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CORNELL

UNIVERSITY
LIBRARY

THE WASON
CHINESE
COLLECTION

Cornell University Library

ND

1042.P96

3 1924 023 321

080

Cornell University
Library

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions in

the United States on the use of the

text.

http://www.archive.org/details/cu31924023321080

PROBSTHAIN'S ORIENTAL CATALOGUE,

No.

XXVL

Xn.

Ill,

THH HKAVENI.Y

IJJTI'S.

CATALOGUE
OF

OLD CHINESE PAINTINGS

AND DRAWINGS

TOGETHER WITH A

COMPLETE COLLECTION
OF

BOOKS ON CHINESE ART

LONDON,

W.C.

PROBSTHAIN &
41,

CO.,

GREAT RUSSELL STREET.


^^

R Wora
S

this

the

is

been

Sale-Catalog'ue on

first

issued,

on Chinese Art.

that

feel

Chinese A]<t

requires

it

few

that has

prefatory-

remarks.

This Catalogue contains most Books and Pamphlets


important ones

on every phase of Chinese Art,

all

and

all

of which are in

the Probsthain Collection.

In order to

Enamels,
Painting

etc.,

it is

thus,

attain

judgment of

correct

Porcelain,

Bronzes,

one should acquire knowledge

essential that

in

good Drawing on a piece would enable the

Collector to determine the quality of the Pottery,

etc.

Although there has been a continued and increasing demand


for

Chinese Porcelain as

far

back as

1700

ca.

in

Europe, one would

have expected that on account of the beauty of designs there would


long since have been a profound interest

But what do we
solely
fact,

due

find

In Pictorial Art.

Our knowledge
o

to the introduction of

of Chinese Paintings
o

Japanese Art

in the

Occident.

is

In

the Pupil has introduced us to the Master.

The
ties for

serious study of Chinese Art

the

Western

to get a perfect

I.

It

is

student,

command

an

attended by

is

who should

sink his

own

many

difficul-

ideas in order

of E^astern Art.

art suggestive rather than representative.

involves, therefore, a

little

study of Chinese Symbolism and

Folklore.
(

This

2.

The

vi

merit of a great painting

lines,

expression of out-

lies in its

each line haviny an individual charm of

Figures, although the merest sketches, are

its

The

own.

most

lifelike.

This may be explained by the fact that the Old Masters


were originally caligraphists and poets, who expressed their
genius with the brush.
3.

Eastern Perspective can be compared favourably with that

Western world, although

of the

Thus,

different.

conceptions

their

order to present the idea of distance

in

the picture, they would place the nearest object at the

in

and the most remote at the highest


becoming smaller as they ascend.

point, the objects

base,

4.

are

Their colouring, although sometimes not true

to nature,

is

redolent with harmony.

These may be regarded

we have

We

as the principal difficulties with

which

to contend.

note that

in the

Paintings of the early Dynasties the noble

simplicity of their composition impresses us as majestic.

The Ming Dynasty


more

subjects are

presents to us richer colouring, and the

varied.

During the Manchu Period


decline, although
It

has ended

drawings of
/s this

The

in

it

was

still

painting has been on the

vigorous during the Eighteenth Century.

a fiasco, and

little

artistic

we now

find

a substitute

in rice

paper

or no merit.

an Original, or a Copy

Here

is

an interesting point.

greatest artists gloried in copying, and often with such result

that the copy surpassed the original.

Therefore we observe that

copy and imitation have two distinct meanings, and are not to be

confused.

painting should be judged upon

Hotv, then, are


Firstly,

all

zve to

important

its

merits.

guarantee the authenticity of a Painting

Paintings

are

carefully

recorded

numerous Chinese Encyclopaedias and Works on

Art.

in

the

Secondly,


vii

a picture can, of course, be judged by style and colour, which vary

according to the Dynasties.

Further, the texture of the

silk,

the

paper, and the ink determine unerringly the period.

To

conclude,

seriously

be

it

would add
or

pictorial

that, in

ceramic

order to study Chinese Art

the

should of a

Collector

necessity be equipped with (in addition to any of the works recorded


hereafter)

1.

GOOD History ok Chinese Literature.

Recommended

Giles (in English) and

Grube

(in

German),

both of which are instructive and fascinating

Wylie's

Notes on Chinese Literature.


2.

good History of China.

Recommended

Macgowan's

Imperial

and

History,

Williams' Middle Kingdom.

3.

A Grammar

and

Recommended

by Goodrich,

Dictionary.

Martin's Analytical Reader


Poletti,

or Soothill

also

Dictionaries

Prof.

Owen's

Pamphlet on Evolution of Chinese Writing.

4.

Mayers' Chinese Reader's Manual, which should

find a

place in the library.

5.

Eitel's

Handbook of Chinese Buddhism.

These works
to

will

open the way

understand and master his

to the

difficult subject.

ARTHUR
London, April, 19 13.

Student and Collector

A.

PROBSTHAIN.

No

II

rilK IMI'KklAI. l-irXT

Bv rH.\(")

MKXC

V\'

OF ILLUSTRATIONS.

LIST

MISCELLANEOUS.

Engraving on Manufacture of Silk

No. 137.

