 237, ( 10 ) pages, pleine basane caramel, dos à nerfs orné de caissons richement ornés de fleurs de lys dorées, belle dentelle sur les plats encadrant un semis de fleurs de lys dorées, tranches dorées ( reliure de l'époque ). L'illustration se compose d'une belle page de titre ornée d'un frontispice allégorique gravé, page de titre illustrée d'une vignette, portrait gravé de l'auteur, 2 cartes dépliantes sur double page "Imperium Sinicum Quindecupartitum" et "Tabula Geodoborica Itinerum a varijs in Cataium", 23 planches hors-texte dont 2 dépliantes, 61 vignettes gravées. Exemplaire complet de tous les hors-texte conformément à la table des illustrations. EDITION ORIGINALE de ce bel ouvrage magnifiquement illustré. Plats légèrement frottés, rousseurs passim. Malgré les défauts annoncés, l'exemplaire est complet, solide et tout à fait désirable. C'est le R.P KIRCHER qui fit connaître le premier au monde la célèbre inscription de XI'AN.
1873réf. 312749Shanghai: Printed at The "North China Herald" Office 1873. First edition. Presentation copy inscribed from the author to Douglas Jones on first blank. Title-page printed preface and text with holograph manuscript by Jones on the Index and Game Register. Pp. vii 116 Diary & Game Register accomplished in ink 4 pages unused; 1-50. 1 vols. 4to 10-1/8 x 8 inches; 257 x 203 mm. Contemporary full brown roan upper cover titled in gilt. Spine neatly rebacked notes on front endsheets. Quarter black morocco slipcase and cloth chemises. First edition. Presentation copy inscribed from the author to Douglas Jones on first blank. Title-page printed preface and text with holograph manuscript by Jones on the Index and Game Register. Pp. vii 116 Diary & Game Register accomplished in ink 4 pages unused; 1-50. 1 vols. 4to 10-1/8 x 8 inches; 257 x 203 mm. "The immense tracts of country available for purposes of sport and well stocked with game the entire absence of game laws and the friendly disposition of the natives combine to render Keang-soo and the adjoining provinces a very Paradise for sportsmen ." Groom from the Preface. Early work on hunting in China with a partly printed dairy and "Register of Game Bagged" here accomplished with an extensive and detailed manuscript of expeditions from 1878 to 1892 recounting trips on the Merlin and other boats after deer waterfowl and other game listing participants names of dogs and game bags. The manuscript is followed by the printed text with notes on boats guns and kit "The Medicine Chest" cookery and chapters on various types of game pheasant snipe wild pig and a printed Vocabulary with Chinese/English translations and phonetic transcriptions. Among the hunting companions of Jones in the 1885 season was Bell-Irving author of Diary of the Ewo Party 1890. Both Jones and Bell-Irving are quoted frequently in Wade's With Boat and Gun in the Yangtze Valley 2nd ed. 1910. Some interesting ephemera has been preserved including printed Chinese broadside shooting permits for Jones for the years 1884 and 1885 a shooting permit for Hong Kong and the New Territories 1894; fivee sketch maps of Kiang Su Le Yang and Kashing; four small photographs of Hong Kong mounted on the verso of a Victorian photographic portrait of Douglas Jones; a manuscript translations of Chinese verse by one of Jones' companions and four autograph letters on sporting topics or introductions and requests to assist Jones in his up country trips; and a stray sheet of printed letterhead of the Union Insurance Society of Canton Shanghai where Jones was Secretary. A UNIQUE AND SUBSTANTIAL RECORD OF SPORT IN CHINA. Czech Asia p. 93. Not in OCLC Printed at The "North China Herald" Office unknown books
1747réf. 3878FBRostock, Verlag Christian Koppe, 1747-1749. 4°. 26,5 x 21,5 cm. [1] Blatt, 58, 472 Seiten; [1] Blatt, 56, 748; 28 Seiten, [2] Blatt, 548; 56, 264, 552 Seiten, [16] Blatt. Ganzlederbände der Zeit auf 4 Zierbünden mit Streicheisenlinien auf den Deckeln und rotem Sprengschnitt. [12 Warenabbildungen]
1736réf. 137520La Haye, Henri Scheurleer 1736 4 volumes in-4, plein veau brun, dos à nerfs , pièces de titre et de tomaison reliure de l’époque très soigneusement restaurée, LXXX- 488- [35] pp., 2 portraits et 21 planches 2 repliées ; [4]- 834 pp., 3 illustrations dans le texte, 25 planches 11 repliées ; [6]- 652 pp., 7 planches, 6 repliées, 5 illustrations dans le texte ; [4]- 606- [127] pp., une illustration dans le texte. Titres noir et rouge. Lettrines et culs-de-lampe. La plupart des gravures non signées, certaines : J. C. Philips d’après A. Humblot, Humblot d’après J. van de Spyk, une de Philippe van Gunst. Soigneuse restauration angulaire de la page de titre du seconf volume Très bon exemplaire frais.
