Scriptum Art Books v.o.f.: Aziatische kunst / Asiatic Art
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Asia in Amsterdam. The culture of Luxury in the Golden Age.
October 2015, 22,9 x 30,5 cm), 356 pp., English text, 286 colour ills., hardcover.
¶ This lavishly illustrated catalogue discusses the Asian luxury goods that were imported into the Netherlands during the 17th century and demonstrates the overwhelming impact these works of art had on Dutch life and art during the Golden Age. Written by a team of 30 international scholars, this volume presents seven essays and catalogue entries on 150 works of art, including Dutch and Asian paintings, textiles, ceramics, lacquer, furniture, silver, diamonds, and jewelry. From the Dutch settlements throughout Asia-including Indonesia, India, Sri Lanka, Malaysia, China, and Japan-Dutch maritime traders brought an astonishing range of luxuries back to the Netherlands. Dutch consumers were enthralled with these foreign goods, which brought new colors, patterns, and textures to their interiors and wardrobes. As seen in the book's many illustrations, Dutch artists also found inspiration in these objects and incorporated them into portraits, genre scenes, and particularly still-life paintings. Dutch artists and craftspeople also adapted distinctly Asian technologies, such as porcelain and lacquer, to create new works of art inspired by Asia.This catalogue weaves together the complex stories of these diverse works of art and presents fascinating portraits of the dynamic cities of Amsterdam and Batavia (Jakarta)-the Dutch trade center in Asia during the 17th century.
¶ This lavishly illustrated catalogue discusses the Asian luxury goods that were imported into the Netherlands during the 17th century and demonstrates the overwhelming impact these works of art had on Dutch life and art during the Golden Age. Written by a team of 30 international scholars, this volume presents seven essays and catalogue entries on 150 works of art, including Dutch and Asian paintings, textiles, ceramics, lacquer, furniture, silver, diamonds, and jewelry. From the Dutch settlements throughout Asia-including Indonesia, India, Sri Lanka, Malaysia, China, and Japan-Dutch maritime traders brought an astonishing range of luxuries back to the Netherlands. Dutch consumers were enthralled with these foreign goods, which brought new colors, patterns, and textures to their interiors and wardrobes. As seen in the book's many illustrations, Dutch artists also found inspiration in these objects and incorporated them into portraits, genre scenes, and particularly still-life paintings. Dutch artists and craftspeople also adapted distinctly Asian technologies, such as porcelain and lacquer, to create new works of art inspired by Asia.This catalogue weaves together the complex stories of these diverse works of art and presents fascinating portraits of the dynamic cities of Amsterdam and Batavia (Jakarta)-the Dutch trade center in Asia during the 17th century.
Scriptum Art Books v.o.f.Professional sellerBook number: 6248
€ 59.95 [Appr.: US$ 64.92 | £UK 51 | JP¥ 10176]
Catalogue: Aziatische kunst / Asiatic Art
After the Barbarians II. Namban Works of Art for the Japanese, Portugese and Dutch Markets.
January 2008, ( x cm), 354 pp. English text, 250 colour ills., 25 b/w ills, hardcover.
¶ Exhibition catalogue, introduction and entries by Teresa Canepa, articles by Alexandra Curvelo, Christian J.A.Jörg, Pedro Cancela de Abreu, Miho Kitagawa; This impressive catalogue explores 48 exceptional pieces of namban art made for Western markets. Many of the namban objects discussed are of important historical relevance. They illustrate the short, but eventfull period of the Western presence in Japan. Several are previously unrecorded. This catalogue won the ArtWorldDealers 2008 Award in the category of 'Antiques & Works of Art' at the European Fine Art Fair (TEFAF) Maastricht in 2008.
¶ Exhibition catalogue, introduction and entries by Teresa Canepa, articles by Alexandra Curvelo, Christian J.A.Jörg, Pedro Cancela de Abreu, Miho Kitagawa; This impressive catalogue explores 48 exceptional pieces of namban art made for Western markets. Many of the namban objects discussed are of important historical relevance. They illustrate the short, but eventfull period of the Western presence in Japan. Several are previously unrecorded. This catalogue won the ArtWorldDealers 2008 Award in the category of 'Antiques & Works of Art' at the European Fine Art Fair (TEFAF) Maastricht in 2008.
Scriptum Art Books v.o.f.Professional sellerBook number: 6932
€ 250.00 [Appr.: US$ 270.72 | £UK 212.75 | JP¥ 42436]
Catalogue: Aziatische kunst / Asiatic Art - Japan
Jingdezhen to the World. The Lurie Collection of Chinese Export Porcelain from the late Ming Dynasty.
11 2019, (25 x 30 cm), 384 pp. English text, 300 colour ills. hardcover.