K'anghsi

No. 156.

Two Buddhist

Paintings, on leaves.

PAINTINGS.
Lung Mien Scenes from

No.

Li

No.

Three Sages seated at

No. 10

The Heavenly

No.

The Imperial Hunt.

II

Tibet.

a Table.

Lotus.

No. 12

Vision of Fairyland.

No. 14

Study of Wild Geese and Rushes.

No. 16

Buddha seated on an Elephant.

No. 19

A Tree

No. 20

A Study

No.

Wild Geese and Rushes.

22,

with Birds.
of Lotus Flowers.

No. 23

No. 3S

The Garden

No. 40

The Frog Charmer.

No. 50

Lady on her Balcony.

Cock, by

City.

Ko Chi

Bi.

Anderson, Wm.

Descriptive

and

Catalogue

Historical

8vo, pp.

Extremely
2

One

W.

and

Ty\

plates, cloth.

Roy.
;^15 15s

1886

of the most valuable and instructive works on Far Eastern Art.

Old Chinese Porcelain and Works of Art in


being Descriptions and Illustrations of Articles selected from an
Exhibition held in Shanghai, 1908.
Roy. 8vo, pp. 160, with 120 plates, cloth.
30s
1911

Bahr, a.
China

554, 28,

xi,

rare.

of

Museum.

a Collection of Japanese and Chinese Paintings in the British

Bahr, A.

W. Old

Chinese

and Works

Porcelain

Art:

of

being Descriptions and Illustrations of Articles selected from an Exhibition


held in Shanghai, 1908.
Edition de luxe, with 12 hand-painted facsimile
illustrations on silk by the Chinese artist, Wung Chun Hai, and 100 black-andwhite plates, bound in Kienlung brocade, and kept in an outer box in
Kienlung brocade.
19:2
;50

Only 9 copies of

4 Bahr, A.

4to, pp. i^,

Bennett, Richard.
Porcelains.
cloth.

were issued, of which

W. Catalogue

Paintings.

this edition

410,

191

Porcelains.

of an Exhibition

with 20

plates.

is

the last copy.

of Early Chinese
3s

191

^Catalogue of the Collection of Old Chinese


Catalogue of Rare Old Chinese

8vo, pp. 40, with i^Jine coloured plates, cloth,

very rare.

1910

1
7

Berlin.

Konigliche

Akademie

Ausstellung alter ostasiatischer Kunst.

der Kiinste.
i2mo, pp. 128, with

Catalog
2?>

der
2s

BiNYON, L.

Painting

in the

Far East

This Standard

Work by

1908

the well-known Art Critic

is

6d

an Introduction to the

History of Pictorial Art in Asia, especially China and Japan.


pp. 304, illustrated, cloth.

2s

plates, hoaxds.

1912

6d

with numerous plates in natural colours of the Porcelains,


;Z 15s.

Wm. Descriptive

6 Bennett, Sir

this

Roy. 8vo,
^2 2s

entirely out of print.

L.
The Flight of the Dragon an Essay on the
Theory and Practice of Art in China and Japan, based on Original Sources.
191
2s
i2mo, pp. 112, cloth.

9 BiNYON,

10

Blondel
le pierre

11

Le Jade. Etude histor., archeol.


S.
8vo, pp. 30.
appelee yu par les Chinois.
1875

Boerschmann,

E.

Die

et litt^raire sur
3s

Baukunst und Religiose Kultur der

Chinesen, Einzelaufnahmen auf Grund eigener Aufnahraen Vol. I., P'u T'o
Shan, die heilige Insel der Kuan Yin, der Gottin der Barmherzigkeit.
4to,
with 203 illustrations and ^'^ plates, cloth.
191
^2,
:

12

BoERscHMANN, E.
with

13

()

Chinesische

Architektur.

Sm.

4to, pp. 31,


2s 6d

19 12

plates.

Bonaparte, Prince Roland.


des Xllle. et

XlVe

Documents de lepoque mongole


en

siecles, Inscriptions

yong Koan, pres Pekin.

Folio, pp.

langues de

six

and 15

5,

plates., Paris.,

la porta de Kiuprivately pritiled,

1805

Our copy contains some Sheets of

Inscriptions,

and Notes

in

5s

by Dr.

Chinese,

Bushel],

14 Bone,

K.

by

Painting

Roy. 8vo, pp. 33, with folding

Reprint from

15

BoREL,

H.

with plates.

Chineesche

Lung Mien,

Li

plates.

1100-1106

a.d.
6s

1907

Toung

Kunst.

Pao.

(in

Dutch).

8vo,

38,

pp.

Amsterdam, 1906
Bronzes

16 Brandt, M. von.

Der

6s

Porcelain Painting.
Chinese

der OffentHchkeit und der

in

Familie, wie er sich selbst sieht und schildert.


Oblong 4to, pp. 165, with 82
reproductions of Chinese Drawings, with expla?iations in Germati, cloth.
1912
7s

17

China:

Breton.-

its

6d

Costume, Arts, Manufactures, &c., edited

principally from the Originals in the Cabinet of

Explanatory, Historical and Literary.

M.

