PIERSON, STACEY

Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains in the Percival David Foundation of Chinese Art (Section 3, Revised Edition)

School of Oriental and African Studies, University of London. 2004. (ISBN: 0728603608). Soft cover. Book, English text.; Paperback.; 19 x 24.5 cm; 0.4 kg; 119 pages with mainly black and white and a few colour illustrations,; Used with signs of wear, namely a small tear on the rear. Overall in good condition.; "The original text for this section of the Catalogue was prepared by Margaret Medley (1918-2000) when she was the second Curator of the Foundation. Her original text was for many years the standard reference on the subject of blue and white porcelain. This text was later revised in 1976, after Sir Percival's death and after some duplicate pieces were sold to help support the activities of the Foundation. Much has therefore changed in the field of Chinese ceramics and at the Foundation since the publication of the early editions of this Section and a new Introduction has been included in this Revised Edition." excerpt from the preface by Stacey Pierson, April 2004. Good/No Jacket.

-- Jorge Welsh Works of Art LdaProfessionele verkoper

Boeknummer: 597B

Catalogus: Collections and Exhibitions

Trefwoorden: 0728603608 china,porcelain,ceramics Chinese Ceramics Chinese Art

MONTESQUIOU Robert de

Ensemble de 620 feuillets autographes composant le manuscrit inédit du recueil ""Le dernier pli des neuf voiles"", véritable testament poétique.