¶ An introduction places the diverse porcelains of the Lurie Collection in their historical context. It offers new insight into the European expansion to Asia in the late 16th and early 17th centuries, via both the Atlantic and Pacific oceans, which ultimately led to an unprecedented large-scale trade, transport and consumption of various types of Jingdezhen export porcelain throughout the world until the collapse of the Ming dynasty in 1644. The core of the book is the catalogue section, which is composed of 127 entries with comprehensive discussions and images of a selection of the Lurie porcelains. Whenever possible they are accompanied by images of excavated shards that originally formed part of similar porcelain pieces, establishing direct links to the Jingdezhen kilns where such pieces were produced. Multiple sources of evidence (textual, material and visual) shed light on the trading networks through which these Jingdezhen porcelains circulated, as well as the way in which they were acquired, used and appreciated by the different societies in Europe, the New World, Asia and the Middle East. Highlights include six kraak plates made during the Wanli reign (1573-1620) with the egret mark, which is found on a small number of pieces usually of very high quality, and the only known kraak armorial specifically ordered for the Spanish market in the 16th century. This finely potted plate, also dating to the Wanli reign, bears the impaled arms of García Hurtado de Mendoza, 4th Marquis of Ca-ete, and his wife, Teresa de Castro y de la Cueva. It was most probably ordered via Manila during the time Hurtado de Mendoza was Viceroy of Peru, between 1589 and 1596. This plate, together with a kraak plate bearing a pseudo-armorial, and a few pieces decorated in the so-called Transitional style and one other recovered from the Hatcher junk (c.1643) made after European shapes, attest to the influence that the European merchants exerted on the porcelain production at Jingdezhen at the time
¶ An introduction places the diverse porcelains of the Lurie Collection in their historical context. It offers new insight into the European expansion to Asia in the late 16th and early 17th centuries, via both the Atlantic and Pacific oceans, which ultimately led to an unprecedented large-scale trade, transport and consumption of various types of Jingdezhen export porcelain throughout the world until the collapse of the Ming dynasty in 1644. The core of the book is the catalogue section, which is composed of 127 entries with comprehensive discussions and images of a selection of the Lurie porcelains. Whenever possible they are accompanied by images of excavated shards that originally formed part of similar porcelain pieces, establishing direct links to the Jingdezhen kilns where such pieces were produced. Multiple sources of evidence (textual, material and visual) shed light on the trading networks through which these Jingdezhen porcelains circulated, as well as the way in which they were acquired, used and appreciated by the different societies in Europe, the New World, Asia and the Middle East. Highlights include six kraak plates made during the Wanli reign (1573-1620) with the egret mark, which is found on a small number of pieces usually of very high quality, and the only known kraak armorial specifically ordered for the Spanish market in the 16th century. This finely potted plate, also dating to the Wanli reign, bears the impaled arms of García Hurtado de Mendoza, 4th Marquis of Ca-ete, and his wife, Teresa de Castro y de la Cueva. It was most probably ordered via Manila during the time Hurtado de Mendoza was Viceroy of Peru, between 1589 and 1596. This plate, together with a kraak plate bearing a pseudo-armorial, and a few pieces decorated in the so-called Transitional style and one other recovered from the Hatcher junk (c.1643) made after European shapes, attest to the influence that the European merchants exerted on the porcelain production at Jingdezhen at the time
Scriptum Art Books v.o.f.Professional sellerBook number: 7433
€ 115.00 [Appr.: US$ 124.53 | £UK 98 | JP¥ 19521]
Catalogue: Aziatische kunst / Asiatic Art - China
Kraak Porcelain. The rise of global trade in the late 16th and early 17th centuries.
2008, 332 pp. English text, 193 colour ills, clothbound.
¶ At the end of the Ming dynasty, from approximately the third quarter of the 16th to the second quarter of the 17th centuries, a new style of blue and white export porcelain was made in vast quantities at provincial (privately-owned) kilns in Jingdezhen, Jiangxi province. This distinctive blue and white porcelain, commonly known in the west as kraak, quickly became the largest and most varied group of export porcelain wares manufactured throughout the reigns of Wanli (1573-1620), Tianqi (1621-1627) and Chongzhen (1628-1644). Kraak porcelain is of particular historical importance because it is the first Jingdezhen blue and white export porcelain that was mass-produced and shipped in large quantities around the world. The introductory articles of this catalogue cover important archaeological discoveries of kraak porcelain in Jiangxi province; the technical characteristics, material qualities and decoration of kraak wares; the archaeological evidence of the Portuguese, Spanish and Dutch trade; the special commissions and collecting of kraak porcelain; and, the underwater recoveries from datable shipwrecks. A brief discussion on kraak porcelain imitations (tin-glazed earthenware and porcelain) is also included. Fifty-nine porcelains, including some exceptional and rare pieces, representing various types of kraak wares are comprehensively studied, discussed and illustrated in this catalogue.
¶ At the end of the Ming dynasty, from approximately the third quarter of the 16th to the second quarter of the 17th centuries, a new style of blue and white export porcelain was made in vast quantities at provincial (privately-owned) kilns in Jingdezhen, Jiangxi province. This distinctive blue and white porcelain, commonly known in the west as kraak, quickly became the largest and most varied group of export porcelain wares manufactured throughout the reigns of Wanli (1573-1620), Tianqi (1621-1627) and Chongzhen (1628-1644). Kraak porcelain is of particular historical importance because it is the first Jingdezhen blue and white export porcelain that was mass-produced and shipped in large quantities around the world. The introductory articles of this catalogue cover important archaeological discoveries of kraak porcelain in Jiangxi province; the technical characteristics, material qualities and decoration of kraak wares; the archaeological evidence of the Portuguese, Spanish and Dutch trade; the special commissions and collecting of kraak porcelain; and, the underwater recoveries from datable shipwrecks. A brief discussion on kraak porcelain imitations (tin-glazed earthenware and porcelain) is also included. Fifty-nine porcelains, including some exceptional and rare pieces, representing various types of kraak wares are comprehensively studied, discussed and illustrated in this catalogue.
