236 résultats
1798PHO-1092Deuxième reliure de la première édition. Édition originale in-4 sur grand papier, remise en circulation en 1841 avec un nouveau titre avec la mention fictive "nouvelle édition" (quelques exemplaires imprimés en 1798 n'avaient toujours pas trouvé preneur). Une édition octavo en six volumes a également été publiée. in-4 ,y compris l'atlas. Avec 16 (10 dépliantes) dont 15 cartes gravées, 1 planche gravée et table dépliante. - Beau demi-cuir contemp , dos lisse avec titre et tomaison , petits manques au dos , quelques mouillures intermittentes et vieille trace d’humidité (T1), déchirure carte hydrographique sans manque. xii, cxliv, 628, [3] ; xvi, 676, [2] ;[xi], 431, [1];[2],viii, 158pp.
1797035987London: G. Nicol 1797. 1st Edition 1st Printing. Hardcover. Very Good . 11 1/8" Tall. Frontispieces Plates And Illustrations. Ii Xxxiv518; Ii Xx 626. The Two Complete Text Volumes In Full Size Text Blocks 10 5/8" Tall; The Plates Were Issued 1796 In A Separate Volume Not Present Here; But The Plate Of The Camellia Sesanqua Is Present Between Pp 466 And 467. Original Quarter Morocco Binding Five Bands Morocco Spine Labels Over Boards Covered With Marbled Paper Original Off-White Endpapers Preliminary And Final Blank In Each Volume. Bindings With Old Wear But Nicely Furbished Morocco Labels Clean With Brilliant Gilt A Little Loss Of Leather At Tops Of Spines And At Top Right Front Spine Edge Paper Frayed Along All Edges Of Boards Hinges Tight Contents Clean Just A Few Tiny Foxing Spots. Small Very Old Booksellers' Label Of The China Times Bookseller 94 Consular Road Tientsin. And Another From Sydney. Former Owner's Signature Dated 1894 Erased In Volume 1 Of George Ernest Morrison And A Few Marginalia Which Appear To Be His; George Ernest "G. E." Morrison 1862 - 1920 Also Known As Morrison Of Peking Or Chinese Morrison Was An Australian Adventurer Appointed In February 1897 As The Times Correspondent In Peking Despite His Lack Of Knowledge In The Chinese Language. He Traveled To Vladivostok And Reported To The Times That Russian Engineers Were Making Preliminary Surveys From Kirin Towards Port Arthur Then Sent A Telegram To Say That Russia Had Presented A Five-Day Ultimatum To China Demanding The Right To Construct A Railway To Port Arthur. This Was A Triumph For The Times And Its Correspondent But He Had Also Shown Prophetic Insight In Another Phrase Of His Dispatch When He Stated That "The Importance Of Japan In Relation To The Future Of Manchuria Cannot Be Disregarded". After A Visit To Siam And England Then To Australia 1899-1900 He Returned To Peking. When The Boxer Uprising Broke Out And During The Siege Of The Legations From June To August Morrison As An Acting-Lieutenant Showed Great Courage Always Ready To Volunteer For Every Service Of Danger. After A Siege Of 55 Days The Legations Were Relieved By A Multinational Force Which Then Ransacked Much Of The Palaces In Peking With Morrison Taking Part In The Looting. There Was Great Uncertainty Regarding The Future Of China In The Following Months And Through The Times Morrison Managed To Depict A Skewed Picture Before The British Public. While Russia And Japan United In Opposing Any Dismemberment Of China The Country Was Nevertheless Punished By The Imposition Of A Heavy Indemnity. In 1904 Morrison Became A Correspondent With The Japanese Army. He Was Present At The Entry Of The Japanese Into Port Arthur Early In 1905 And Represented The Times At The Usa Peace Conference. In 1907 He Crossed China From Peking To The French Border Of Tonkin And In 1910 Rode From Honan Across Asia To Russian Turkestan. From Andijan He Took A Train To St Petersburg And Then Traveled To London Arriving On 29 July 1910. A Great Chinese Physician Dr. Wu Lien-Teh Succeeded In Staying The Spread Of This Mortal Sickness Which Seemed To Threaten The Whole World. Morrison Published A Series Of Articles Advocating The Launching Of A Modern Scientific Public Health Service In China. When The Chinese Revolution Began In 1911 Morrison Took The Side Of The Revolutionaries. In August Morrison Resigned His Position On The Times To Become Political Adviser To The Chinese Government And Immediately Went To London To Assist In Floating A Chinese Loan Of £10 Million. In China During The Following Years He Had An Anxious Time Advising And Endeavoring To Deal With The Political Intrigues That Were Continually Going On. He Visited Australia Again In December 1917 And Returned To Peking In February 1918. He Represented China During The Peace Discussions At Versailles In 1919 But His Health Began To Give Way And He Retired To England Well Aware That He Had Only A Short Time To Live. He Died On 30 May 1920 . A Nice Historical Association. Later Ownership Signatures Of G B Wilson. <br/> <br/> G. Nicol hardcover