1776réf. 30329Paris, Nyon, 1776-1791. Gr. 8°. Zusammen ca. 7700 Seiten. Mit 168 Kupfertafeln, darunter 3 Frontispizes und 4 gefaltete. Bd. 1. 1776. (2), XVI, 485 p. Frontispiz, 9 Tfl (Schriftmuster); Bd, 2. 1777. VIII, 650 p. 3 gefaltete und 7 Tfl (Landschaften); (die Tafelnummerierung 1-37 zählt auch 27 im Text gedruckten Tabellen 2-4, 11-26, 30-37 mit) Bd, 3. 1778. IV, 5-504 p. 6 Tfl. (Porträts); Bd. 4. 1779. (2), 518 p. 7 Tfl. (Kampfsport: Coung-Fou, Pflanzen); Bd, 5. 1780. IV, 510 p. 3 Tfl. (Porträts, Hausrat); Bd. 6. 1780. (2), 380 p, 37 Tfl. (Musikinstrumente); Bd. 7. 1781. XII, (III)-X, (3)-396 p. 33 Tfl. (Militärische Kleidung, Waffen, Schlachtenaufstellungen); Bd. 8. 1782. VIII, 375 p. 30 Tfl. (Militärisches); Bd. 9. 1783. XXIV, 470 p. 1 gefaltete und 11 Tfl. (Landschaften); Bd. 10. 1784. XI, 510 S. Enthält Gesamtregister für die Bände 1-10. Bd. 11. 1786. XXIV, 609 p. 1 Tfl. (Observatorium); Bd. 12. 1786. (2), VII, 532 p. Frontispiz (Porträt), 17 Tfl. (Leben des Konfuzius); Bd. 13. 1788. (2), XVI, 543 p.; Bd. 14. 1789. XVI, 561 p.; Bd. 15. 1791. (2), 515 p. Frontispiz (Porträt); Hellbraune Ziegenleder-Halblederbände der Zeit auf 5 echten Bünden, Rückentitel, Bandnummerierung und ornamentale Goldprägung; Hellbraunes Bezugspapier in Spritztechnik, Ecken in Marmorpapier, zweifarbig marmorierter Schnitt. - 1814 erschienen zwei weitere Bände XVI. und XVII.- Umfassende Sammlung von Berichten von Missionaren aus China, die in Europa erstmals ein umfassendes Bild des Landes ermöglichten. Mit zahlreichen Erstübersetzungen Chinesischer Werke in eine europäische Sprache. Einige Rücken mit restaurierten Fehlstellen an den Kapitalen, Deckel am Bezugspapier, Ecken und Kanten etwas berieben. Die Buchblöcke fest im Bund, teilweise etwas gewellt, vereinzelt stockfleckig, und einige wenige Blätter wasserrandig, vereinzelt Wurmsp
1615In -4°, pp. 1 cb., (14), 646 (ma 648, la numerazione di 111-112 è ripetuta), (10), 2 ccb. Pergamena coeva con titolo manoscritto al dorso. Include il frontespizio inciso da Wolfgang Kilian, con i ritratti in piedi dei due autori ai lati di una riproduzione della mappa della Cina, e la pianta, ripiegata, del palazzo pechinese convertito a chiesa, con la tomba di Ricci. Presente anche l’ultima carta bianca, qui con appunti e un piccolo indice analitico, manoscritti. Prima edizione di uno dei primi resoconti di un occidentale sulla Cina, il libro di Ricci ebbe un impatto culturale enorme sul mondo europeo del XVII secolo, e fu abbondantemente ristampato e tradotto fin dall’anno successivo. Matteo Ricci, missionario in Cina fino all’anno della sua morte, nel 1610, lasciò un importante manoscritto che sarebbe stato redatto e pubblicato da Trigault, anche lui membro della spedizione. Frontespizio restaurato nella parte bassa. The first edition of the earliest modern description of China, made by an Occidental traveller: Ricci’s book had a big impact all over the Century and it was republished and translated many times since a year later his publication. Matteo Ricci, a jesuit missionary to China until his death, in 1610, left an important manuscript edited and published by Trigault, another member of the expedition. Title restored in his lower part.