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with plates, half calf.
1813
20s

vols,

18 Brinkley, Captain F.
Japan and China their History, Arts,
and Literature. 12 \o\s, well ilhistrated, c\o\.h. 1903
;!^20
:

Vols. I. to VIII. deals with Japan and its Art.


Vol. IX., Keramic Art of China, pp. 426, with Coloured Plates.
Vols. X. to XII., China
its History and Literature.
:

Only 500 copies were

19 Brinkley,

Captain.

Porcelains sold in

20 British

printed.

New

22

Descriptive
York, 1893.

Museum. Guide

Japanese Paintings.
2

The Edition

The

same.

Brogniart, a.

is

entirely sold out,

and

is

now

Catalogue of Rare Chinese

8vo, pp. 54

to the
1888

3s 6d

Exhibition of Chinese and

8vo, pp. 57.

Second Exhibition.

Traite

rare.

2s 6d

1910

2s

des Arts Ceramiques ou des Poteries

considerees dans leur Histoire, leur Pratique et Theorie.


Third Edition, with
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_^3 3s

23 Burlington Fine

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Oriental [Chinese] Porcelain exhibited in 1895, with a valuable Introduction


by C. Monkhouse. 4to, pp. xxii, 55, wi/h 4 plates 0/ Maris.
1895
25s

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SAGES SEATED AT A TABLE.

24 Burlington Fine

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Porcelain, with Introduction by C.


plates of Chinese Marks.
1896

25

Burlington Fine Arts Club.

of Coloured Chinese

Monkhouse.

4to,

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xiii,

Arts Club.

^ Catalogue

of Early Chinese

Catalogue

Folio, pp. 41,

1911

;15

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4to, pp. xxxiii,

1910

95.

;2 10s

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97, with e^^ fine plates, many of them beautifully coloured, cloth.

26 Burlington Fine

wM

67,

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It

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W. Oriental Keramic Art illustrated by Examples


from the Collection of W. T. Walters. Imp. folio, with iid plates in superb
colours, and over 400 reproductions in black and white.
Ten sections in yellow
New York, 1907.
cloth, in 5 portfolios, bound in beautiful green Chinese silk.
Price on application

27 BuSHELL, S.

These sumptuous volumes are a Masterpiece in several ways. The Walter Collection
was the first and most extensive collection of Chinese Porcelain.
Dr. Bushell
brought all Kis scholarship towards the subject, and he was the first European who
could treat the difficult problem with knowledge and precision.
Thirdly, the
Printer, Louis Prang, of Boston, has excelled in supplying the work with most
beautiful plates
they rank among the best ever done anywhere, and give a true
;

idea of the porcelain itself

28 Bushell, S.

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Text Edition,

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Ceramic Art, Collection of W. T.


New York, 1899
pp. xiii, 942, cloth.
^15 15s

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29 Bushell, S.
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Pottery, Porcelain, Glass, Enamels, Textiles, Pictorial Art.

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A
31

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12s 6d
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54

Metallurgie

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Chine a la fabrication et decoration de la porcelaine.
I.,

Quoted

53

Geologic,

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55 Fenollosa, E. F.

Epochs of

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Outline History of East Asiatic Design.


colour and monochromes, oioXh.
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Contents : Primitive Chinese Art Chinese Art

an

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56 Fenollosa,

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Ancient

57 Fischer,

FI.

Nephritund Jadeit

Eigenschaften

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Catalogue

Porcelain and Pottery.


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Second Edition, 8vo, pp. xviii, 246, with 25 plates
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1878

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59 Franks,

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Catalogue

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plates.

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1876

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60 Furnival, W.
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J,

Researches

1898

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No. 14.--A

STUDY OF WILD GEESE AND RUSHES.

11

Garie.
de
1906

et

62 Getz,

Collection of Garie,
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la

4to,

Objets d'Art et
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J.

Catalogue of the Avery Collection of Ancient Chinese


W. H. Goodyear.

numerous

New

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H.

A.

Pictorial Art.

An

Introduction

Roy. 8vo, pp.

64 GiLLOT.

Collection

d'Extreme-Orient.

CoUecdon
to

the

in the

Ch.

4to,

pp.

of extracts from authoritative Chinese

time.

first

Gillot

Objets

d'Art et Peintures
and illustrations,

298, with numerous plates

ix,

Sculpture Lacquer Combs Ceramics


Glossary of Buddhist Terms.

65 Glaser,

Western World.

History of Chinese

Paris, 1904

with

12s 6d

179, with illustrations from Chinese Paintings,


of Chinese Painters.
Shanghai, 1905
20s

here translated for the

cloth.

xxiii, 72,

vii,

and an Index of the names


The volume is for the most part composed
vi^orks,

Large 8vo, pp.

York

descriptive Catalogue of the most remarkable

63 Giles,

Curt.

Die

Metal Netsuke,

Kunst

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^1 5s
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66 GoNCOURT.
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67

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Stones.

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191

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69 Graesse, Th.
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Guide de

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Thirteenth Edition, totally revised by Prof. Zimmermann.
anciennes.
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Grandidier, E.

La Ceramique Chinoise, Date de sa Decouverte,

Explication des Sujets de Decor, les Usages divers, Classification.


