36 937 résultats
1928réf. 12982Honolulu 1928. 2810526pp. Original pictorial wrappers stapled with front cover stamped in black orange green blue and yellow. Moderate staining and chipping to wrappers. Text block detached between endpapers fairly regular thumb-soiling to outer margins occasional minor staining. Good condition. An informative yearbook issued for the students of Japanese High School in Honolulu in 1928 prepared by the Literary Society at the school. The book contains the requisite sections featuring portraits of the students class pictures student testimonials group shots of clubs and sports teams and more. The last section of the book is comprised of local advertisements for a variety of Honolulu businesses and other concerns including the Young Men's Buddhist Association. A rare if not unrecorded Japanese-language school yearbook from Hawaii in the interwar period. unknown
1928réf. 12982Honolulu 1928. 2810526pp. Original pictorial wrappers stapled with front cover stamped in black orange green blue and yellow. Moderate staining and chipping to wrappers. Text block detached between endpapers fairly regular thumb-soiling to outer margins occasional minor staining. Good condition. An informative yearbook issued for the students of Japanese High School in Honolulu in 1928 prepared by the Literary Society at the school. The book contains the requisite sections featuring portraits of the students class pictures student testimonials group shots of clubs and sports teams and more. The last section of the book is comprised of local advertisements for a variety of Honolulu businesses and other concerns including the Young Men's Buddhist Association. A rare if not unrecorded Japanese-language school yearbook from Hawaii in the interwar period. unknown books
1978réf. 2090502124300085Seiun shobo 1978. Soft Cover. Fine. Number of pages: 221 pages Size: 19 cm Number of books: 1 Seiun shobo paperback
2020réf. 2081502111905273Chinese book office 2020. Soft Cover. Fine. The book is in fine condition. Chinese book office paperback
2016réf. 2081502111904442old books in shanghai 2016. Soft Cover. Fine. The book is in fine condition. old books in shanghai paperback
2016réf. 2081502111905149old books in shanghai 2016. Soft Cover. Fine. The book is in fine condition. old books in shanghai paperback
1891réf. 72737Philadelphia: Presbyterian Board of Publication and Sabbath-School Work 1891 - 1893. First edition. A complete and continuous three-year run of this scarce Presbyterian juvenile weekly periodical. Three volumes with 52 four-page issues in each. Each volume profusely illustrated throughout with high-quality wood engravings decorative vignettes and moralizing scenes typical of the nineteenth-century Sunday School movement. The stories and poems contained herein offer a comprehensive primary-source look at the theological and social education provided to American children in the early 1890s. 8vo contemporary red half-leather bindings with marbled paper sides and gilt lettered and ruled spines. All three volumes internally bright and clean with only the occasional tiny chip or small tear. Overall a very good set with bindings showing moderate wear and covers starting to detach at hinges mostly noticeably on the 1893 volume but interiors very nearly fine. A remarkably well-preserved three-year run especially given the fragile and ephemeral nature of the issues contained herein. Presbyterian Board of Publication and Sabbath-School Work unknown
1960réf. 2080202103705330Kagoshima Tadashi High School Alumni 1960. Soft Cover. Fine. Page number: 137p Size: 21cm A5 Kagoshima Tadashi High School Alumni paperback
1919réf. 17773Dunedin: Stone Son & Co. Good with no dust jacket. 1919. First Edition. Softcover. Wrappers worn and creased with small tears to margins. Owner's signature "Mary Helen Wardrop 28/11/19".; 44 pages. Blue printed wrappers. Page dimensions: 219 x 137mm. Illustrated. New Zealand regional history Kaikorai School Rosyln Dunedin. 3 others: 2 "Order of Service to be observed at the Ceremony of Laying the Foundation Stone of the Kaikorai School Fallen Soldiers' Memorial Arch. On Saturday 29th October A.D. 1921; A.L.5921 at 3 o'clock p.m." 4 pages. With two contemporary newspaper clippings. 3 "Ceremony of Unveiling - The Kaikorai School Fallen Soldiers' Memorial Arch - By His Excellency Admiral of the Fleet Viscount Jellicoe of Scapa . . . Sunday 12 February 1922 at 3 o'clock p.m." 4 pages. 4 "Centennial Dinner - Kaikorai School - 1868 - 1968". 4 pages. 22 autographs on "Autographs" page. . Stone, Son & Co. paperback
réf. CORV-BBP-19672Kailua High School. Kailua HI. Plastic Comb. Very Good. Very good. Comb-bound 4to. This booklet is the product of work done by students in the 9th Grade GT English and Social Studies Classes. The stories are based on interviews the students did with older family members. 35pp. B/w photos illustrations. > Language: English > Size: 4to > Media/Binding: Comb Bound Kailua High School., Kailua, HI unknown
1845réf. 2405150146xbvk[Kassel, 1845.]. 87 Seiten Gemäldebestand mit Beschreibungen, XIII S. Register; vom Register abgesehen folgt jedem bedruckten Blatt ein unbedrucktes für eintragung des 'Buchhalters' (bis ohne Einträge). - Praun-marmorierter Papperinband der Zeit mit Papierrückenschild (Inventarnummer 955); 8vo.(ca. 17 x 10 cm).