réf. 90282Canton 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
1670réf. 5727Amsterdam, J. Janssonius 1670. 1670 1 vol in-folio (400 x 255 mm) de : 1 titre frontispice gravé ; [7] ff. (dont titre, préface, table) ; portrait de Kircher manquant (pas toujours présent pour cette édition) ; 367 pp. ; [12] pp. (table) ; 24 planches hors texte dont 2 cartes (certaines sur double-page ou dépliantes) ; très nombreuses vignettes gravées sur cuivre dans le texte. Mention manuscrite sur la page de titre : DArminy. Plein veau dépoque, dos à nerfs orné et titré avec pièce de maroquin rouge, roulette sur les coupes.
réf. 94512Canton 2nd half of 19th century. . Six watercolour and gouache studies on pith paper edged in turquoise silk ribbon and laid on paper; framed glazed and overall size: 27 x 39.4 x 2 cm. An exquisite group of interior scenes exclusively of noblewomen and ladies in waiting engaging in various genteel activities such as flower arranging painting poetry reading and writing surrounded by elegant Qing dynasty furniture and ornaments including unusual asymmetrical display cabinets exotic bird swings and porcelain vases all standing or sitting on elaborately patterned silk carpets. 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 30 by 20 cm. 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
1737In-folio, pp. [8], xxvi, [4], 152, con numerosi caratteri cinesi xilografati nel testo, e una grande tavola pieghevole; con l’aggiunta di una seconda carta T1 (pagg. 71-72) con una coppia di caratteri cinesi corretti al recto, rilegata dopo l'errata a p. 140; due vecchi timbri al titolo; leggermente imbrunito, leggermente più imbrunito alle ultime carte; ottimo esemplare in vitello screziato francese coevo, dorso dorato; lievi abrasioni ai piatti; parte inferiore del dorso un po' usurata. RARA PRIMA EDIZIONE DI UNA DELLE PRINCIPALI OPERE SULLA LINGUA CINESE DEL PIONIERE STUDIOSO ORIENTALE FRANCESE E SECONDA GRAMMATICA SULLA LINGUA DA PUBBLICARE IN EUROPA. 'Fourmont è stato uno dei primi studiosi occidentali a tentare di comprendere il più accuratamente possibile il sistema dei dizionari cinesi e il pensiero che una volta che uno studioso avesse compreso i vari sistemi, sarebbe stato in grado di lavorare da solo. In effetti, a quel tempo gli europei non avevano altro modo per imparare il cinese se non consultare i dizionari e lavorare dal noto all'ignoto. Sfortunatamente, i dizionari di Fourmont non furono mai stampati, e non si trovano nemmeno in forma manoscritta, ad eccezione di un dizionario storico e geografico... 'Le Meditationes possono essere considerate un manuale da usare insieme ai dizionari che Fourmont intendeva pubblicare, ed è solo nella prospettiva di questo progetto più ampio che si può giudicare la sua parola. L'assenza dei dizionari spiega perché è difficile usare il libro di testo. Abel Rémusat, nel diciannovesimo secolo, avrebbe qualificato questo lavoro come accademico ma oscuro, e i suoi avversari sostenevano che Fourmont avesse scritto qualcosa di non veramente utile.' Fourmont attribuiva così tanta importanza alla lettura dei dizionari da criticare la grammatica cinese di Prémare, la Notitia Linguae Sinicae, ricevuta alla Bibliothèque du Roi il 12 maggio 1730, perché non insegnava al lettore come identificare i caratteri o come usare i dizionari cinesi. Era sbalordito dal fatto che un'autorità in cinese come Prémare non prestasse attenzione alle radici cinesi nella sua grammatica e non poté perdonare