Paris, 1894
pp. 232, with ^2 heliogravure plates, half morocco.

Roy. 4to,

^5

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74 Grunwedel, a.

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Paris, 1782
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Faits

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Plate I, Kien Long re9oit 4 G(5-ho les hommages des Eleuths.


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80

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Sketch of the History of Ceramic Art

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83 HiRTH, Fr.
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chinois

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" Giles' Pictorial Art,"

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C.
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91

HsiANG

YuAN-P'iEN.

Chinese

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Text, now edited, with an English


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Coloured

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Chinese

Very

92 Inscriptions

de

l'Orkhon.

Finnoise

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Les

Bronzes

King-Te-Tciiin Tag Lu.

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This famous Painting of the Fourth Century has now been faithfully reproduced in
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We

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most learned work,

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102 Le.ssing,
\<^

103 Li

J.

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MuLLER, H.
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The

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^2

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Asie La Peinture de paysage et la technique La peinture de Paysage,

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RiCHE, A., ET Champion.


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No. 23. LADY

ON HER BALCONY.

13

123 Shernaz and Dilruba, or the Romantic History of a Pair of


Old Chinese Porcelain Vases, 500 years
Bombay, 1906

124 Stein, M. A.
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are now in the British Museum, where they are still on view.

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Buddhist Pictures

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Tchang Yi Tchou and Hackin,


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:

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A Catalogue

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Shanghai, 1898

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Recherches

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I'Js

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Waring,

132

B.

J.

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135 ZiMMERMANN, E.

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CHINESE ENGRAVINGS,
PRINTED
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IN

WHITE ON BLACK GROUND.

Developments of the Art

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This device was probably


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the

objects

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Art.

137

K'ANGHSI. Engravings

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the Emperor and an Imperial Edict, 410
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interiors

No. 19. A

TREE WITH BIRDS.

15

CHINESE ILLUSTRATED BOOKS.


( We expect shortly a large consignment of such works,

138

CHINESE WORK.

139

Drawings

CHINESE WORK. Drawings


Text

Flowers, partially in colour.

140

CHINESE WORK,
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141

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HSI C'HING

KU TSIEN. A

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Bronzes and

Issued by Imperial Order by a


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folio, with numberless illustrations, in
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143

KE HEOU
offensive

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144

Emperor Kang Hi

To
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14 were

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KENG CHIH
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SHU HWx\ T'UNG CHEN.A


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5 parts, in cloth cover

ii 2s

R. K. Douglas, in his volume on Chinese Illustrated Books, says


"One of the earliest
volumes produced at this period (XVIIIth Century) was the Shu hwa t'ung
chen."
Some of these are particularly interesting as presenting prototypes of the
sketches of Hokusai.
They are sketchy, but full of life and vigour, &c. The last
part is printed in colour.
:

150

REPRODUCTIONS of Ancient Famous Chinese Paintings,


by Colour
I.

Print.

Buddhist Subjects

Wu Tao Tzu (Tang Dynasty).


Chan Yueh (5 Dynasties).
by Li Lung Mien (Sung).
by Li Lung Mien (Sung).

Buddhist Saint, by
Arhats, by

Pu

tai,

Arhat,

Sakyamuni coming from the Mountains, by Liang Kai (Sung).


II.

III.

Birds and Flowers


Crane Standing, by Wen cheng (Ming).
Crane Flying, by Wen cheng.
Wild Ducks under Plum Blossoms, by Chen Nan pin (Tsing).
Bamboo and Pheasants, by Wan Jo shui (Yuan).
Flowers and Gold Pheasants, by Wan Jo shui (Yuan).
Bird on a Plum Tree after an Insect, by Chien Shun-chu (Yuan).
Lotus Flowers, by Hsii Hsi (loth Century).
:

Chinese Poets Admiring Flowers, by Chou Ying (Ming).

Each Print

obtainable at 10s. 6d.

MISCELLANEOUS ORIGINAL CHINESE DRAWINGS.


151

ALBUM

of 40 Chinese Water-colour

Drawings on Occupations

and Domestic Life of the Miao Tse Hill Tribes of China.

152

COLLECTION

of 120 Original Chinese

and Ink, depicting Occupations, Trades

Oblong

in

6s

Pen

4to,

in

Ca. 1800
;^18
Drawings are very artistic, they are numbered, and each of them has short
Explanations in Chinese,

silk

The

Drawings

of the Chinese,

^6

Ca. 1800

covers.

No. 22. WILD

GEESE AND RUSHES,

153

Another Similar
in silk covers.

Ca.

17

Oblong

Collection of ii8 Drawings.

410,

18

1800

We

see here depicted at work the Tinsmith, the Tailor, the Baker, the Doctor, the
Female Doctor, the Fruit Vendor, the Joiner, the Fortune Teller, the Fishmonger,
and all the lowly crafts.
These volumes would be an interesting acquisition to an Ethnographical Museum.

154

RICE PAPER DRAWINGS. 12

Drawings on Preparation

and Cultivation of Tea, the last of them showing the despatch of the Tea
Boxes by a Junk, weJi executed. Size 8 by 1 1 in., coritained in a silk cloth
cover.

155

Ca.