réf. 36023801Japan 1860 n.p. Large sheet 96 x 1m 44 cm. gouachevery clean work no worming or other condition issues painted on 16 joined sheets of Washi paper to make one large sheetfine water-color painting. THIS IS AN ORIGINAL PAINTED ART WORK . . . AM ORIGINAL COLOR PAINTING IN GRAND SIZE . . . FROM JAPAN'S OLDEST MYTHOLOGY: . . . THE KOJIKI & NIHON SHOKI PANTHEON . . . THE ORIGINS OF THE EMPEROR . . . OTOHIME GYO RETSU ZU: . . . THE PROCESSION OF OTOHIME DAUGHTER OF THE SEA GOD . . A stunning color painting by Kyosai. Probably done for a temple donation or as an expression of his faith to Japan's historic heroine. . OTOHIME is a goddess in Japanese mythology and is featured in the Kojiki as well as Nihon Shoki. Also known as "Luminous Jewel". A Japanese goddess the beautiful daughter of the sea-king Ryujin. She married Hoori and gave birth to a son after which she turned into a dragon. . Per the Japanese text brushed on the verso upper left corner: "239 ban dated Ansei 7th Kanoe-Saru-doshi 2 gatsu jojun end of February OTOHIME GYO RETSU ZU" . English: "#239 dated Ansei 7th monkey zodiac year end of Feb.: 1860 . PAINTING TITLE PER VERSO: "THE FIGURE OF PRINCESS OTOHIME'S PROCESSION THE DAUGHTER OF THE SEA GOD" . "Toyotama-hime" Japanese for "Lady Bountiful Soul" better known as Otohime is a goddess in Japanese mythology and is featured in the Kojiki as well as Nihon Shoki. She is the beautiful daughter of Ryujin the "God of the Sea." . A STUNNING ORIGINAL POLYCHROME GOUACHE PAINTING: . This original color watercolor painting shows the lively procession of OTOHIME and her hand maid. She is followed by a flag and umbrella bearer. Also following is a man with a pair of deer antlers good omen a man with a small red offering table with peaches the Wind God and his thunder-drum. Another flag bearer his helper followed by two others one holds a staff the other an offering of golden egg. . The items carries are symbolic good fortune and wealth in terms of deer antlers peaches and the golden egg represent ancient Chinese also used by the Japanese of omens of good fortune and good luck. . THE PAINTING: . Per the Japanese brushed text on the verso there is a number found meaning this panel of several was part of a larger work per the chronology found in Clark see below. . This panel of several paintings was part of a restoration of Zojo-ji temple in Shiba. In 1859 KANO Toei & Kyosai "participates in a repair project at the Zojo-ji temple." See Clark. . Although Kyosai had officially left the Kano school in 1854 by participating in the restoration of Tokugawa's family temple in Shiba he was showing loyalty to the Tokugawa family a good reason to volunteer his skills to the temple. It is also noteworthy that his mentor Kano Toei also participated in the restoration and in all likelihood Kyosai joined his master in a sign of respect and loyalty to him. . Based on this chronology it is clear Kyosai was one of the painters who worked at Zojo-ji temple along with his mentor and master teacher Kano Toei. It was not uncommon at this time for schools to volunteer teachers and students to do temple restoration and art work painting replacing or enhancing paintings and large murals. . This item's date matches the restoration dates for the Zojo-ji temple which began in 1859 and continued into 1860. . This panel was unused in the restoration it may have been a precursor to the final painting which was actually used in the restoration project. It matches the scenes found in Zojo-ji temple restoration. The work is the exact style of others painted by Kyosai and his genre. The caricatures of the people in this painting reflect Kyosai's style exactly the theme of his eccentric humor expressing his love for creativity and the joy of painting. . It is entirely within Kyosai's bizarre character to undertake and devote himself to such a project as illustrating the famous myth of OTOHIME in more than 200 deluxe extra-large-size format paintings. . This restoration project could also have been a 'paying job' for Kyosai as at that time he did not seem to be employed but in 1858 he began to design "Kyoga crazy pictures. It was in 1857 he married Okyo the daughter of a Rimpa painter Suzuki Kiitsu but Okyo died in 1859 and he remarried