l'omissione. D'altra parte, secondo Lundbaek, la Notitia Linguae Sinicae di padre de Prémare era troppo avanzata per essere compresa da uno studioso relativamente inesperto. In effetti, padre de Prémare aveva una conoscenza della pedagogia della lingua cinese migliore di Fourmont. La sua opera è composta da frasi scelte dai Classici, che lo studente doveva imparare per familiarizzare con i personaggi e il loro uso. Inoltre, Prémare, per quanto riguarda l'ideologia, era molto più attratto dal metodo di classificazione radicale esposto da Mei Yingzuo. Ogni studioso proiettava la propria preoccupazione nella lingua straniera, e ognuno aveva la sua mistica. “Tuttavia, la familiarità con le radici aiuta a comprendere il significato dei caratteri, e un metodo di classificazione per l'enorme numero di caratteri è considerato di grande utilità. In tal senso Fourmont promuoveva un mezzo pratico di accesso al cinese per il lettore europeo» (Cécile Leung, Etienne Fourmont. (1683-1745), Oriental and Chinese Languages in Eighteenth Century France, pp. 203-204). Fourmont divenne professore di arabo al Collège de France nel 1715. Nel 1713 fu eletto membro dell'Accademia delle iscrizioni, nel 1738 membro della Royal Society di Londra e nel 1742 membro di quella di Berlino. Morì a Parigi l'8 dicembre 1745. In-folio, pp. [8], xxvi, [4], 152, with numerous Chinese characters in woodcut in the text, and one large folding table; an additional cancel of leaf T1 (pages 71-72) with a couple of Chinese characters corrected on recto, bound in after the errata on p. 140; two old stamps to title; a little light browning, slightly heavier to the last leaves; a very good copy in contemporary French mottled calf, spine gilt; minor abrasions to covers; tail of spine a little worn. SCARCE FIRST EDITION OF ONE OF THE MAJOR WORKS ON THE CHINESE LANGUAGE BY THE PIONEERING FRENCH ORIENTAL SCHOLAR, AND THE SECOND GRAMMAR ON THE LANGUAGE TO BE PUBLISHED IN EUROPE. ‘Fourmont was one of the first Western scholars to attempt to understand as accurately as possible the system of Chinese dictionaries, and the thought that once a scholar understood the various systems, he would be able to work by himself. In fact, there was no other way for Europeans to learn Chinese at this time besides consulting the dictionaries and working from the known to the unknown. Unfortunately, Fourmont’s dictionaries were never printed, and are not even to be found in manuscript form, except of a historical and geographical dictionary … ‘The Meditationes can be considered a handbook to be used in conjunction with the dictionaries that Fourmont intended to publish, and it is only in the perspective of this larger project that his word can be judged. The absence of the dictionaries explains why it is difficult to use the text-book. Abel Rémusat would, in the nineteenth century, qualify this work as scholarly but obscure, and his adversaries contended that Fourmont wrote something not really useful. ‘ Fourmont placed so much importance on reading dictionaries that he criticized Prémare’s Chinese grammar, the Notitia Linguae Sinicae, which was received at the Bibliothèque du Roi on May 12, 1730, on the ground that it did not teach the reader how to identify characters or how to use Chinese dictionaries. He was shocked that such an authority on Chinese as Prémare did not pay attention to Chinese radicals in his grammar, and could not forgive the omission. On the other hand, according to Lundbaek, Father de