Scriptum Art Books v.o.f.Professional sellerBook number: 4556
€ 263.50 [Appr.: US$ 285.33 | £UK 224.25 | JP¥ 44728]
Catalogue: Aziatische kunst / Asiatic Art - China
Leaping The Dragon Gate. The sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain,
11-2021, (24,5 x 30 cm), 576 pp. English text, 850 colour ills., hardcover.
¶ This book celebrates the most important collection of 17th-century Chinese porcelain in the world, assembled by the distinguished British diplomat Sir Michael Butler. His passion for porcelain is clearly reflected in the over eight hundred pieces he collected and lived with at his home and private museum in Dorset. The pots (as Sir Michael called them), many of extreme rarity or exquisite quality, give testimony to the incredible depth of knowledge he acquired over five decades and his outstanding contribution to research and education in this previously neglected field of study. This lavish and comprehensive collection covers most types of porcelain produced at Jingdezhen, in Jiangxi province, during the 17th century. The variety of the pieces carefully acquired by Sir Michael reflects the great innovative spirit of the highly skilled Jingdezhen potters and painters at a time when they were released from the controls of Imperial patronage, between the end of the reign of the Ming Emperor Wanli in 1620 and the re-establishment of the Imperial kilns by the Qing Emperor Kangxi in 1683. It is a study collection of porcelain unrivalled in its breath and rarity that demonstrates the stylistic and qualitative evolution which occurred in Chinese porcelain production during the 17th century.
¶ This book celebrates the most important collection of 17th-century Chinese porcelain in the world, assembled by the distinguished British diplomat Sir Michael Butler. His passion for porcelain is clearly reflected in the over eight hundred pieces he collected and lived with at his home and private museum in Dorset. The pots (as Sir Michael called them), many of extreme rarity or exquisite quality, give testimony to the incredible depth of knowledge he acquired over five decades and his outstanding contribution to research and education in this previously neglected field of study. This lavish and comprehensive collection covers most types of porcelain produced at Jingdezhen, in Jiangxi province, during the 17th century. The variety of the pieces carefully acquired by Sir Michael reflects the great innovative spirit of the highly skilled Jingdezhen potters and painters at a time when they were released from the controls of Imperial patronage, between the end of the reign of the Ming Emperor Wanli in 1620 and the re-establishment of the Imperial kilns by the Qing Emperor Kangxi in 1683. It is a study collection of porcelain unrivalled in its breath and rarity that demonstrates the stylistic and qualitative evolution which occurred in Chinese porcelain production during the 17th century.
Scriptum Art Books v.o.f.Professional sellerBook number: 4624
€ 215.00 [Appr.: US$ 232.82 | £UK 183 | JP¥ 36495]
Catalogue: Aziatische kunst / Asiatic Art - China
Silk, Porcelain and Lacquer. China and Japan and their Trade with Western Europe and the New World. 1500-1644.
10 2016, 24,5 x 30 cm., 480 pp., 386 colour ills., hardcover.
¶ Focusing on the prolific trade, transport and consumption of Chinese silk and porcelain and Japanese lacquer between 1500 and 1644, this groundbreaking book will show how the material cultures of late Ming China and Momoyama/Early Edo Japan on one side of the globe, and western Europe and the New World on the other, became linked for the first time, through an exchange of luxury Asian manufactured goods for currency (silver). It offers new insight into these multi-layered long-distance commercial networks, which resulted in an unprecedented creation of material culture that reflected influences of both East and West. _Original research reveals new evidence of the trade of these three Asian manufactured goods, first by Portugal and Spain, and later by the trading companies formed by the Northern Netherlands/Dutch Republic and England. Important documentary information is brought to light concerning, for example, the use of Chinese porcelain in western Europe, and the objects made to order in European shapes for the Dutch and English trading companies in Japan and China. The study also sheds light on both the trans-Atlantic and trans-Pacific commercial trading networks through which these Asian goods circulated, as well as the way in which these goods were acquired, used and appreciated by the Portuguese, Spanish, Dutch and English societies in western Europe and the multi-ethnic societies of the European colonies in the New World and Asia. _300 illustrations of extant examples of Chinese silks and porcelains, along with Japanese lacquers of the period, complement the information gleaned from archival and textual material. In the case of Chinese porcelain, a large number of the examples illustrated are provided by archaeological finds from European shipwrecks, survival campsites, colonial settlements in Asia, the New World and the Caribbean, and their respective mother countries in western Europe. _Breaking new ground in its comparative study of the impact these European trading empires or companies had on the material cultures of China and Japan, this book shows the influence that the European merchants and missionaries exerted on the goods made specifically to order for them in both China and Japan. It also traces the worldwide circulation of these luxury objects, which were intended for secular and religious use in European settlements in Asia, and their respective mother countries in western Europe and colonies in the New World. More importantly, this book shows that these specific orders led to the creation of a wide variety of hybrid manufactured goods in both China and Japan, which combined elements from very different and distant cultures, reflecting the fascinating and complex East-West cultural exchanges that occurred in the early modern period