1820

;^3 15s

RICE PAPER DRAWINGS. Two


Two

Junks,

One Houseboat,

One

of Fishes,

Plate of Pieces of Porcelain, Plates of Jugglers, Chinese


Mandarin.
14 different drawings, bound in native silk cloth
15s

Lady and

^3

ON

PAINTINGS
156

A SERIES

LEAVES

(Ficus Religiosa).

OF 20 Chinese Paintings on Leaves, delicately

Two

coloured, Buddhist subjects.

leaves have been reproduced

each leaf ;^3 15s


See

157

A SERIES

illustration.

Exquisite Chinese Paintings on Leaves,

OF

lovely colouring, consisting of Flowers

About 1750

158

A SERIES
representing

and

and two of Figures.


each painting ,% 2s

Beautiful Chinese Drawings on Paper,

OF

Mandarins and Ladies

in

their

About 1800

159

CANTON. View

160

CANTON. An

State

Robes, well coloured.


each Z 2s

of the Factories at Canton (the Earliest


An Historic Water-colour, with a number
European Settlements in China).
of Junks in the foreground, the British, French, and other flags are visible
21s
Size ?>\ by 9 in.
at each Settlement.

Canton.

The

Oil Painting of the European Settlements in


French and American Flags are hoisted on the
is teeming with boats and junks, an American Steamer

British,

Consulates, the river


with the Flag is stationed near the Quay.
Date about i860
frame.

161

Butterflies,

A.D.

Size 30 by 17

(Review of Chinese
in half tone

and

collotype,

Text
4to

in Chinese,

in a

Chinese
;fc20

SHEN CHOU KUO KUANG


Art),

in.,

Parts i to 12
CHI.
with reproductions of Old Paintings
;63 3s

No. 35. THE

GARDEN

CITY.

19

OLD CHINESE PAINTINGS.


Sung Dynasty (960-1280

(a)

LI

LUNG MIEN
Drawings
S.

W.

[also called Li

Monochrome.

in

Bushell,

who

a.d.).

Len].
A Series of Five
have the authority of Dr.

Kung

We

attributed these interesting paintings to

Li Lung Mien, one of the most famous Artists of the World,


and as a Chinese Critic state
the First amongst all the
:

Unsigned.
The Pictures
represent Scenes from
Foreign and Strange Lands "
opposite each Picture there is a Chinese explanation, of which
the appended English Translation has been given by an
eminent Chinese Scholar.
There are red Seals on each page
Painters

of

the

Sung Dynasty.
"

From

the

Period,

Prints Collection

of

Shag An-Yu

[of

the

Sung

960-1280].

THE

Painting I.

SAN-FOH-TS':

Dialects = Sarbeza, Arab Settlement


[Modern Palembang].

in

[San-bud-dze in some
N. Sumatra], Country

Situated in the south of the sea, an important centre on the sea-route of


the various Foreigners [Arabs, Hindus, &c.].
They make stockaded walls
Scorchingly hot.
They mostly bind reeds [into huts] and
out of timber.
live at the waterside
hence the word p'u [ = reeds] has become a family
name [an error, it is the Arabic Abu preceding many personal names].
The People are gentle and submissive, and to a certain extent recall the
traditions of the Chinese races of old.
50
:

Painting II. SUAN-LO [=Siam],

State.

Again when they


[After an interesting notice not here reproduced.]
marry afterwards, this is done, that is, if they hope to get a wife. The
50
land reproduces rhinoceros horns, scented wood and such things.

Painting

III.

THE

HWEI-HUH

^ Ouigour

Turk]

Country.
That is the Hwei-heh-tz of ancient times [which remained so] until the
T'ang Emperor, Teh-tsung [meaning Z'/wwj- Emeritus, 779-785]'^ time, when
They joined the other [Turkish]
their appellation was first changed by him.
tribes in attacking the Sieh-yen t'o [Turks], cut them up, and annexed their
They are of huge masculine build, powerful, ruthless and
territory.
50
persistent [all this is a matter of history well known].

20

THE

Painting IV.
K'UN-LUN TS'ENG-K'I Country.
[The Zandj (or blacks) of K'un-lun (Madagascar or Pemba)].

Their land
In the south-west parts adjoining [an] island in the sea.
possesses a huge bird [the rue of Arab writers ; see Marco Polo, chapter
XXXV, on Madagascar and Zanzibar].
You may cut the quills of their wings
carrying on each end
to make water-carrying utensils out of them [meaning
of a shoulder pole].
Moreover, they are black-bodied wild men ; if you
entice them with food you may barter as many as you like to do work [as
:

slaves] for the foreign

Painting V.
Mexico].

Arab]

[i.e.,

FU-SANG

60

traders.

STATE

[generally

accepted

as

the East of the Great Sea.


The Habitations are without walls of
they all fashion their huts out of wooden planks, and every one
rears deers, taking their milk as food.
Consequently, in appearance, they
are active and elegant.
For clothes they wear a kind of lace bound round
them, and all carry a handsome cutlass at the waist.
It is in

any kind

[Presuming the general view that Fusang were identical with America (see
book), this would probably be the First Mentioning of
America.]
J'rice on application
Leyland's

Painting

N.B.