Prémare’s Notitia Linguae Sinicae was far too advanced for the relatively young scholar to understand. As a matter of fact, Father de Prémare had a better grasp of Chinese language pedagogy than Fourmont. His work is made up of sentences chosen from the Classics, which the student was supposed to learn in order to familiarize himself with the characters and their usage. Moreover, Prémare, as far as ideology was concerned, was much more attracted to the method of radical classification as set out by Mei Yingzuo. Each scholar was projecting his own preoccupation into the foreign language, and each had his own mystique. ‘Nevertheless, familiarity with the radicals helps to understand the meaning of the characters, and a method of classification for the enormous number of characters is considered to be of greatest utility. To that extent Fourmont was promoting a practical means of access to Chinese for the European reader’ (Cécile Leung, Etienne Fourmont. (1683-1745), Oriental and Chinese Languages in Eighteenth Century France, pp. 203-204). Fourmont became professor of Arabic in the Collège de France in 1715. In 1713 he was elected a member of the Academy of Inscriptions, in 1738 a member of the Royal Society of London, and in 1742 a member of that of Berlin. He died at Paris on 8 December 1745.
1665réf. 65637Wien, Matthäus Cosmerovius, 1665. 8°. Mit gest. Titelportrait. 6 Bll., 267 (1) S., 1 Bl., Ldr. d. Zt. m. goldgepr. gekröntem Wappensupralibros a. beiden Deckeln (monogrammiert ?R M F?), reicher Rückenverg., goldgepr. Rückentitel u. gespränkeltem Farbschnitt.
1890réf. 312761London: Printed at the Army-Navy Cooperative Society Limited 1890. 3 mounted albumen photographs of the shooting party with their trophies head- and tailpieces. xii 170 pp. 1 vols. 8vo 7-3/4 x 5 -3/8 inches; 196 x 137 mm. Contemporary full black morocco over stiff card covers ruled in silver upper cover with text in blindstamp edges silvered decorative endpapers. Finely rebacked to style; edges rubbed. Black morocco backed slipcase and chemise. 3 mounted albumen photographs of the shooting party with their trophies head- and tailpieces. xii 170 pp. 1 vols. 8vo 7-3/4 x 5 -3/8 inches; 196 x 137 mm. A signed presentation copy from the author John Bell-Irving to Douglas Jones. Bell-Irving was a Scottish businessman and partner in the Hong Kong trading firm Jardine Matheson and a director of the Hong Kong Electric Company. Jones was Secretary of the Union Insurance Society of Canton of Shanghai. "The greatest pleasure in up-country shooting trips" Bell-Irving claims "is the idea of perfect freedom far removed from business cares and beyond the reach of letters and telegrams." Succinct account of many hunting trips after pheasant waterfowl deer and other game with observations on weather and conditions and game bag. Bell-Irving and Jones are quoted frequently in Wade's With Boat and Gun in the Yangtze Valley 2nd ed. 1910. A SUSTANTIAL ACCOUNT OF SPORT ALONG THE YANGTZE OVER THREE DECADES. EXCEEDINGLY RARE. OCLC 42241800 Princeton Printed at the Army-Navy Cooperative Society Limited unknown
1640réf. CHI3155Herbipoli (Würzburg), Henricus Pigrin, 1640. 7 S. Vorrede, 4 S. Inhaltsverz., 712 Seiten Text, 21 S. Index, H 18 x 11 x 4,5 cm, ornament. gepr. Ganzleder, Vollgoldschnitt. - Einband mit Gebrauchsspuren, berieben, beschabt. Altes Ex Libris, Name (geschwärzt) auf Vorsatz, Name auf Titel. Fraßspuren? auf letzten Seiten. Buchblock fest, ungelesen. fest gebunden/ hardcover