¶ Focusing on the prolific trade, transport and consumption of Chinese silk and porcelain and Japanese lacquer between 1500 and 1644, this groundbreaking book will show how the material cultures of late Ming China and Momoyama/Early Edo Japan on one side of the globe, and western Europe and the New World on the other, became linked for the first time, through an exchange of luxury Asian manufactured goods for currency (silver). It offers new insight into these multi-layered long-distance commercial networks, which resulted in an unprecedented creation of material culture that reflected influences of both East and West. _Original research reveals new evidence of the trade of these three Asian manufactured goods, first by Portugal and Spain, and later by the trading companies formed by the Northern Netherlands/Dutch Republic and England. Important documentary information is brought to light concerning, for example, the use of Chinese porcelain in western Europe, and the objects made to order in European shapes for the Dutch and English trading companies in Japan and China. The study also sheds light on both the trans-Atlantic and trans-Pacific commercial trading networks through which these Asian goods circulated, as well as the way in which these goods were acquired, used and appreciated by the Portuguese, Spanish, Dutch and English societies in western Europe and the multi-ethnic societies of the European colonies in the New World and Asia. _300 illustrations of extant examples of Chinese silks and porcelains, along with Japanese lacquers of the period, complement the information gleaned from archival and textual material. In the case of Chinese porcelain, a large number of the examples illustrated are provided by archaeological finds from European shipwrecks, survival campsites, colonial settlements in Asia, the New World and the Caribbean, and their respective mother countries in western Europe. _Breaking new ground in its comparative study of the impact these European trading empires or companies had on the material cultures of China and Japan, this book shows the influence that the European merchants and missionaries exerted on the goods made specifically to order for them in both China and Japan. It also traces the worldwide circulation of these luxury objects, which were intended for secular and religious use in European settlements in Asia, and their respective mother countries in western Europe and colonies in the New World. More importantly, this book shows that these specific orders led to the creation of a wide variety of hybrid manufactured goods in both China and Japan, which combined elements from very different and distant cultures, reflecting the fascinating and complex East-West cultural exchanges that occurred in the early modern period
Scriptum Art Books v.o.f.Professional sellerBook number: 6655
€ 99.95 [Appr.: US$ 108.23 | £UK 85.25 | JP¥ 16966]
Catalogue: Aziatische kunst / Asiatic Art
Hiroshige. Nature and the City
10 2023, (23,5 29,5 cm), 528 pp. English text, numerous ills., hardcover.
¶ Utagawa Hiroshige (1797-1858) is een van de beroemdste prentkunstenaars uit het negentiende-eeuwse Japan. Dit nieuwe boek, Hiroshige - Nature and the City, is het meest uitgebreide overzicht van zijn oeuvre tot op heden. Aan de hand van vijfhonderd prenten maken we kennis met Hiroshige's unieke kijk op de wereld: van de prachtige gezichten van zijn geboorteplaats Edo (het huidige Tokio), zijn reizen langs de beroemde Japanse snelwegen, de idyllische beelden van vogels en bloemen, tot zijn waaierprenten. Hiroshige verwerkte vaak poëzie in zijn prenten. Wat dit boek zo bijzonder maakt is dat het transcripties en vertalingen bevat van alle gedichten die op de werken voorkomen. Bovendien krijgt de lezer ook gedetailleerde vergelijkingen van de houtsneden en van hun verschillende drukken. In die zin is deze publicatie van grote waarde voor onderzoekers, handelaren en verzamelaars. Vijf essays gaan dieper in op bepaalde aspecten van Hiroshige's leven en werk. Zo introduceert Rhiannon Paget (curator Aziatische Kunst in het John and Male Ringling Museum of Art) de lezer tot de professionele en persoonlijk levensloop van de kunstenaar. Andreas Marks (curator Minneapolis Museum of Art) schrijft over de uitgevers van Hiroshige's houtsneden en over zijn samenwerkingen met collega-kunstenaars. Shiho Sasaki (conservator in het Asian Art Museum van San Francisco) analyseert Hiroshige's gebruik van pigmenten. John Carpenter (curator Japanse Kunst in het Metropolitan Museum of Art) onderzoekt de bronnen van de poëzie in Hiroshige's bloemen- en vogelprenten. De prenten in dit boek komen uit de grootste privécollectie van Hiroshige buiten Japan, die van Alan Medaugh in New York.
¶ Utagawa Hiroshige (1797-1858) is een van de beroemdste prentkunstenaars uit het negentiende-eeuwse Japan. Dit nieuwe boek, Hiroshige - Nature and the City, is het meest uitgebreide overzicht van zijn oeuvre tot op heden. Aan de hand van vijfhonderd prenten maken we kennis met Hiroshige's unieke kijk op de wereld: van de prachtige gezichten van zijn geboorteplaats Edo (het huidige Tokio), zijn reizen langs de beroemde Japanse snelwegen, de idyllische beelden van vogels en bloemen, tot zijn waaierprenten. Hiroshige verwerkte vaak poëzie in zijn prenten. Wat dit boek zo bijzonder maakt is dat het transcripties en vertalingen bevat van alle gedichten die op de werken voorkomen. Bovendien krijgt de lezer ook gedetailleerde vergelijkingen van de houtsneden en van hun verschillende drukken. In die zin is deze publicatie van grote waarde voor onderzoekers, handelaren en verzamelaars. Vijf essays gaan dieper in op bepaalde aspecten van Hiroshige's leven en werk. Zo introduceert Rhiannon Paget (curator Aziatische Kunst in het John and Male Ringling Museum of Art) de lezer tot de professionele en persoonlijk levensloop van de kunstenaar. Andreas Marks (curator Minneapolis Museum of Art) schrijft over de uitgevers van Hiroshige's houtsneden en over zijn samenwerkingen met collega-kunstenaars. Shiho Sasaki (conservator in het Asian Art Museum van San Francisco) analyseert Hiroshige's gebruik van pigmenten. John Carpenter (curator Japanse Kunst in het Metropolitan Museum of Art) onderzoekt de bronnen van de poëzie in Hiroshige's bloemen- en vogelprenten. De prenten in dit boek komen uit de grootste privécollectie van Hiroshige buiten Japan, die van Alan Medaugh in New York.