s.d. (ca 1920), 620 ff. sous trois chemises de 25x33cm, en feuilles sous chemises. | Un inestimable testament poétique du mentor de Marcel Proust, qui dort à l'abri des regards depuis la mort de son auteur | L'ensemble de poèmes manuscrits autographes en grande partie inédits de Robert de Montesquiou-Fezensac est rassemblé par le comte en un recueil intitulé Le Dernier Pli des neuf voiles, dont la composition s'étend de son tout premier recueil (Les Chauves-Souris, 1892) jusqu'à son dernier triptyque (Offrandes, 1915). Ensemble manuscrit de 620 feuillets. 532 feuillets inédits, de premier jet, manuscrits au recto et numérotés au crayon, conservés dans 3 chemises en demi-maroquin rouge à coins de l'époque, étiquettes de maroquin rouge avec auteur et titre doré?; les poèmes sont ensuite placés dans des chemises avec titre manuscrit et numérotation prévue pour leur parution. Selon une note de l'auteur, «?les différences d'encre n'ont pas de signification, simple hasard de copie?». Rares feuillets de la main de son secrétaire Henri Piniaud?: f. 20 du «?Huitième voile?» et f. 29 du «?Neuvième voile?». 23 feuillets présentent les textes imprimés ou tapuscrits des poèmes et sont enrichis de corrections de la main de Montesquiou. Un jeu d'épreuves imprimées se trouve en tête de la première chemise, ainsi qu'un calque au crayon d'après Aubrey Beardsley réalisé par l'auteur et accompagné de ses indications manuscrites. Sublime ode au dandysme, à l'homosexualité et la beauté, cette promenade mondaine et poétique de Montesquiou plonge le lecteur dans le Paris fin-de-siècle et décadent décrit dans la Recherche du temps perdu de son ami Marcel Proust. Empreint de son enthousiasme légendaire pour l'Art pictural, décoratif, théâtral et floral, le recueil livre également des centaines de vers endeuillés par la disparition de l'amant du comte, Gabriel Yturri. Grâce à ce recueil de poèmes de Robert de Montesquiou-Fezensac dont on avait perdu toute trace depuis 1986, il est désormais possible d'achever la réhabilitation du poète aristocrate qui a longtemps incarné et façonné l'esprit parisien. Montesquiou a laissé en mai 1920 des instructions manuscrites pour la publication posthume du recueil, initialement annoncée en deux volumes, et jamais réalisée. à sa mort un an plus tard, les poèmes seront légués à son secrétaire Henri Pinard, qui les vendra à une date inconnue. Passés aux enchères le 24 novembre 1986, ils sont mentionnés dans le colloque Loire-Littérature en 1989. Ce manuscrit considérable de Montesquiou se construit comme une véritable «?demeure de poésie?» à l'image de ses célèbres appartements d'esthète décrits par Huysmans, où les «?voiles?» en enfilade contiennent des dizaines de poèmes inédits écrits parallèlement à ses précédents recueils. L'auteur a lui-même indiqué la parenté de chaque «?voile?» avec un recueil publié, annonçant ici la complétion totale de son œuvre par l'ajout de poèmes qui dormaient encore dans ses papiers. Les trois épaisses chemises renferment des trésors de rareté et de curiosité, parfois tracés sur des feuilles colorées, souvent contrecollés sur de plus grandes feuilles rigoureusement ordonnées en attendant leur parution. Des poèmes écrits sans rature, fluides, à l'écriture galbée et précieuse côtoient de nombreux autres manuscrits de premier jet?: biffures et corrections témoignent également du travail en cours sur les nouveaux poèmes?; elles ont été appliquées dans les épreuves imprimées de l'ouvrage, présentes en tête de la première chemise du manuscrit. Quelques poèmes sont repris tels quels de recueils déjà parus mais sont légèrement modifiés, selon les explications données par l'auteur. Montesquiou ajoute également quelques bandes de notes manuscrites détaillant ses intentions. Le manuscrit renferme un florilège poétique d'art sacré, de fleurs rarissimes et de mobiliers anciens ornant ses célèbres appartements parisiens «?autour desquels s'étaient bâties tant de légendes?» (Jacques Saint-Cère) qui alimentèrent les personnalités de Des Esseintes, du baron Charlus, de Dorian Gray et du paon vaniteux dans le Chantecler d'Edmond Rostand. Montesquiou était d'ailleurs accablé par les traits de ces célèbres fantômes de fiction dont il serait le dénominateur commun, la matrice originelle. Les goûts qui ont forgé ces personnages poussant le raffinement à l'excès ne sont pourtant jamais loin?: porcelaines de Saxe, tasses de chine, mobilier Empire... un véritable musée de papier se construit au fil des vers, reconstituant les intérieurs si célébrés du comte?: «?[...] quand je [touchais un laque, Un ivoire, un objet [qui séduit le regard, Et du cristal [limpide ou de l'albâtre opaque Je sentais me [frôler l'effleurement de l'art?» Les «?voiles?» du recueil manuscrit regorgent de poèmes orientalistes et symbolistes où l'on croise les tableaux de Gustave Moreau, l'extase de Sainte-Thérèse du Bernin qui «?frissonne d'amour?» ou le Saint-Sébastien, martyr fétiche de l'uranisme, transpercé par les flèches de l'amour et du désir. On retrouve également les manuscrits de ses curieuses dédicaces florales et parfumées sur des papiers colorés, dans le plus pur esprit d'un Des Esseintes, réunies dans le Commentaire descriptif d'une collection d'objets de parfumerie. Ce titre hautement scientifique désignait des impressions poétiques nées d'expériences olfactives?: «?Les subtiles cassolettes / Où dort le dernier soupir / De la mort des violettes / Dans un reste d'élixir?». L'omniprésence des titres latins rappelle également la bibliothèque de son alter ego huysmansien, grand bibliomane comme Montesquiou. Dans l'intimité de l'idylle de Montesquiou, le manuscrit renferme l'ultime hommage du poète à son amant. Présenté ici dans son état final, son recueil à la mémoire de «?son fidèle Yturri?», intitulé Le Chancelier de Fleurs, est complété grâce aux soixante-dix poèmes inédits sur son compagnon. Le jeune Argentin flamboyant et ombrageux de neuf ans son cadet, que le poète, du haut de sa vénérable lignée, anoblit en «?don Gabriel de Yturri?», partagea sa vie durant vingt années. Ce dernier s'éteignit des suites de son diabète en 1905, deux mois seulement avant la mère de Marcel Proust. La sensibilité des deux amants les avait encore davantage rapprochés d'eux-mêmes et éloignés des autres, se complaisant dans la préciosité artistique, l'amour de la Beauté et du bibelot dont ces poèmes sont l'éclatant témoignage?: «?Pourtant vous êtes là, sur ce [papier sensible, Comme mon cœur. Tous deux [nous sommes fiers de nous Lui, de garder encor votre image [visible, Moi, de faire durer ce qui reste de [vous?» («?Premier voile?»). L'union Montesquiou-Yturri est si fusionnelle qu'un doute plana longtemps sur le véritable auteur des vers publiés sous le nom du comte. Montesquiou n'hésite pas à placer des allusions facétieuses à son attirance homosexuelle qu'il condamne - pour le moins hypocritement - chez ses contemporains et ses prédécesseurs, notamment dans un sonnet sur Philippe d'Orléans, installant une statue lascive d'Antinoüs et Hadrien?: «?Accoudés l'un à l'autre, ils sont debout et nus / Leur mollesse les unit, mais leur type contracté [...] Seul, le passant lettré sait ce qui les diffame / Et que, pour sa gouverne, en ce lieu les a mis / Monsieur frère du Roi, qui n'aime pas Madame?!?» («?Sixième voile?»). à la mort