Tose who died in 1860. . It is more than likely Kyosai being a Buddhist he felt it was his religious obligation to do pennants by contributing to and drawing Buddhist or such traditional images as a way to placate the loss of his wife. . THE STORY OF OTOHIME DAUGHTER OF THE SEA GOD: . Because this work was part of the Zojo-ji temple restoration it cannot be considered a commercial painting one that was casually drawn and put on the market for sale. This was part of a commissioned restoration financed by some benefactor to the temple and most likely supported by the Tokugawa family. . ONE OF JAPAN'S EARLIEST AND MOST FAMOUS MYTHS: . The story of OTOHIME DAUGHTER OF THE SEA GOD is one of Japan's oldest and most famous myths known to all Japanese. Treasured as one of the most important in the ancient pantheon it is found in the earliest writing about the origin of Japan and the Emperor in the KOJIKI and the NIHON SHOKI. . This kind of larger paper illustrated story would take months to complete by It would also take devotion to the subject and focus with responsibility to produce a good number of paints daily. This was something Kyosai could and would do ! . THE ARTIST/PAINTER: This work is unsigned which is expected as part of a larger series of paintings. If this was the work of Kyosai it falls entirely within the dates during his period of work produced when he was 29 years old. . The caricature in the faces and fluid bodies in motion the "flowing" style are his. Although there is no signature and it is a true reflection of Kawanabe's work we are attributing it to him. . Another convincing point is that this kind of painting and meticulous style is also found in his famous instructional showing various 'schools' of painting in his KYOSAI GADEN. See below. . WHO WAS KAWANABE GYOSAI/KYOSAI: 1831-1889: Kawanabe Kyosai was a superb artist in the words of a critic "an individualist and an independent perhaps the last virtuoso in traditional Japanese painting". . Living through the Edo period to the Meiji period Kyosai witnessed Japan transform itself from a feudal country into a modern state. Born at Koga he was the son of a Samurai. His first aesthetic shock was at the age of nine when he picked up a human head apart from a corpse in the Kanda river. . After working for a short time as a boy with Utagawa Kuniyoshi he received his artistic training in the Kano school but soon abandoned the formal traditions for the greater freedom of the popular school. During the political ferment which produced and followed the revolution of 1867 Kyosai attained a reputation as a caricaturist. His very long painting on Makimono" scroll The battle of the farts" may be seen as a caricature of this ferment. . He was arrested three times and imprisoned by the authorities of the Shogunate. Soon after the assumption of effective power by the Emperor a great congress of painters and men of letters was held at which Kyosai was present. . He again expressed his opinion of the new movement in a caricature which had a great popular success but also brought him into the hands of the police this time of the opposite party. After this time he changed his name from Kyo crazy or wild to any one of 19 other "Go" studio names he used. However after the police jailed him he avoided use of "Kyo" but returned back to it with three other "GO" that used the same character "Kyo" crazy & wild such as #7 "Baiga Kyosha" #10 "Kyosai #12 Kyosha Gaishi #16 "Shosho Kyosai" Quoted from Roberts below see that reference for more details. . Kyosai is considered by many to be the greatest successor of Hokusai as well as the first political caricaturist of Japan. His work mirrored his life in its wild and undisciplined nature and occasionally reflected his love of drink. . Color photos are posted to our website. . REFERENCE: . More on OTO HIME: heon-org/articles/o/otohime-html KAWANABE Gyosai later known as Kyosai: Is well collected by world museums I GADAN: 1887 4 vol. set: In this work he outlines and exhibits a wide variety of "styles" of painting. In this work there are several examples of this kind or school of painting. Wikipedia stated about this book: "The most important work about Kyosai's art and life was written by himself: Kyosai Gadan or "Kyosai's