Scriptum Art Books v.o.f.Professional sellerBook number: 8495
€ 67.50 [Appr.: US$ 73.09 | £UK 57.5 | JP¥ 11458]
Catalogue: Aziatische kunst / Asiatic Art - Japan
Collecting Chinsese and Japanese Porcelain in Pre-Revolutionary Paris.
December 2013, 21,1 x 27,7 cm), 224 pp. English text, 145 colour- and 16 b/w/ ills., hardcover.
¶ This is a revealing look at porcelain collecting in the reign of Louis XIV through the 18th century. This beautifully illustrated volume traces the changing market for Chinese and Japanese porcelain in Paris from the early years of the reign of Louis XIV (1643-1715) through the 18th-century. The increase in the quantity and variety of East Asian wares imported during this period spurred efforts to record and analyze them, resulting in a profusion of inventories, sales catalogues, and treatises. These contemporary sources - many never published before - provide a comprehensive picture of porcelains: when they were first available; what kinds were most admired during various periods; where they were sold and at what price; who owned them; and how they were displayed and used.
¶ This is a revealing look at porcelain collecting in the reign of Louis XIV through the 18th century. This beautifully illustrated volume traces the changing market for Chinese and Japanese porcelain in Paris from the early years of the reign of Louis XIV (1643-1715) through the 18th-century. The increase in the quantity and variety of East Asian wares imported during this period spurred efforts to record and analyze them, resulting in a profusion of inventories, sales catalogues, and treatises. These contemporary sources - many never published before - provide a comprehensive picture of porcelains: when they were first available; what kinds were most admired during various periods; where they were sold and at what price; who owned them; and how they were displayed and used.
Scriptum Art Books v.o.f.Professional sellerBook number: 6091
€ 45.00 [Appr.: US$ 48.73 | £UK 38.5 | JP¥ 7639]
Catalogue: Aziatische kunst / Asiatic Art
Le gout pour les porcelaines de Chine et du Japon a Paris aux XVII et XVIII siecles.
2013, (21 x 27,5 cm), 224 pp. French text, 147 colour ills., hardcover with dustjacket.
¶ Porcelaines de Chine et du Japon à Paris au XVII° et XVIII° est réalisé à partir d'archives inédites, retrace les circuits commerciaux, l'évolution du goût et des usages de la porcelaine de Chine et du Japon aux XVII° et XVIII° siècles à Paris._Les contemporains privilégiaient l'effet d'ensemble à la qualité individuelle de chaque pièce. Ë table, les porcelaines du Japon étaient utilisées pour le service du dessert, apothéose du repas. Ë partir de la fin du XVII° siècle, les importations se diversifièrent et les nouvelles générations rejetèrent l'accumulation des bleus et blancs pour préférer les pièces polychromes et les céladons, présentées en moins grand nombre dans les appartements. Les amateurs les mêlaient avec leurs collections de peintures et de bronzes, appréciant le contraste des matériaux. Le développement des montures de bronze doré fit des porcelaines orientales montées de véritables objets d'art. Par le rôle important qu'elles jouèrent dans l'histoire du décor intérieur, les porcelaines de Chine et du Japon constituent un élément capital dans l'histoire du goût et des arts décoratifs européens au XVII` et XVIII` siècle.
¶ Porcelaines de Chine et du Japon à Paris au XVII° et XVIII° est réalisé à partir d'archives inédites, retrace les circuits commerciaux, l'évolution du goût et des usages de la porcelaine de Chine et du Japon aux XVII° et XVIII° siècles à Paris._Les contemporains privilégiaient l'effet d'ensemble à la qualité individuelle de chaque pièce. Ë table, les porcelaines du Japon étaient utilisées pour le service du dessert, apothéose du repas. Ë partir de la fin du XVII° siècle, les importations se diversifièrent et les nouvelles générations rejetèrent l'accumulation des bleus et blancs pour préférer les pièces polychromes et les céladons, présentées en moins grand nombre dans les appartements. Les amateurs les mêlaient avec leurs collections de peintures et de bronzes, appréciant le contraste des matériaux. Le développement des montures de bronze doré fit des porcelaines orientales montées de véritables objets d'art. Par le rôle important qu'elles jouèrent dans l'histoire du décor intérieur, les porcelaines de Chine et du Japon constituent un élément capital dans l'histoire du goût et des arts décoratifs européens au XVII` et XVIII` siècle.