d'Yturri, Montesquiou inconsolable publie Le Chancelier, recueil poétique et biographique en l'honneur de ce messager tant aimé, qui portait les fameux bouquets que le poète offrait à ses proches. Leur relation houleuse et passionnelle transpire de ces lignes macabres aux accents désespérés, dévoilées après sa propre disparition?: «?Vous qui m'avez, d'hier, devancé [dans la tombe. Vous avez en cela, qui ne m'est [point offert. Déjà le jour descend, le soir naît, la [nuit tombe. Et je demeure seul, comme [l'anneau de fer.?» Avec la publication du Dernier Pli des neuf voiles, Montesquiou espérait le triomphe posthume de ses œuvres poétiques, tandis que ses mémoires - qui, eux, ont été édités - assureraient sa renommée en tant que chroniqueur de son temps. Jaloux de son protégé Marcel Proust, désormais couronné de gloire et d'honneurs, Montesquiou se souvient amèrement des temps où son jeune disciple s'initiait auprès de lui aux arcanes de la haute société et aiguisait ses aspirations littéraires. Les deux hommes accusent en 1905 le deuil d'une mère vénérée et d'un compagnon irremplaçable, qui les unit étroitement. Proust a par la suite fameusement sacrifié son amitié avec le comte pour son grand Œuvre, exposant sans pitié ses vices au travers du baron de Charlus, en qui Montesquiou s'était aisément reconnu malgré les dénégations de l'écrivain. Leurs caractères capricieux et la réclusion de Proust eurent raison de cette amitié fraternelle, qui influença néanmoins grandement le style et la substance de la Recherche du temps perdu. Passées ses déceptions avec les littérateurs, Montesquiou se montre plus clément avec les poètes, et notamment l'inconstant D'Annunzio avec lequel il eut des relations troublées, mais aussi Paul Verlaine dont il fut proche durant les dernières années de l'auteur des Poèmes saturniens. Dans une version tapuscrite avec corrections manuscrites du «?Sonnet anniversaire?», marquant les 25 ans de la mort du clochard céleste, il mentionne sa destructrice et paroxysmique relation avec Rimbaud?: «?Ce hasard t'a conduit en de [tristes méandres?; Les uns furent [cruels, à force [d'être tendres?; Les autres [furent beaux, [à force d'être [amers?». L'ensemble manuscrit contient également des hommages aux icônes artistiques du Tout-Paris, les acteurs Charles Le Bagy, Ida Rubinstein, Réjane, mais surtout Sarah Bernhardt, le corpus de Montesquiou s'enrichissant de deux poèmes jusqu'alors inconnus dédiés à l'actrice. Proche du cercle des inverties, Montesquiou multiplie également les offrandes poétiques à ses muses aux penchants lesbiens. Le «?premier voile?» du manuscrit renferme le tout premier poème encore inédit dédié à la poétesse Lucie Delarue-Mardrus, amante de Nathalie Clifford-Barney, qui avait fameusement éconduit le jeune Philippe Pétain. Elle fut rivale d'Anna de Noailles dans les affections de Montesquiou, qui consacre également un poème à cette dernière. Oscillant entre admiration et haine de la gent féminine, on retrouve des sonnets dédiés aux grandes personnalités qui l'entourèrent, telles la marquise de Casa-Fuerte, Mme Edmond Rostand, la princesse Bibesco, la comtesse Piccolomini, mais aussi des vers au vitriol sur les courtisanes célèbres, la Pompadour («?Elle est épouvantable en même temps qu'exquise?», («?Deuxième voile?»), ou encore la Païva «?la belle Juive qui s'empare de Paris / Pour y faire un choix sinistre de maris?» («?Deuxième voile?»). Le «?seigneur des Hortensias?», signe ses adieux au travers de centaines de feuillets manuscrits inédits et dévoile une pièce de sa demeure poétique encore inexplorée. Son personnage de fiction a longtemps fait de l'ombre à sa qualité d'auteur, qui retrouve sa juste place dans cet exceptionnel ensemble perdu depuis un siècle. - s.d. (ca 1920), 620 ff. sous trois chemises de 25x33cm, en feuilles sous chemises. [ENGLISH TRANSLATION FOLLOWS] Unpublished autograph manuscript of Le Dernier Pli des neuf voiles a true poetic testament [1892-1920] | 620 loose leaves under three custom slipcases A priceless poetic testament from Marcel Proust's mentor, hidden away and out of sight since the death of the author. The set of largely unpublished autograph poems by Robert de Montesquiou-Fezensac is brought together by the Count in a collection entitled Le Dernier Pli des neuf voiles, whose composition extends from his very first collection (Les Chauves-Souris, 1892) to his last trilogy (Offrandes, 1915). Set of 620 autograph leaves. 532 unpublished, first draught, handwritten on the recto and numbered in pencil, preserved in 3 chemises in half red contemporary morocco, red morocco labels with gilt author and title; the poems are then placed in the chemises with a handwritten title and a number for publication. According to a note from the author, ""the differences in ink have no meaning, mere change of copy"". Rare pages from the hand of his secretary Henri Pinard: p. 20 of ""Huitième voile"" and p. 29 of ""Neuvième voile"". 23 pages present the printed or typewritten texts of the poems and are enriched with Montesquiou's handwritten corrections. A set of printed proofs are found at the top of the first chemise, as well as a pencil tracing after Aubrey Beardsley drawn by the author and accompanied by his handwritten indications. Sublime ode to dandyism, to homosexuality and beauty, this worldly and poetic promenade by Montesquiou embarks the reader into the decadent, fin-de-siècle Paris described in In Search of Lost Time by his friend Marcel Proust. Imbued with his legendary enthusiasm for pictorial, decorative, theatrical and floral art, the collection also delivers hundreds of mournful verses after the disappearance of Montesquiou's lover Gabriel Yturri. Thanks to this collection of poems by Robert de Montesquiou-Fezensac, all of which had been lost since 1986, it is now possible to complete the rehabilitation of the aristocratic poet who has long embodied and shaped the Parisian spirit. In May 1920, Montesquiou left handwritten instructions for the posthumous publication of the collection, initially announced in two volumes, and never produced. On his death a year later, the poems were bequeathed to his secretary Henri Pinard, who in turn sold them on an unknown date. Auctioned on 24 November 1986, they were mentioned in the LoWire-Littérature colloquium in 1989. This considerable manuscript by Montesquiou forms a veritable ""home of poetry"" like his famous aesthetic apartments described by Huysmans. The series of Voiles contain dozens of unpublished poems written in parallel with his previous collections. The author himself indicated the kinship of each ""voile"" with a published set of poems, announcing here the total completion of his work by the addition of poems which still lay dormant in his papers. The three thick chemises contain rare and curious treasures, sometimes drawn on colored sheets, often pasted on larger sheets, rigorously ordered while awaiting their publication. The poems are written without crossings-out, they are fluid, with rounded and precious handwriting, and stand alongside other first-draught manuscripts: redactions and corrections also bear witness to the work in progress on the new poems; they were applied in the printed proofs of the work, present at the top of the manuscript's first chemise. Some poems are taken as they are from