1788314738Paris: chez l'auteur . et chez Ponce 1788. First editions. Vol 1: Title 24 plates and 24 leaves of text; vol 2: title dedication 24 plates and 24 leaves of text. 4to. Contemporary green morocco with gilt Greek key borders pink silk endpapers a.e.g. Corners rubbed spine a touch browned marginal foxing in first volume and to a few leaves in second. First editions. Vol 1: Title 24 plates and 24 leaves of text; vol 2: title dedication 24 plates and 24 leaves of text. 4to. First editions beautifully and fully engraved. The first volume is on the life of Confucius the second details notable events in the reigns of various Chinese emperors. The plates were made after a series of drawings by the Jesuit missionary Joseph Marie Amiot. Cohen-De Ricci 479; Lust 729 1133. Provenance: Francis John Hughes bookplate chez l'auteur ... et chez Ponce unknown
1788314738Paris: chez l'auteur . et chez Ponce 1788. First editions. Vol 1: Title 24 plates and 24 leaves of text; vol 2: title dedication 24 plates and 24 leaves of text. 4to. Contemporary green morocco with gilt Greek key borders pink silk endpapers a.e.g. Corners rubbed spine a touch browned marginal foxing in first volume and to a few leaves in second. First editions. Vol 1: Title 24 plates and 24 leaves of text; vol 2: title dedication 24 plates and 24 leaves of text. 4to. First editions beautifully and fully engraved. The first volume is on the life of Confucius the second details notable events in the reigns of various Chinese emperors. The plates were made after a series of drawings by the Jesuit missionary Joseph Marie Amiot. Cohen-De Ricci 479; Lust 729 1133. Provenance: Francis John Hughes bookplate chez l'auteur ... et chez Ponce unknown books
177630329Paris, Nyon, 1776-1791. Gr. 8°. Zusammen ca. 7700 Seiten. Mit 168 Kupfertafeln, darunter 3 Frontispizes und 4 gefaltete. Bd. 1. 1776. (2), XVI, 485 p. Frontispiz, 9 Tfl (Schriftmuster); Bd, 2. 1777. VIII, 650 p. 3 gefaltete und 7 Tfl (Landschaften); (die Tafelnummerierung 1-37 zählt auch 27 im Text gedruckten Tabellen 2-4, 11-26, 30-37 mit) Bd, 3. 1778. IV, 5-504 p. 6 Tfl. (Porträts); Bd. 4. 1779. (2), 518 p. 7 Tfl. (Kampfsport: Coung-Fou, Pflanzen); Bd, 5. 1780. IV, 510 p. 3 Tfl. (Porträts, Hausrat); Bd. 6. 1780. (2), 380 p, 37 Tfl. (Musikinstrumente); Bd. 7. 1781. XII, (III)-X, (3)-396 p. 33 Tfl. (Militärische Kleidung, Waffen, Schlachtenaufstellungen); Bd. 8. 1782. VIII, 375 p. 30 Tfl. (Militärisches); Bd. 9. 1783. XXIV, 470 p. 1 gefaltete und 11 Tfl. (Landschaften); Bd. 10. 1784. XI, 510 S. Enthält Gesamtregister für die Bände 1-10. Bd. 11. 1786. XXIV, 609 p. 1 Tfl. (Observatorium); Bd. 12. 1786. (2), VII, 532 p. Frontispiz (Porträt), 17 Tfl. (Leben des Konfuzius); Bd. 13. 1788. (2), XVI, 543 p.; Bd. 14. 1789. XVI, 561 p.; Bd. 15. 1791. (2), 515 p. Frontispiz (Porträt); Hellbraune Ziegenleder-Halblederbände der Zeit auf 5 echten Bünden, Rückentitel, Bandnummerierung und ornamentale Goldprägung; Hellbraunes Bezugspapier in Spritztechnik, Ecken in Marmorpapier, zweifarbig marmorierter Schnitt. - 1814 erschienen zwei weitere Bände XVI. und XVII.- Umfassende Sammlung von Berichten von Missionaren aus China, die in Europa erstmals ein umfassendes Bild des Landes ermöglichten. Mit zahlreichen Erstübersetzungen Chinesischer Werke in eine europäische Sprache. Einige Rücken mit restaurierten Fehlstellen an den Kapitalen, Deckel am Bezugspapier, Ecken und Kanten etwas berieben. Die Buchblöcke fest im Bund, teilweise etwas gewellt, vereinzelt stockfleckig, und einige wenige Blätter wasserrandig, vereinzelt Wurmsp
1736137520La Haye, Henri Scheurleer 1736 4 volumes in-4, plein veau brun, dos à nerfs , pièces de titre et de tomaison reliure de l’époque très soigneusement restaurée, LXXX- 488- [35] pp., 2 portraits et 21 planches 2 repliées ; [4]- 834 pp., 3 illustrations dans le texte, 25 planches 11 repliées ; [6]- 652 pp., 7 planches, 6 repliées, 5 illustrations dans le texte ; [4]- 606- [127] pp., une illustration dans le texte. Titres noir et rouge. Lettrines et culs-de-lampe. La plupart des gravures non signées, certaines : J. C. Philips d’après A. Humblot, Humblot d’après J. van de Spyk, une de Philippe van Gunst. Soigneuse restauration angulaire de la page de titre du seconf volume Très bon exemplaire frais.