Treatise on Painting" half autobiography and half painting manual. WESTERN APPRECIATORS: Many westerners came to visit Kyosai and their memoirs about the artist are valuable. The two important ones both rare were: Emile Etienne Guimet Promenades Japonaises Paris 1880. Josiah Conder: "Paintings and Studies by Kawanabe Kyosai" Tokyo 1911. Conder was a serious student of Japanese art; after some initial rejections he was accepted as Kyosai's pupil and accompanied him for ten years until the master's death. Timothy Clark Demon of painting: the art of Kawanabe Kyosai p.186 chronology and the drawing #21 p.58 is very similar to the pose found in our painting of OTOHIME Toyotama-hime both in pose facial quality hair style and the general perspective. ROBERTS Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING SCULPTURE CERAMICS PRINTS LACQUER p.100 stated of him: Kyosai ".was marked by a wild eccentric humor.caricatures of full of fantasy and invention." KAWANABE KYOSAI MEMORIAL MUSEUM. KAWANABE KYOSAI DOKU HON. OTOHIME: Nihon Jinmei Daijiten Toyotama-hime. Tokyo: Shogakukan. 2012. . . unknown
1890réf. 32102738vo sheet 16 x 10 cm. Maria and Frances Anne Harlock began their school at Banbury Oxfordshire about 1890. The Harlock's were natives of Banbury and the daughters of a local draper and former mayor who used part of the family home as a school until the death of their father in 1923 who was by then 101. As the Harlock's were Quakers good works by the family for the local area was something of a calling. Francis later served on the committee of management of the Friends' School at Sibford and it would appear that the sisters had run their own school on a break-even principle and saw education as a vocation rather than a money making enterprise. The Lawn, St. John’s Road, Banbury.
1945réf. 510236Oxford 1945. Leather. VERY GOOD. The scarce and coveted 'Long Primer' setting with center column references self-pronouncing black letter text in a very legible type in large-formate 8vo setting. Black genuine leather binding with pronounced grain in semi-yapp gilt spine lettering all edges art gilt. 'Sunday School' edition with concordance maps and other 'helps'. With owner's inscription and family history to front blanks as well as multiple obituaries inlaid. Front endpaper is torn at the front gutter but the leather and binding remain very strong; spine ends torn at corners as commonly seen with yapp some moderate rubbing to the textblock edges but still very clean and sound an attractive copy. Publication date of 1945 stamped to rear blank with the text of the bible itself stamped '43' at the end of Revelation. Oxford unknown
réf. 2080702109504758Editorial Committee for the 100th Anniversary of the 2nd Department of Internal Medicine Kyushu University School of Medicine N.A. Soft Cover. Fine. Pages: 284p Plate size: 30cm Number of books: 1 Editorial Committee for the 100th Anniversary of the 2nd Department of Internal Medicine, Kyushu University School of Medicine paperback
1992réf. LFA-126721674Revue de 152 pages, format 210 x 300 mm, illustrée, brochée couverture couleurs, bon état
réf. 200915636Charnay-les macon, Bamboo, 2005 ; in-4, 46 pp., cartonnage de l'éditeur. Eo tome 3.
1738réf. 110705Toulouse, Par la Société 1738 In-16 relié plein veau d’époque 15,5 cm sur 10. Dos à nerfs orné des caissons et fleurons dorés. Tranches rouges. 436 pages. Page de titre et 72 pages de texte imprimées en rouge et noir. Bandeaux et culs-de-lampe. Mentions manuscrites sur deuxième contreplat. Reliure d’usage avec quelques petites taches, épidermures et frottements, 3 trous de vers au dos sans atteinte au texte. Rosace tracée au compas sur le premier plat, probablement par un écolier qui s’ennuyait ! Coins émoussés. Un cahier émergent légèrement de la gouttière aux tranches grises. Sans pages de garde. Assez bon état d’occasion.
réf. 206256Paris, , 7 pp., en feuilles. Mouillures.
réf. 207239Mont-de-Marsan, Delaroy jeune, s.d. (janvier 1805) placard in-folio (43 x 30 cm), texte sur deux colonnes, impression sur papier bleuté, en feuille, petit manque de papier en haut.
réf. 22932Neuchâtel, Ides et Calendes et Paris, Bibliothèque des Arts, 1974. In-4° carré, 119p. Reliure pleine toile d'éditeur, sous jaquette illustrée.