collections already published but are slightly modified, according to the explanations given by the author. Montesquiou also adds some handwritten notes detailing his intentions. The manuscript contains a poetic anthology of sacred art, of extremely rare flowers and of antique furniture adorning his famous Parisian apartments ""around which so many legends were built"" (Jacques Saint-Cère) which fuelled the personalities of Des Esseintes, Baron Charlus, Dorian Gray and the vain peacock in Edmond Rostand's Chantecler. Moreover, Montesquiou was overwhelmed by the features of these famous fictional ghosts, of which he was the common denominator and the original matrix. The tastes that forged these characters, pushing refinement to excess are however never far away: porcelain from Saxony, Chinese cups, Empire furniture...a real museum on paper is built over the course of the verses, fortifying the interiors so celebrated by the Count: When I touched a lacquer, An ivory, an object which seduces the [eye, And crystal clear or opaque alabaster I felt myself brush against the gentle [touch of art The Voiles of the manuscript collection are packed with Orientalist and Symbolist poems where we meet the paintings of Gustave Moreau, the Ecstasy of Saint Teresa by Bernini which ""shivers with love"" or Saint Sebastian, fetish martyr of Uranism, pierced by the arrows of love and desire. We also find the manuscripts of his curious floral and scented inscriptions on coloured papers, in the purest spirit of Des Esseintes, the main character of à rebours, assembled in the Commentaire descriptif d'une collection d'objets de parfumerie. This highly scientific title refers to poetic impressions born of olfactory experiences: ""The subtle casseroles / Where the last sigh sleeps / Of the death of the violets / In the remains of elixir"". The recurrence of Latin titles also recalls the library of his Huysmans alter ego, a great bibliomaniac like Montesquiou. In the privacy of Montesquiou's idyll, the manuscript contains the poet's ultimate homage to his lover. Presented here in its final state, his collection in memory of ""his faithful Yturri"" entitled Le Chancelier de Fleurs is completed thanks to seventy unpublished poems about his companion. The flamboyant and skittish Argentine, nine years younger then him, whom the poet ennobled ""don Gabriel de Yturri"", shared his life for twenty years. The latter died of diabetes in 1905, only two months before Marcel Proust's mother. The sensitivity of the two lovers had brought them ever closer to themselves and distant from others, taking pleasure in artistic preciousness treasuring the love of Beauty and the trinket of which these poems are the sensational testimony: Yet you are there on this sensitive [paper, Like my heart. Us both we are proud [of us Him, for keeping your image visible, Me, to make last what is left of you (""Premier voile"") The Montesquiou-Yturri union is so consolidated that doubt lingered for a long time over the true author of the verses published in the name of the Count. Montesquiou does not hesitate to make facetious references to his homosexual attraction which he condemns - at least hypocritically - among his contemporaries and his predecessors, notably in a sonnet about Philippe d'Orléans installing a lascivious statue of Antinoüs and Hadrian: Leaning against each other, they are standing and naked Their softness unites them, but their type contracted [...] Alone, the literate passer-by knows what defames them And that, for his guidance, put them in this place Sir brother of the King, who does not like Lady?! (""Sixième voile"") Upon Yturri's death, an inconsolable Montesquiou published Le Chancelier, a poetic and biographical collection in honor of this beloved messenger who carried the famous bouquets that the poet offered to his relatives. Their stormy and passionate relationship transpires from these macabre lines with desperate accents, unveiled after Montesquiou's own disappearance: You, who preceded me yesterday into the grave. You have in this, which is not offered to me. Already day is falling, evening is drawing, the night falls. And I remain alone, like the iron ring."" With the publication of Dernier Pli des neuf voiles, Montesquiou hoped for the posthumous triumph of his poetic works, while his memoirs - which themselves were published - would ensure his fame as a chronicler of his time. Jealous of his protégé Marcel Proust now crowned with glory and honour, Montesquiou bitterly remembers the times when his young disciple was initiated into the mysteries of high society with him and sharpened his literary aspirations. In 1905 both men blame the death of a cherished mother and an irreplaceable companion, which brings them closer together. Subsequently, Proust famously sacrificed his friendship with the Count for his ""Grand œuvre"", exposing without pity his weaknesses through the Baron Charlus, in which Montesquiou easily recognised himself despite the writer's denials. Both their capricious characters and Proust's seclusion got the better of this fraternal friendship which nevertheless greatly influenced the style and substance of In Search of Lost Time. After his disappointments with literary writers, Montesquiou is more lenient with the poets and in particular the fickle D'Annunzio with whom he had troubled relationships, and also Paul Verlaine with whom he was close during the last years of the author of Poèmes saturniens. In a typescript version with handwritten corrections of ""Sonnet anniversaire"", marking the 25th anniversary of the death of the celestial tramp, he mentions his destructive and paroxysmic relationship with Rimbaud: This chance has led you into sad [twists and turns; Some were cruel, though being ten[der; The others were beautiful, though [being bitter The manuscript collection also contains tributes to artistic icons of the Tout-Paris, the actors Charles Le Bagy, Ida Rubinstein, Réjane, but above all Sarah Bernhardt. Montesquiou's corpus is here enriched by two previously unknown poems dedicated to the actress. Close to the circle of ""inverts"", Montesquiou also multiplies the poetic offerings to his muses with lesbian leanings. The ""Premier voile"" of the manuscript contains the very first yet unpublished poem dedicated to the poet Lucie Delarue-Mardrus, lover of Natalie Clifford Barney, who famously rejected young Philippe Pétain. She was a rival of Anna de Noailles in the affections of Montesquiou who also devotes a poem de Noailles. Oscillating between admiration and hatred of the female sex, we find sonnets dedicated to the great personalities who surrounded them such as the Marquise of Casa-Fuerte, Mme Edmond Rostand, Princess Bibesco, Countess Piccolomini, but also cruel verses on the famous courtesans, the Pompadour (""She is dreadful at the same time as exquisite"", (""Deuxième voile""), or the Païva ""the beautiful Jewess who seizes Paris / For there make a grim choice of husband"" (""Deuxième voile""). The ""Lord of Hydrangeas"", signs here his farewell through hundreds of unpublished pages and unveils a piece of his still unexplored poetic home. His fictional character has long overshadowed his capacity as an author, which finds its rightful place in this exceptional collection that has been lost for a century.