Scriptum Art Books v.o.f.Professional sellerBook number: 5853
€ 49.95 [Appr.: US$ 54.09 | £UK 42.5 | JP¥ 8479]
Catalogue: Aziatische kunst / Asiatic Art
Le Gout pour les Laques d' Orient en France aux XVIIe et XVIIIe siecles
11 2019, (21,5 x 27,8 280 cm), pp. French text, numerous colour ills., hardcover with dustjacket
¶ Au XVIIe siècle, les termes 'lachinage' et surtout 'verni' désignaient les objets laqués. Le mot 'laque', bien que connu, commença à être employé dans l'acception actuelle à partir des années 1720, se développa à partir des années 1740, particulièrement dans les catalogues de vente, pour supplanter celui de verni, lequel resta toutefois en usage jusqu'à la fin du XVIIIe siècle. De nos jours, le terme laque employé au féminin désigne la matière première non mise en Ïuvre, tandis qu'au masculin il désigne un objet laqué. Cet ouvrage offre une synthèse de l'histoire du goût pour les laques en France à l'époque moderne, depuis leur importation jusqu'à leur usage, soit pratique soit comme pièces de collection. Cela permettra de distinguer les convergences et les divergences avec le commerce des porcelaines, dues à la nature des objets, à leur technique, à leurs usagesÉ Si l'appréhension des laques était différente de celle des porcelaines, l'intérêt suscité par ces objets témoignait de la fascination de l'Europe pour ces productions de la fabuleuse Asie. Les sources d'archives demeurent riches et variées. La correspondance et les mémoires de commerce, rédigés par et pour les employés de la Compagnie française des Indes orientales, portent peu de jugement de valeur esthétique pour aborder les laques de manière pratique avec une approche essentiellement commerciale. Ces remarques apportent néanmoins des renseignements précieux pour connaître leurs conceptions des attentes du marché français. Les inventaires après décès des marchands et des particuliers, collectionneurs ou non, apportent de nombreux renseignements sur l'état du marché, mais généralement sans description ni jugement de valeur. Ces derniers apparaissent dans les relations de voyageurs au Japon ou en Chine, dans certains traités techniques, dans les mémoires et les journaux des contemporains et surtout dans les catalogues de vente publiés dans la seconde moitié du XVIIIe siècle. Généralement, les commentaires sur les laques apparaissent bien moins abondants que ceux sur les porcelaines, peut-être en raison de leur relative rareté sur le marché. Cette recherche ne se veut pas une étude exhaustive de toutes les collections mais cherche à définir les grandes lignes qui caractérisaient le marché et le goût pour les laques et leur évolution sur deux siècles, afin de suivre l'évolution des sensibilités vis-à-vis de ces objets qui ont toujours fasciné les Occidentaux.
¶ Au XVIIe siècle, les termes 'lachinage' et surtout 'verni' désignaient les objets laqués. Le mot 'laque', bien que connu, commença à être employé dans l'acception actuelle à partir des années 1720, se développa à partir des années 1740, particulièrement dans les catalogues de vente, pour supplanter celui de verni, lequel resta toutefois en usage jusqu'à la fin du XVIIIe siècle. De nos jours, le terme laque employé au féminin désigne la matière première non mise en Ïuvre, tandis qu'au masculin il désigne un objet laqué. Cet ouvrage offre une synthèse de l'histoire du goût pour les laques en France à l'époque moderne, depuis leur importation jusqu'à leur usage, soit pratique soit comme pièces de collection. Cela permettra de distinguer les convergences et les divergences avec le commerce des porcelaines, dues à la nature des objets, à leur technique, à leurs usagesÉ Si l'appréhension des laques était différente de celle des porcelaines, l'intérêt suscité par ces objets témoignait de la fascination de l'Europe pour ces productions de la fabuleuse Asie. Les sources d'archives demeurent riches et variées. La correspondance et les mémoires de commerce, rédigés par et pour les employés de la Compagnie française des Indes orientales, portent peu de jugement de valeur esthétique pour aborder les laques de manière pratique avec une approche essentiellement commerciale. Ces remarques apportent néanmoins des renseignements précieux pour connaître leurs conceptions des attentes du marché français. Les inventaires après décès des marchands et des particuliers, collectionneurs ou non, apportent de nombreux renseignements sur l'état du marché, mais généralement sans description ni jugement de valeur. Ces derniers apparaissent dans les relations de voyageurs au Japon ou en Chine, dans certains traités techniques, dans les mémoires et les journaux des contemporains et surtout dans les catalogues de vente publiés dans la seconde moitié du XVIIIe siècle. Généralement, les commentaires sur les laques apparaissent bien moins abondants que ceux sur les porcelaines, peut-être en raison de leur relative rareté sur le marché. Cette recherche ne se veut pas une étude exhaustive de toutes les collections mais cherche à définir les grandes lignes qui caractérisaient le marché et le goût pour les laques et leur évolution sur deux siècles, afin de suivre l'évolution des sensibilités vis-à-vis de ces objets qui ont toujours fasciné les Occidentaux.
Scriptum Art Books v.o.f.Professional sellerBook number: 7515
€ 54.00 [Appr.: US$ 58.47 | £UK 46 | JP¥ 9166]
Catalogue: Aziatische kunst / Asiatic Art
Oishii !. Essen in Japan.