VI. ON TIBET.

li should be stated

Sung Dynasty, unsigned.

While the
seems to say

Size i6 by 28

by an Artist

2\

in.

expounding the law the satisfied play on his face


have found it the other two are lost in profound meditation.

eldest

is

servant with a fan stands near.

See

annotations.

THREE SAGES SEATED AT A TABLE,


of the

50

that the words in brackets are the Scholar s remarks

and

See Illustration

A WHITE FALCON,
Century.

illustration.

by the Emperor Hui Tsung, Twelfth

Size 12 by 27

/16

in.

los

The White Feathers


(Vol.

II., p.

stand out boldly from the Brown Silk.


Dr. Bushel!
no collection of any pretension in China is complete
136) states
:

without a falcon drawn by

NOCTURN,
13

by 53

in.

by

Tio

Hui Tsung.

Kwang

Lur,

Sung

Dynasty.

Size

^21

Being a study in Black.


The moon, although not visible, gives us
enough light to see Birds perched on a Cherry Tree. The longer one views
the picture, the more the objects are discernible, and the more one finds
companionship in it.

No.

40.

THE FROG CHARMER.

lo

21

THE HEAVENLY LOTUS (Four Lotus


and Three

Birds),

by a Sung

Artist.

Flowers and Leaves

Size 31^ by 51

in.

^100

A Painting of great decorative beauty in the natural colours of the Lotus.


In spite of its considerable age, it is fairly well preserved, and the colours
appear in clear relief.
See Illustration.

(b)
1

Yuan Dynasty

(1280- 1368

THE IMPERIAL HUNT, by


by

ft.

Chao Meng Fu.

is

Size 6

ft.

in.

Price on application

2 in.

This

A.n.).

undeniably the

first

Hunting Scene ever depicted on canvas.


Painter to the first and renowned
over the greatest Empire that ever

The Artist is well-known as a Court


Mongol Emperor of China, who ruled
existed.

We

need not marvel therefore that the Artist portrayed Kublai Khan
for he is the Emperor-^at his favourite pursuit, the Chase.
We
behold him in all his regal splendour, forming the centre piece, seated on
his black charger and wearing his hunting costume of ermine
a sign then,
as to-day, of royal status.
The bow, the quiver of arrows, and the sword
form his equipment. A trusted friend rides on his right, the falcon perched
aloft on his hand is ready to f5y.
A body servant brings up the rear laden
himself

with tufted arrows, further


spoils of the chase.

still

in

the rear

is

seen a horse laden with the

number of huntsmen are speeding their arrows with deadly aim, the
horses snorting and quivering with excitement, their forms bent almost into
a circle.
boar and a hare are being pursued.
Two huntsmen, armed
with spears, follow the deer.

The

we observe this Masterpiece, the more apparent becomes the


which it covers. As regards the composition which is always so
well executed by Chinese Painters, although accustomed to their splendid
detail, yet never has it been our privilege to contemplate a work of such
undoubted ability, surpassing beyond all our most extravagant conception all
longer

vast area

the glory of the chase in the days of yore.

its

Princely Picture for a Princely

The painting

Home.

a perfect state of preservation notwithstanding


great age, the colouring is quite vivid.

N.B.

is

in

See Illustration.

12

A VISION OF FAIRYLAND. Signed,

Chao Meng-fu, but


Artist
of the Early
an
Painting
to
I am inclined to ascribe the
in.
by
12
6
ft.
^100
Ming Period, about 1400 a.d. Size
Dream

of Fairyland, our thoughts involuntarily revert to


Here
a romance of idyllic beauty.
in this landscape we find the charms of nature scattered in lavish profusion.
The exquisite delicacy of the colouring, the sweet cherry blossomSj the

In beholding this

the days of our youth

when we wove

22

undulating plain, with the habitations cunningly inserted here and there
like a fine network of lace with the airiness of a spider's web, all these
attract with a mesmeric influence.
Our vision is further enraptured by the gorgeous greens and blues of
the numberless rocks.
As the mist rises, the mountains in the background
become visible. They are studded with majestic pines, the poetic waterfalls
descend from the mountains through the rocks into the plain below. Three
farmhouses with the workmen and buffaloes returning from work forms a
pretty picture of home.
The boat, light as thistledown, plays on the
water, where the weeping willows bend their boughs.

The

centre part of the Painting has been reproduced

see

Illustration.

13

STUDY OF A SAGE,

14

A STUDY OF WILD GEESE AND RUSHES,

with attendant, standing at a Rock,


Size 17 by 47 in.
a clever drawing, in monochrome, unsigned.

Size 39 by 76

Sien.

by Chien
-^135

in.

This subject was already practised by the Sung Artists, and again during
In this
the Ming Dynasty, of which Lin Liang was the chief exponent.
Yuan Painting a few flowers in colour are skilfully intermingled.
See

15

Illustration.

PORTRAIT OF LAO TZE,

on a Buffalo, playing the Flute,


Size 22^ by Ty'] in.
^^65

with attendant, on paper, unsigned.

Ming Dynasty (1368-1644

(c)

16

BUDDHIST PAINTING. Buddha


unsigned.