-- Librairie Le Feu FolletProfessionele verkoper

Boeknummer: 75933

Catalogus: Lettres autographes & Manuscrits - Manuscrits littéraires

JENYNS, R. SOAME AND WATSON, WILLIAM

Chinese Art: Gold, Silver, Later Bronzes, Cloisonné, Cantonese Enamel, Lacquer, Furniture, Wood (Volume Two)

Phaidon Press Ltd, London. 1981, 2nd Edition. (ISBN: 0714821357). Hardcover, with dust jacket. Book, English text; Hardcover (with dust jacket); 277 pages with 211 illustrations, including 68 in colour; 21 x 27.3 cm; 1.335 Kg; Used book with signs of wear in the dustjacket. Some yellowing in the interior and Ex-libris stamped on front free endpaper. Protected with a clearcover; The so-called “minor arts” of China have been vastly neglected in Western literature. Twen-tieth-century scholars have confined themselves mainly to study of early bronzes, jades, sculpture, pottery and porcelain. The first publication of this volume nearly twenty years ago was a major event in the study of the minor arts of China and a sumptuous companion to the earlier volume, which was hailed not only for its scholarly text but also for the magnificence of its reproductions in colour and monochrome. This second volume covers great artistic achievements in gold and silver ornaments and images; works on bronze, iron and pewter, delicate cloisonné and Cantonese enamel; and painted, carved and inlaid lacquer objects, from their beginnings in pre-Han times to the throne of the eighteenth-century Emperor Ch’ien Lung. It discusses wood-carvings of all kinds, including the furniture which inspired the designs of Thomas Chipendale. The authors, the late R. Soame Jenyns and William Watson, both formerly of the British Museum, have assembled for this book the most important works in a variety of exotic materials. The text is learned but also appeal to the general reader who has no previous knowledge about the subjects discussed. Good/Dust Jacket Included.

-- Jorge Welsh Works of Art LdaProfessionele verkoper

Boeknummer: ABE84

Catalogus: Asian Art

Trefwoorden: 0714821357 ASIAN ART,CHINA Chinese Art

ORIENTAL CERAMIC SOCIETY

Transactions of the Oriental Ceramic Society 1979-1980 Volume 44

The Oriental Ceramic Society in association with Sotheby Publications. 1981, 1st Edition. (ISBN: 0856671398). Hardcover, with dust jacket. Book, English text; Hardcover (cloth) with dust jacket; 22 x 29 cm; 0.653 Kg; 7 pages (Members of the Council and Transactions) plus 86 pages (articles) with various black-and-white illustrations; Used book with signs of shelf wear in the dust jacket; the dust jacket is slightly faded in the front cover and spine. The interior is in very good condition. Protected with a clearcover.; Includes the following articles: Chinese Art in the Lady Lever Art Gallery, Port Sunlight by Miss Margaret Medley; Aspects of Persian Blue and White and China in the Seventeenth Century by Dr. Yolande Crowe; King Gustav VI Adolf’'s Approach to Chinese Art by Dr. Bo Gyllensvärd; Some Decorative Techniques found in later Chinese Glass, A Small Group of Eighteen-century Chinese Court Lacquers by Professor P.H. Plesch; and A Small Group of Eighteen-century Chinese Court Lacquers by Mr. John da Silva. Good/Dust Jacket Included.