2002réf. LFA-126742137Revue de 28 pages, format 250 x 360 mm, illustrée, brochée, bon état
In-4 carré, 119p. Contient une septentaine de reproductions en noir et en couleurs. A l'état de neuf.
réf. 30018401Canton ca. 1800-1820 Lam-Qua. Red flax mat six goauche color paintings on pith paper each 10 x 7 cm two per mat very good clean two with marginal chipsimage not affected meticulously color drawn in much detail. R A R E . . . THE SUITE OF SIX COLOR GOUACHE PAINTINGS . . Begins with the a painting of Imperial police bringing the accused to where he will be punished. He wears a cangue or a large wooden collar clamped around his neck with his crime written on paper which is then glued to the wood. Image two shows the guilty on his knees being beaten with a leather strap by the punisher. Image three shows the policeman pulling a chain connected to a metal ring on the neck of the accused. The next shows the image of a large rock connected to a chain and the accused sitting on the rock with the chain fastened to his leg. The fifth shows the magistrate pointing his finger at the guilty as he while being admonished the guilty is forced to kneel on small rocks while a policeman holds ears. The last image shows the executioner with a long sword at the ready while the accused has a very sour look on his face his hands tied behind his back with his crime written on a long piece of wood at his side. It was common to parade the guilty through the streets for all to see the criminal as he was led to the execution grounds. . LAM-QUA TING-QUA SCHOOL: The works are done in the Canton style of Lam-Qua and his brother Ting-qua. See item #2 below for a link. . Ting-qua born ca. 1809; flourished 1840-70. He was the brother of Lam-Qua 1801-1860 and probably a close relation of Spoilum. Ting-qua's studio at 16 China Street Guangzhou was perhaps the most prolific source of Chinese export paintings of its time. Working in a manner influenced by Western artistic traditions Ting-qua and the painters of his studio restricted themselves to gouache and water-colors perhaps to avoid rivalry with Lam-qua's oil paintings. Their pictures which were often sold in sets." Quoted from item #2 below. . PITH PAPER: The paintings were done on pith paper. "Pith paper or rice paper" a misnomer as it is sometimes known is made from the inner pith of the plant Tetrapanex papyrifera which is a member of the Araliaceae family. The plant is a shrub native to Southern China and Taiwan. As well as a painting material pith paper was used to make artificial flowers and surgical dressings." Cited from item #1 below. . THE LEGAL SYSTEM OF CHINA IN EARLY 19TH CENTURY: Justice was swift and usually done to make an example of the accused. If the accused pleaded guilty and confessed his punishment was lessoned. If he persisted in innocence even though he was not guilty his punishment was more severe. Showing a cooperative attitude was of advantage. Nearly all people accused of a crime were assumed to be guilty. The punishment for various crimes were commonly known and justice was meted out by the magistrate. . RARITY: Gouache pith paintings are now rare most were damaged cracked and brittle rendering them useless. The few that survived are considered RARE and uncommon. The paintings were drawn with much skill and patience and were for the most part drawn for and sold to foreigners in the treaty ports of China in the early 19th century. Drawn with a fine brush in vivid colors the paintings depicted things that would fascinate foreigners and encourage them to bring home as souvenirs. The current examples often caught the eye of foreigners who may have actually seen some form of public punishment or execution. . CONDITION: The work is remarkable clean and solid. As usual when ever pith paper is fastened at the corners there is a reaction to moisture in the air and the paper will expand or contract and thus snap its connection. By and large these works are not damaged except for two corners where there was some loss. Please see link #1 below on how to mount and care for pith paintings. These can be re-matted per the link and preserved on acid-free paper and reframed for display. . Color photos are posted to our website. . BIBLIOGRAPHY: . C.L. Crossman: THE DECORATIVE ARTS OF THE CHINA TRADE p.173-203 and the associated color and b.w. photo examples. C.L. Crossman THE CHINA TRADE p.93-120 and the photos. A. Chu: ORIENTAL ANTIQUES AND COLLECTIBLES pp.62-67 photo #60. 1: see: artfacts dot org/artinfo/articals/pith_paper dot html 2. www dot answers dot com/topic/tingqua 3. Wikipedia: Lam_Qua C.L. Crossman: THE DECORATIVE ARTS OF THE CHINA TRADE p.173-203 and the associated color and b.w. photo examples. C.L. Crossman THE CHINA TRADE p.93-120 and the photos. A. Chu: ORIENTAL ANTIQUES AND COLLECTIBLES pp.62-67 photo #60. . unknown