Size 28 by 53
See

17

a.d.).

seated on an Elephant,

^30

in.
Illustration.

A LANDSCAPE OF MOUNTAIN SCENERY. Signed,


Chin Ying.

Size 29 by 75

^45

in.

Pavilion with two gentlemen sitting down in


The Pavilion is surrounded by a
conversation, and two attendants.
number of pines and other trees gracefully drawn. At the base of the
picture a waterfall is visible ; between the mountains in the distance a
gentleman with his attendant carrying a banner.

In

18

the

foreground a

A MAGPIE PERCHED UPON A BRANCH,


Artist, the Picture is not signed.

The branch

Size 19 by 47

in.

by a Ming

^14

covering the whole area of the picture is produced by one


The firmness of the Artist's touch has
continuous stroke of the brush.
succeeded in imparting a lifelike reality ; where his hand has pressed more
firmly, the bark stands out in relief.

23

19

A TREE WITH BIRDS


Ming

amidst the Branches, by a


in.
;^40
downwards. The Bamboo tree mingles

sitting

Size 38 by 75

Artist, unsigned.

Graceful trailing branches project

leaves, and there are great clusters of vivid red berries.


Beneath is a
rock, from which issue beautiful pink flowers ; there are also two large birds

its

looking at a waterfall.

See

20

Illustration.

A STUDY OF LOTUS FLOWERS AND BIRDS IN


A WIND, unsigned. Size 35 by 64 in. Price on application
one of the most decorative Paintings, we do not hesitate to state,
a Painting which lifts one up in beholding it, which gives
an idea of greatness and exceeding charm. The leaves and flowers, which
are of most delicate shades, are actually seen moving and bending to
A pair of ducks in brilliant plumage in the foreground are
the wind.
seeking shelter under the Lotus.
In contrast to this is a kingfisher perched
on a reed resting secure, whilst its mate is about to join it in its safe retreat.
The Lotus is here shown in all its stages in the life of the flower.
Hanging in a large hall, or a large room, this painting would pale into
This

""

is

in existence

insignificance

all

others.

See

Illustration.

A GROUP OF FIVE SAGES


Shao

Sien.

Size 29^ by 59

standing on a

in.

Rock. Artist,
60

five Sages look upwards, while the other two are evidently
Below the rock, a
discussing with great persuasion questions of moment
The whole picturesque
waterfall is rushing down under a bamboo bridge.
scene is shaded by a tree growing from a rock.

Three of the

This

is

one of the most masterly Drawings we have ever seen.

The

faces

are very expressive.

22

WILD GEESE AND RUSHES,


79

by Lu Chi.

Size 31 by

120

in.

Three geese are


favourite subject of Chinese Artists and Critics.
peacefully nestling, sheltered by rocks, two are in flight, one of them about
to settle, while two others appear to call them.
Although another Artist of the same Dynasty, Lin Liang, is considered
the best for the painting of Flowers and Birds, and especially " Geese and
Rushes," two of which are in the British Museum, we are confident that in

Lu Chi is his equal.


power of the brush.
See Illustration.

this particular ink-sketch,

due

23

to the great

A LADY ON HER BALCONY,


Plate of Fruit.

Size 22 by

']']

in.

The

birds are most

lifelike,

by Chien Ku, holding a

i\

branches that one has to touch the


Below is a huge tree so leafy in
leaves in order to convince oneself that it is not growing.
its

24

LANDSCAPE,
in the distance,

25

24

Black and White, with Mountain Scenery

in

by Shen Chau.

AN OLD MAN

Size 19 by 35

^12

in.

on a Buffalo, a Servant
by Tang Yin. Size 13 by 40 in.

Riding

following, passing under Trees,

;^IO lOS
26

THE RIPENING OF THE POMEGRANATE,


on

boughs

with Birds

two ducks are sunning themselves in


the water below, by Wang Sa San.
;^i8
Size 24 by 54 in.
27

its

SEATED ON A

A PHILOSOPHER
attendant
unsigned.

28

ecstasy

in

is

IS
ascending two rocks are most
Size 20 by 49 in.
;

HILL,

the

skilfully executed,

los

;/J"i2

A WHITE CAT

awaiting at the base of two Bamboo Trees


opportunity to spring upon a bird perched high aloft on
a branch.
Ming Painting, unsigned.
Size 19 by 43 in.
its

29

THUMB PAINTING. Cat watching a Butterfly on


Ming

30

Picture.

Size 20 by 44

the wing.

^22

in.

ARHAT

(Buddhist Dlsciple) seated at a Rock, he is robed in


Painted in the Tang
a vase of white Lotus is by his side.
style, unsigned.
Size 42 by 19 in.
2'^
red,

31

A LANDSCAPE. A

Village between the Rocks, with a


an Angler fishing in a lake below, and a few cranes are
flying downwards from the mountains (late Ming).
Artist,
Wen Chen Ming. Size 32 by 58 in.
^8 8s

Lake

32

THREE PHILOSOPHERS,
strokes

Standing,

a Study by Pai Ching, on paper.

painted in a few
Size 27 J by 68 in.

^66
o3

A TAOIST PAINTING.
There are two

distinct

Unsigned.

groups

on

this

Size 3 by 4^

large

canvas.

ft.