-- Jorge Welsh Works of Art LdaProfessionele verkoper

Boeknummer: ABE56

Catalogus: Periodicals and Magazines

Trefwoorden: 0856671398 ceramics,porcelain,asian Asian Art

SULAYMAN AL-TAJIR and ABU ZAID HASAN IBN YAZID, AL-SIRAFI. (Eusèbe RENAUDOT, editor).

[Silsilat al-tawarik - English]. Ancient accounts of India and China, by two Mohammedan travellers, who went to those parts in the 9th century.London, Samuel Harding, 1733. 8vo (ca. 12 x 20 cm). With a wood-engraved printer's device and the half-title-page and title-page printed in red and black. Contemporary blind-tooled panelled calf, sewn on 6 supports creating 6 compartments on the gold-tooled spine. With a red morocco title-label lettered in gold on the spine, red sprinkled edges.

XXXVII, (1), 260, VII pp.First English edition of the famous travel report given by the Arab merchant Suleiman al-Tajir, who had visited China and India in the 9th century. His book is the oldest Arabic account of China, written more than 400 years before Marco Polo. This is augmented by the “Silsilat al-Tawarikh” of Abu Zayd al-Hasan al-Shirafi, written in the early 10th century and based on the account of Ibn Wahb al-Basri, who had visited China shortly after Suleiman.Translated from the French version by Renaudot. According to Renaudot, the account of events such as the great revolution which swept across China during their second voyage confirms that the journeys were undertaken four centuries prior to Marco Polo. Their travels took place in 851 CE and 877 CE, respectively. The text gives a lively account of life in China and India, with “the first foreign descriptions of tea and porcelain, and a whole panorama of Chinese society, from the Son of Heaven and Confucian ethics down to toilet paper and bamboo urinals” (Mackintosh-Smith). Later Arabic geographers such as Ibn Khordadhbe and al-Mas’udi relied heavily on this work for their information on India and China. “Ces relations sont de la plus haute importance pour la connaissance de l’Inde et de la Chine au moyen-age” (NBG).The book includes stories about the Indian Ocean and its fish species, the cities around the Arabian Gulf, whales and other large man eating fish, the religions of China and India. Other sections discuss commercial routes and the most important products of India, Srinadeb, Java, and China, as well as the presence of Muslims in China in the third and fourth centuries.With the bookplate of "Will[ia]m Markham Esq[ui]r[e] Becca Lodge, Yorkshire" on the front paste-down, covering another bookplate. The boards are slightly scuffed around the edges, slightly foxed throughout. Otherwise in very good condition.l Cordier, Sinica 1924; Cox I, 335; Lust 297. NBG 41, 997f (Renaudot); cf. T. Mackintosh-Smith & J. Montgomery (eds.), Two Arabic Travel Books (2014).

-- A. Asher & Co. B.V.Professionele verkoper

Boeknummer: ABC_47753

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TREGEAR, MARY

Song Ceramics

Thames & Hudson, Ltd, London. 1982, 1st Edition. (ISBN: 0500233462). Hardcover, with dust jacket. Book, English text; Hardcover (cloth with dust jacket); 29 x 32.8 cm; 2,564 kg; 262 pages. Includes 317 illustrations, 42 in colour, and 35 maps and line drawings.; Used book with signs of wear namely on the dust jacket that has small tears and scuffs. Interior in very good condition. The dust jacket is now protected with a clearcover.; The three centuries spanned by the Song (Sung) dynasty, 960-1278, saw a brilliant flowering of the art of the potter in China. Two major factors behind this development were aesthetic appreciation of fine design and workmanship shown by the Song court and the rise of China as a maritime power in the eleventh century, providing the opportunity for the expansion of foreign trade. Thanks to the widespread demand for high-quality wares, output was greatly increased in this period. Today surviving specimens are still greatly appreciated by collectors and connoisseurs for their outstanding elegance and sophistication, as well as being a source of inspirations for leading studio-potters. In this important study the author describes in detail the historical background and development of Song-dynasty ceramic styles, executed largely in stoneware. There are illustrations of numerous outstanding pieces from collections throughout the world. Characteristic examples have been chosen to represent the wide variety of forms and styles of decoration, whether painted, incised or impressed, produced at leading kiln sites in both north and South China, as well as Korean celadon and other wares inspired by Chinese originals. Although many kilns had existed for a century or more before the beginning of the Song dynasty, specialization was a new phenomenon and wares began to be specifically named for the first time, e.g. Ding ware, Yaozhou ware, Ru ware - names which have remained in use ever since. Characteristic shapes identified with certain kilns are shown in the line drawings, and all the forms potted - from meiping vases to cup-stands and incense burners - are discussed in the context of the individual wares. Glazes, generally thick and sometimes featuring internal bubbles or enhanced by crackle, are at this period still generally restrained in color but often enliven the otherwise sombre character of the major wares, and the distinctive characteristics of the various styles are clearly seen in the individual illustrations. With this detailed maps of kiln sites, glossary of technical terms, bibliography, chronological table and detailed notes on the illustrations, this book is an essential guide to all aspects of the enormous ceramic output of those anonymous Song potters whose work is still held in such high reward seven centuries later. Good/Dust Jacket Included.