November 2016, (21,6 x 27,9 cm), 270 pp. German text, numerous ills.,, hardcover.
¶ 'Oishii!' 'Delicious!' is the most common word in Japan to describe food. Expressing culinary taste goes hand in hand with the social and cultural identity of those eating it. Hence food is much more than nutrition; rather it is tied to all areas of human life and illustrates the various aspects of a society and its culture. Against this backdrop and for the first time in German renowned authors devote themselves to Japanese food and drink culture. How is rice cultivated? How do you catch bonitos? What is the secret to good sake and how did green tea become a lifestyle product? Hitherto partly undisclosed treasures from the Linden-Museum Stuttgart and valuable examples from home and abroad draw attention to the rich material culture of food and drink in Japan. Text in German.
¶ 'Oishii!' 'Delicious!' is the most common word in Japan to describe food. Expressing culinary taste goes hand in hand with the social and cultural identity of those eating it. Hence food is much more than nutrition; rather it is tied to all areas of human life and illustrates the various aspects of a society and its culture. Against this backdrop and for the first time in German renowned authors devote themselves to Japanese food and drink culture. How is rice cultivated? How do you catch bonitos? What is the secret to good sake and how did green tea become a lifestyle product? Hitherto partly undisclosed treasures from the Linden-Museum Stuttgart and valuable examples from home and abroad draw attention to the rich material culture of food and drink in Japan. Text in German.
Scriptum Art Books v.o.f.Professional sellerBook number: 6937
€ 40.75 [Appr.: US$ 44.13 | £UK 34.75 | JP¥ 6917]
Catalogue: Aziatische kunst / Asiatic Art - Japan
Japanese Prints in the Rijksmuseum - 5 volumes complete catalogue of Japanese Prints in the Rijksmuseum Amsterdam,
Published between 1977-1990, (21 x 29,5 cm), together 732 pages English text, profusely illisterated in colour and b/w), paperback.
¶ Scarce complete set of 5 volumes. Catalogue of the collection Japanese Prints in the Rijksmuseum,Amsterdam. Set of 5 volumes complete. Vol. !: The Age of Harunobu (early Japanese Prints c.1700-1780). Vol 2: The Age of Utamaro (Japanese Prints c. 1780-180). Vol 3: Hokusai and his School (Japanese Prints c.1800-1840). Vol 4: Hiroshige and the Utagawa school ((Japanese Prints c.1810-1860)/ Vol 5: The Age of Yoshitoshi. (Japanese prints From the Meiji and Taisho periods. Nagasaki, Yokohama and Kamigata prints). Fine condition.
¶ Scarce complete set of 5 volumes. Catalogue of the collection Japanese Prints in the Rijksmuseum,Amsterdam. Set of 5 volumes complete. Vol. !: The Age of Harunobu (early Japanese Prints c.1700-1780). Vol 2: The Age of Utamaro (Japanese Prints c. 1780-180). Vol 3: Hokusai and his School (Japanese Prints c.1800-1840). Vol 4: Hiroshige and the Utagawa school ((Japanese Prints c.1810-1860)/ Vol 5: The Age of Yoshitoshi. (Japanese prints From the Meiji and Taisho periods. Nagasaki, Yokohama and Kamigata prints). Fine condition.
Scriptum Art Books v.o.f.Professional sellerBook number: 6373
€ 150.00 [Appr.: US$ 162.43 | £UK 127.75 | JP¥ 25462]
Catalogue: Aziatische kunst / Asiatic Art - China
Ko-sometsuke. Chinese porcelain for the Japanse Market.
October 2013, (23,5 x 29,7 cm), 112 pp. English text, 112 colour ills., hardcover.
¶ This exhibition catalogue presents an intriguing group of ko-sometsuke food dishes, known as mukozuke, which were produced in a variety of shapes, including fish, horses, oxen, leaves, peaches, aubergines, shells, fans and musical instruments, amongst others. Ko-sometsuke ('old blue and white') porcelain was produced specifically for the Japanese market during the final decades of the Ming dynasty (1368-1644). The lack of Chinese imperial patronage during this period prompted the potters at the Jingdezhen kilns, Jiangxi province, to seek out new markets for their porcelain. This coincided with the rising popularity of the tea ceremony in Japan, which required a number of different utensils. Fulfilling the orders that followed from Japanese tea masters resulted in the flourishing of Chinese porcelain trade to Japan at this time. Ko-sometsuke wares were made to Japanese taste, in an astonishing variety of odd, asymmetrical and occasionally humorous forms. In contrast to the traditional blue and white wares produced at Jingdezhen, ko-sometsuke porcelain was deliberately potted in a rough manner from poorly levigated clay, and bears numerous flaws and imperfections as a result. The mushikui or 'moth-eaten' edges, which are so prevalent among these wares, were particularly prized in Japan. The sheer diversity of unique shapes amongst these mukozuke alone is not only a testament to this highly creative period at Jingdezhen. It is also representative of the adaptable nature of the Chinese potters and the cultural interactions between China and Japan during this period.