^2

The God

of

Longevity is addressing a child, while a Taoist Teacher, dressed in a robe


of red and blue, is sitting by.
They are seated at a rock, under a huge pine
tree.
In the right corner of the lower part of the picture is another Taoist
Priest, holding a basket of fruit and flowers in his hand, with two children.

No,

151),

PAINTINGS ON LEAVES.

No.

KiT.

.MANUKACTL^KE OF SILK.

=5

Manchu Dynasty

A THRUSH

34

sweet melody.
the

picture.

(1644

191

2 a.d.)

perched on a tree in blossom, warbling a


A bunch of Poppies gives a glow of warmth to
XVHth Century, unsigned. Size 16 by 21 in.

THE GARDEN

35

CITY.

Artist

unknown.

Size 18 by 65

number of Country Villas dotted here and there from


Each villa is surrounded by a picturesque Garden.

in.

the Plain to the

Hills.

See Illustration.

A STUDY OF FLOWERS, rising gracefully from a


A charming picture in colour, unsigned. Date about

36

Size 21

in.

by 6

1750.
;^i5

ft.

A TAOIST PAINTING,

37
,

Deities.

The

picture

Date about 1750


38

Rock.

a.d.

representing six different Taoist


(unsigned) is on silk, and in colour.
Size 2 ft. 8 in. by 4 ft. 10 in.
^^25

THE HUNDRED STORKS,


Size 3 by 6

by Sun

Nan

Ping.

Ca. 1750.

^20

ft.

The term One Hundred

is

used generally

for

"a

great

number

" (see

Mayers' Readers' Manual).


The Storks are seen flying from the clouds
down to the plain between high rocks, along a waterfall. The plain is
studied with

39

Bamboo,

Pines,

and other

trees, in

various colours.

FLOWERS GROWING FROM A ROCK,


poised amongst the leaves.

with thrushes

Signed Chur Tsu Mien (Ming)

^7
40

los

THE FROG CHARMER,

by Min Chen (about 1800).


Size 25 by 40 in.
^18
With his body bent forward, the boyish face of the Fairy is looking down
on a Frog, which he holds in his hands. Prof. Hirth, in his " Collector's
Note Book," informs us on page 41 that the Artist's works were eagerly
bought up by Chinese Collectors. Our painting is a copy from a Yuan
Original.

41

A BASKET OF WHITE WATER LILIES

(very choice)

Unsigned,

Seventeenth

and Three Baskets of


Size 19 by 35
Century.
42

Still
in.

THE LONELY ANGLER.


Size 18 by 65

An

Angler
hanging rock.

in.
is

Life.

6s

Eighteenth Century, unsigned.

9s

seated in a boat amongst rushes and reeds, under an over-

26

43

A STUDY

IN

GREEN AND WHITE.


Size 21 by 72

Century, unsigned.

Tree of Snow- balls,


grasses and orchids.

44

in luxuriant

Eighteenth
los

"]

in.

bloom; below are growing

beautiful

TWO COURT

LADIES, one holding a white cat in her


Pair.
other with a basket of wild flowers.
Eighteenth Century.
Size 12 by 44 in. each.
Each Painting, 6 los

arms,

45

the

A STUDY OF BIRDS AND FLOWERS.


Size 14 by 53

Period, unsigned.

The Rose-Mallow

in its

is

Kang Hsi
(> 6s

in.

most delicate

tints.

There are

also

two birds

resembling the American Humming-Birds.

46

TWO PHILOSOPHERS
distance are mountains.
Size 14 by 25 in.

47

TWO FEMININE
by

48

in a Summer-house shaded
Eighteenth Century, unsigned.

\2

in.

Size 20 by 44

by Chan Lan Sur.

Date about
los

']

in.

seated on a Tree in flower peonies


Pearly Nineteenth Century.
Size
;

at the base of the tree.

16 by 35

51

los

FIGURES,

BIRD OF PARADISE,
grow

50

\o

A STUDY OF PEONIES,
1750.

49

fine

trees, hills in the distance.

Size 20 by 58

under a Tree. In the


drawing, unsigned. Ca. 1 700.

.seated

Very

^5

in.

A COCK,

painted in black on paper, by


Size 22 in. by 3 ft. 10 in.
about 1650.

FETE CHAMPETRE.
Date about 1650.

Size 20

Ko

Chi

Bi.

5s

Date

^17

Painted on Satin, Artist unknown.


in.

by

12

ft.

los

This might be the realization of the European Idea of the Elysian Fields,

There is a bower of
it is a Fairy Garden of Fair Women and Flowers.
Suspended from a branch is a white
graceful bamboo and pine trees.
Parrot on a peculiar cage.
There is an arch and wall of flowers and rocks.
for

is engaged in musical entertainment


one of them playing
bridges form the connection between the groups.

group of ladies

the harp.

Two

ZIbe

lEnb.

^ttM^i-K^nit,-

Wo.

50 A COCK,

By

KO CHI

BI.

4^"-%

^i'^v^A^i:^
.

:*t

^>:^^^' ^"^'^

x^:

^,

^J

.^^^'-

r%

W
y

;?i>
:

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