-- Jorge Welsh Works of Art LdaProfessionele verkoper

Boeknummer: 715B

Catalogus: Chinese Ceramics

Trefwoorden: 0500233462 ceramics,porcelain,china,song dynasty,song ceramics Chinese Art

KRAHL, REGINA IN COLLABORATION WITH ERBAHAR, NURDAN; EDITED BY AYERS, JOHN WITH HISTORICAL STUDIES BY YUCEL, UNSAL AND RABY, JULIAN

Chinese Ceramics in the Topkapi Saray Museum Istanbul: A Complete Catalogue (3 Volumes)

Philip Wilson Publishers, London for Sotheby's Publications. 1986, 1st Edition. (ISBN: 0856671843). Hardcover, with dust jacket. Book, English text.; Hardcover (with dust jacket in slipcase).; 28 x 39 cm; 17 Kg.; 1381 pages with 5,000 black-and-white and colour illustrations, including 200 large-size colour plates.; 3 volumes comprising: Volume 1-Yuan and Ming Dynasty, Celadon Wares; Volume 2-Yuan and Ming Dynasty Porcelains; Volume 3-Qing Dynasty Porcelains.; Used books with signs of wear on the slipcases, dust jackets and on the interior.; OUT OF PRINT SCARCE REFERENCE CATALOGUE. LIMITED EDITION OF 1500 COPIES OF WHICH THIS IS NUMBER 819.; The Topkapi Saray Museum collection of Chinese Ceramics is one of the largest and most important in the whole world, yet comparatively little of it has ever been published. The wares assembled here present a continuous review of porcelains made for export from the 13th century to the 19th century which, in its range of styles and designs, is without equal in any other surviving collection. With some 4,500 pieces dating from the Yuan and Ming dynasties, and a further 5,500 from the Qing, the present three-volume work covering the entire collection constitutes the most extensively illustrated book on Chinese ceramics yet published and provides an unrivaled source for dating and the study of design. The main part of the work consists of a complete and definitive catalogue in which every piece is itemised. Each entry is accompanied by one or more monochrome illustrations, scaled in size according to importance, and many are also shown in colour. The work contains 5,000 illustrations in all, of which 200 are large-size colour plates. The volumes divide the catalogue into three major sections, "Celadon Wares", "Yuan and Ming Porcelains" and "Qing Porcelains". These sections and their sub-divisions are arranged chronologically and are prefaced by extensive introductions by Regina Krahl and John Ayers. Virtually all the celadon wares are products of the famous Longquan kilns and the majority date from the 14th and 15th centuries; numbering in all some 1,350 pieces, they comprise the most extensive body of such material in existence. In blue-and-white and white wares of the 14th and early 15th centuries, too, which are widely regarded as the finest products of the Yuan and early Ming, the group of 125 pieces has no rival in size or quality, while the representation of later Ming export blue-and-white is rich in the extreme; the polychrome and monochrome classes of Ming ware also including some notable rarities. As for the Qing wares of all categories, these two comprise a uniquely extensive range of designs, still virtually unpublished, and of great value to students of Chinese porcelain. The first volume is introduced by a series of essays surveying the background to the collection and various aspects of the ceramics themselves. Dr. Unsal Yucel and Dr. Julian Raby throw new light on how porcelains both entered and left the palace, in what quantities and at what dates; Dr. Raby also contributes a penetrating examination of the nature of Ottoman taste in this field, showing how porcelain was regarded at the Court, and for what purposes and on what occasions it was used. Further important articles examine in detail the use of Chinese and Arabic marks on the porcelains. A full working bibliography, a concordance and a thorough index complete the work. Very Good/Dust Jacket Included.

-- Jorge Welsh Works of Art LdaProfessionele verkoper

Boeknummer: 863B

Catalogus: Collections and Exhibitions

Trefwoorden: 0856671843 china,porcelain,ceramics,chinese porcelain,chinese ceramics,topkapi saray museum,ming dynasty,qing dynasty,yuan dynasty porcelain,ming dynasty porcelain,qing dynasty porcelain,chinese export porcelain,porcelin marks Chinese Ceramics Chinese Art

JORGE WELSH (ED.)

Pocket Treasures: Snuff Boxes from Past Times

Jorge Welsh Research and Publishing. 2019, 1st Edition. (ISBN: 9780993506864). Hardcover. Book, English text.; Hardcover (without dust jacket).; 23.5 x 29.7 cm.; 1.3 Kg.; 156 pages with 184 colour illustrations.; Pocket Treasures: Snuff Boxes from Past Times accompanies the 20th annual exhibition of export art at Jorge Welsh Works of Art. This catalogue is part of the three-volume box set Treasures, alongside The Vases of the 'Hundred Treasures' and Timeless Treasure: The Runic Calendar Staff. A collection of over 60 pieces made of Chinese porcelain and enamelled copper forms the foundation for a study of these portable containers for powdered tobacco in Pocket Treasures: Snuff Boxes from Past Times. Snuff boxes were made in Europe in a variety of materials from at least the 17th century and were later commissioned by private individuals and merchants of the European trading companies in China. As fashionable symbols of status, boxes of this type had their use highly codified by the late 17th century. This exhibition catalogue illustrates enamelled copper and porcelain boxes dating to the 18th and 19th centuries, and an introductory essay includes details of how snuff boxes emerged in Europe and China, comparative works and a history of snuff consumption in the West. New/No Jacket.