¶ This exhibition catalogue presents an intriguing group of ko-sometsuke food dishes, known as mukozuke, which were produced in a variety of shapes, including fish, horses, oxen, leaves, peaches, aubergines, shells, fans and musical instruments, amongst others. Ko-sometsuke ('old blue and white') porcelain was produced specifically for the Japanese market during the final decades of the Ming dynasty (1368-1644). The lack of Chinese imperial patronage during this period prompted the potters at the Jingdezhen kilns, Jiangxi province, to seek out new markets for their porcelain. This coincided with the rising popularity of the tea ceremony in Japan, which required a number of different utensils. Fulfilling the orders that followed from Japanese tea masters resulted in the flourishing of Chinese porcelain trade to Japan at this time. Ko-sometsuke wares were made to Japanese taste, in an astonishing variety of odd, asymmetrical and occasionally humorous forms. In contrast to the traditional blue and white wares produced at Jingdezhen, ko-sometsuke porcelain was deliberately potted in a rough manner from poorly levigated clay, and bears numerous flaws and imperfections as a result. The mushikui or 'moth-eaten' edges, which are so prevalent among these wares, were particularly prized in Japan. The sheer diversity of unique shapes amongst these mukozuke alone is not only a testament to this highly creative period at Jingdezhen. It is also representative of the adaptable nature of the Chinese potters and the cultural interactions between China and Japan during this period.
Scriptum Art Books v.o.f.Professional sellerBook number: 5638
€ 95.00 [Appr.: US$ 102.87 | £UK 81 | JP¥ 16126]
Catalogue: Aziatische kunst / Asiatic Art - China
Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection
1989, (22m5 x 30,7 cm), 468 pp. English / Chinese text, 447 colour plates, hardcover and dustwrappers in decorative slipcase
¶ Rare. Wonderful catalogue showing 153 pieces of Kangxi,147 pieces of Yongzheng and 147 pieces of Qianlong porcelain form the Palace Museum in colour photographs.
¶ Rare. Wonderful catalogue showing 153 pieces of Kangxi,147 pieces of Yongzheng and 147 pieces of Qianlong porcelain form the Palace Museum in colour photographs.
Scriptum Art Books v.o.f.Professional sellerBook number: 8199
€ 350.00 [Appr.: US$ 379 | £UK 297.75 | JP¥ 59411]
Catalogue: Aziatische kunst / Asiatic Art - China
A Life in the Company of Song Ceramics. Chinese Art from the Christofides Collection.
2017, (146 pp. English text, full colour ills., hardcover.
¶ Limited edition 500 copies. A magnificent publication of the private collection of early Chinese ceramics and Chinese furniture dating from the Ming dynasty to the 18th century amassed over a period of nearly 70 years by Emmanuel Christofides. Most of the ceramics date from the Song and Jin dynasties, but objects from the Han, Five Dynasties, Tang & Sui periods are also represented. Exquisite Chinese furniture, among which a rare mother-of-pearl inlaid lacquer kang table dating from the Ming dynasty, show the diversity of this collection. In total 60 objects are described in detail and illustrated. Of particular interest is the fact that the base of each item is illustrated in the back of the book and concluded with a complete list of where each object was purchased and, where known, the provenance is mentioned. Emmanuel Christofides is a passionate collector who purchased his first item in the 1950's in Alexandria. The elaborate introduction by the collector is a walk down memory lane and reflects the personal affection for the acquisition of the objects and the dealers he met over the years from whom he purchased. Each object is referred to as an old friend. When collecting in this modern era, purchasing from respected dealers and provenance is of the greatest importance and this is exactly what the collector has done over the years. Many pieces were acquired from C.T. Loo, Sparks, Spink & Son, Eskenazi and Priestley & Ferraro to name a few and often have wonderful provenances such as the George de Menasce, Arthur M. Sackler, Carl Kempe and C.T. Loo collections. A number have been exhibited at the OCS or published in books and catalogues.
¶ Limited edition 500 copies. A magnificent publication of the private collection of early Chinese ceramics and Chinese furniture dating from the Ming dynasty to the 18th century amassed over a period of nearly 70 years by Emmanuel Christofides. Most of the ceramics date from the Song and Jin dynasties, but objects from the Han, Five Dynasties, Tang & Sui periods are also represented. Exquisite Chinese furniture, among which a rare mother-of-pearl inlaid lacquer kang table dating from the Ming dynasty, show the diversity of this collection. In total 60 objects are described in detail and illustrated. Of particular interest is the fact that the base of each item is illustrated in the back of the book and concluded with a complete list of where each object was purchased and, where known, the provenance is mentioned. Emmanuel Christofides is a passionate collector who purchased his first item in the 1950's in Alexandria. The elaborate introduction by the collector is a walk down memory lane and reflects the personal affection for the acquisition of the objects and the dealers he met over the years from whom he purchased. Each object is referred to as an old friend. When collecting in this modern era, purchasing from respected dealers and provenance is of the greatest importance and this is exactly what the collector has done over the years. Many pieces were acquired from C.T. Loo, Sparks, Spink & Son, Eskenazi and Priestley & Ferraro to name a few and often have wonderful provenances such as the George de Menasce, Arthur M. Sackler, Carl Kempe and C.T. Loo collections. A number have been exhibited at the OCS or published in books and catalogues.
Scriptum Art Books v.o.f.Professional sellerBook number: 6893
€ 79.50 [Appr.: US$ 86.09 | £UK 67.75 | JP¥ 13495]
Catalogue: Aziatische kunst / Asiatic Art - China
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