réf. 34040601Canton 1800-1820 Lam-Qua. Framed & glazed gold mat a pair of hand-painted "Pith" paintings 5.7 x 9.5 cm. matted size very clean bright excellent examples. ORIGINAL HAND-PAINT IN FULL COLOR. R A R E ! . . . A RARE PAIR OF 'PITH' PAINTINGS . . . IN EXCELLENT CONDITION . . A pair of lovely and delicately color painted Chinese couple. The woman on the left wears a long ping silk gown with emerald green under skirt. She hold a silk fan with a painted flower in her left hand and in her right a silken cloth. She wears jade earring and has a flower in her hair. She wears white shoes with orange tops. The man clearly a Mandarin wears a purple robe with his "Mandarin Square" silk embroidered rank on his chest. His undergarment is the typical Imperial green red and yellow colors. He wear the typical Mandarin's hat of red and pink with a green feather. His shoes are the typical black cloth top with white felt soles. The both look at each other. A typical Mandarin scene. . LAM-QUA & TING-QUA SCHOOLS: The works are done in the Canton style of Lam-Qua and his brother Ting-qua. See item #2 below for a link. . Ting-qua born ca. 1809; flourished 1840-70. He was the brother of Lam-Qua 1801-1860 and probably a close relation of Spoilum. Ting-qua's studio at 16 China Street Guangzhou was perhaps the most prolific source of Chinese export paintings of its time. Working in a manner influenced by Western artistic traditions Ting-qua and the painters of his studio restricted themselves to gouache and water-colors perhaps to avoid rivalry with Lam-qua's oil paintings. Their pictures which were often sold in sets." Quoted from item #2 below. . PITH PAPER: The paintings were done on pith paper. "Pith paper or rice paper a misnomer as it is sometimes known is made from the inner pith of the plant Tetrapanex papyrifera which is a member of the Araliaceae family. The plant is a shrub native to Southern China and Taiwan. As well as a painting material pith paper was used to make artificial flowers and surgical dressings." Cited from item #1 below. . THE LEGAL SYSTEM OF CHINA IN EARLY 19TH CENTURY: Justice was swift and usually done to make an example of the accused. If the accused pleaded guilty and confessed his punishment was lessoned. If he persisted in innocence even though he was not guilty his punishment was more severe. Showing a cooperative attitude was of advantage. Nearly all people accused of a crime were assumed to be guilty. The punishment for various crimes were commonly known and justice was meted out by the magistrate. . RARITY: Gouache pith paintings are now rare most were damaged cracked and brittle rendering them useless. The few that survived are considered RARE and uncommon. The paintings were drawn with much skill and patience and were for the most part drawn for and sold to foreigners in the treaty ports of China in the early 19th century. Drawn with a fine brush in vivid colors the paintings depicted things that would fascinate foreigners and encourage them to bring home as souvenirs. The current examples often caught the eye of foreigners who may have actually seen some form of public punishment or execution. . CONDITION: The work is remarkable clean and solid. There are no damage to the paintings visible from the glazed side the back has not been opened but the images look very clean solid with none of the usual cracking or other damage often found on these kinds of early paintings. The frame is clean solid and ready for library or display. . THE FRAMING AND MOUNTING: The pair of painting have been western-style gold-matted framed in brown wood and glazed. The over all size of the frame is 25.5 x 17.5 cm. The verso or back has brown paper glued to all edges and two tiny holes in the back where eyelets were probably screwed in to hold the hanging wire not present. . REFERENCES: . ease see this site for copious details on pith plant and its uses. -org/wiki/Lam_Qua C.L. Crossman.: THE DECORATIVE ARTS OF THE CHINA TRADE p.173-203 and the associated color and b.w. photo examples. . C.L. Crossman.: THE CHINA TRADE p.93-120 and the photos. Arthur Chu.: ORIENTAL ANTIQUES AND COLLECTIBLES pp.62-67 photo #60. . . unknown