-- Jorge Welsh Works of Art LdaProfessionele verkoper

Boeknummer: CAT20

Catalogus: Our Publications

Trefwoorden: 9780993506864 china,porcelain,snuff boxes Collections and exhibitions

JORGE WELSH (ED.)

Treasures: Boxed Hardcover Edition (Including 3 Catalogues: Pocket Treasures: Snuff Boxes from Past Times, the Vases of the 'Hundred Treasures' and Timeless Treasure: The Runic Calendar Staff)

Jorge Welsh Research and Publishing. 2019, 1st Edition. Hardcover. Book, English text.; Hardcover (3 catalogues in slipcase).; 23.5 x 29.7 cm.; 3.4 Kg.; 302 pages with 280 colour illustrations.; Capturing the highlights of the 20th annual Jorge Welsh Works of Art exhibition, this reference three-catalogue box set features some of the highest-quality custom orders produced by Chinese artists for the West. Treasures brings together one of the largest collections of 18th century Chinese snuff boxes on record, an extraordinary pair of Yongzheng famille rose vases and an enigmatic enamel-on-copper staff. The three beautifully illustrated exhibition catalogues include Pocket Treasures: Snuff Boxes from Past Times, The Vases of the 'Hundred Treasures' and Timeless Treasure: The Runic Calendar Staff. Pocket Treasures: Snuff boxes from Past Times (ISBN 978-0-9935068-6-4): A collection of over 60 pieces made of Chinese porcelain and enamelled copper forms the foundation for a study of these portable containers for powdered tobacco in Pocket Treasures: Snuff Boxes from Past Times. Snuff boxes were made in Europe in a variety of materials from at least the 17th century and were later commissioned by private individuals and merchants of the European trading companies in China. As fashionable symbols of status, boxes of this type had their use highly codified by the late 17th century. This exhibition catalogue illustrates enamelled copper and porcelain boxes dating to the 18th and 19th centuries, and an introductory essay includes details of how snuff boxes emerged in Europe and China, comparative works and a history of snuff consumption in the West. The Vases of the 'Hundred Treasures' (ISBN 978-0-9935068-7-1): A pair of vases decorated with the Chinese subject of the 'hundred treasures' adapted to suit foreign tastes is the focus of the catalogue of the same name. Dating to the Yongzheng period (1723-1735) and depicting a continuous composition of antiques, flowers and animals, these famille rose vases are among the best export wares produced in the 18th century. Western designations for the 'hundred treasures' subject derive in a literal sense from the Chinese expression baibao, in which bai or 'hundred' stands for 'many', although the subject itself is historically known in China as 'antique objects' or bogu. Visually similar to the European 'still life' genre, bogu is more specific in that the objects depicted have a high value because of their age, quality and provenance. The Vases of the 'Hundred Treasures' brings to light the multiple auspicious designs that decorate these extraordinary vases. Timeless Treasure: The Runic Calendar Staff (ISBN 978-0-9935068-8-8): The mysterious symbols that decorate a rare enamelled copper staff are uncovered for the modern viewer in Timeless Treasure: The Runic Calendar Staff. Displaying a runic calendar based on a Swedish model of circa 1750, this staff is among the few copper objects enamelled with Western designs in China during the 18th century. Runic calendar staffs are so called due to the theme of their decoration, which comprises inscriptions with runes forming a perpetual calendar, or almanac. Wooden staffs of this type were important timekeeping devices in Scandinavia in use from at least the 12th century. With only four comparable examples known to survive in museum collections, this study adds to a growing body of literature on Chinese enamelled copper wares. New/No Jacket.

-- Jorge Welsh Works of Art LdaProfessionele verkoper

Boeknummer: CAT20&21&22

Catalogus: Our Publications

Trefwoorden: china,porcelain,snuff boxes,enamel on copper Collections and exhibitions

WESTON, STEPHEN:

A Chinese Poem, Inscribed on Porcelain, in the Thirty-Third Year of the Cycle, A.D. 1776. With a double translation and notes. London, printed by C. Baldwin, 1816.

. Pp. 16 (last leaf black). With three engraved plates with Chinese characters. Engraved vignette on title. Original green wrappers, g.e., rubbed. Stephen Weston was an English antiquarian, clergyman and man of letters. Provenance: Copy of Sir Charles William Rouse Boughton (1747-1821), an administrator in India with the East India Company and later a member of the British House of Commons. Cordier BS 1791. Löwendahl 1700.

-- Charlotte Du Rietz Rare BooksProfessionele verkoper

Boeknummer: 120602

Catalogus: East Asia

Trefwoorden: East Asia, china, chine, kina, chinese, asia, asie, asien, asiatic, literature, poem, porcelain,