17473878FBRostock, Verlag Christian Koppe, 1747-1749. 4°. 26,5 x 21,5 cm. [1] Blatt, 58, 472 Seiten; [1] Blatt, 56, 748; 28 Seiten, [2] Blatt, 548; 56, 264, 552 Seiten, [16] Blatt. Ganzlederbände der Zeit auf 4 Zierbünden mit Streicheisenlinien auf den Deckeln und rotem Sprengschnitt. [12 Warenabbildungen]
1788ST20889Paris: Chez l'Auteur 1788 1788. FIRST EDITION. 565 x 400 mm. 22 1/4 x 15 3/4". 50 leaves. Two separately published works bound in one. <br/> Modern retrospective calf-backed tan paste paper boards smooth spine profusely gilt with a repeating pattern of grape vines red morocco label lettered in gilt vellum tips. ENGRAVED THROUGHOUT WITH A TOTAL OF 48 FULL-PAGE ILLUSTRATED PLATES each accompanied by either one or two plates of engraved text. SHEETS UNCUT AND UNFOLDED the first work printed only on the recto; the second with three sheets printed on both sides. Reed and Dematté China on Paper 20 21; Cohen-de Ricci 479. Edges and lower corners slightly worn but the binding with only just minor signs of use; free endpaper in front and back with vertical crease one sheet with an early marginal repair isolated inconsequential faint spotting but still AN EXTREMELY FINE COPY the wide-margined sheets exceptionally fresh and bright and with strong impressions of the engravings.<br/> <br/> This pair of lavishly illustrated fully engraved works produced by a talented French engraver after earlier Chinese artworks are here presented in an enormous volume made up of uncut and unfolded sheets. According to Benzit Parisian engraver and print seller Isidore Stanislas Henri Helman 1743 - ca. 1809 "stands out among the engravers of the end of the 18th century" and his skill is evident in the two works bound together here. The first is a pictorial history of the Chinese emperors from the earliest mythical rulers to the Northern Song dynasty 960-1126. It is based on the Dijian Tushuo composed in 1573 to educate the Ming-dynasty Wanli Emperor 1563-1620 who had ascended to the throne at the age of nine. In accordance with its didactic aims it presents the very best and worst of imperial behavior and the original handwritten album was published as a block-printed book to great popularity. Two centuries later the Qing-dynasty Qianlong Emperor 1711-99 commissioned a Western-style edition of the famous work which was executed by two French artists the Jesuit painter Jean-Denis Attiret and the engraver Charles-Nicolas Cochin II. The enterprising Helman was able to see the Attiret-Cochin book in the collection of French statesman Henri Léonard Jean Baptiste Bertin 1720-92 and having had great success with a previous reproduction of a Chinese work Conquêtes de l'Empereur de la Chine ca. 1783 he created the present reproduction. The second work the life of Confucius was also reproduced from plates in Bertin's collection. The source material in this case was the biography of Confucius assembled by the Jesuit Joseph-Marie Amiot 1718-93 as part of his informational series on China meant to educate missionaries. Amiot was a correspondent of Bertin and had sent him the biography and accompanying album of drawings which were based on the Shenji tu Illustrated Traces of the Sage a popular Confucian work throughout the Ming and Qing dynasties. Helman selected 24 scenes from each creating books that balance serene scenes of mountainous landscapes and temples with dramatic fight scenes and dragons. The quality of the engravings is excellent with delicate linework creating faint wisps of smoke and subtle shadows. These two works apparently both published in 1788 were released in several formats. The format here with the engravings laid out on the recto of large uncut sheets appears at auction very infrequently: we have been able to trace only two copies of both works in this format since 2004 and neither in such fine condition as the present example. Chez l'Auteur unknown
1800J76F1EWPWNYUChina 1800. In a modern gold-tooled dark green morocco clam shell box in contemporary style. Collection of 17 Chinese watercolours on Asian paper with chain lines including 3 of birds seated on a branch 3 of ensembles of fruit and flowers and 5 of fishes all ca. 30 x 37 .5 cm; 2 further watercolours each showing 2 branches of flowers and trees in a drawn oval border ca. 39 x 30 cm; and 4 watercolours of Chinese people posing with objects ca. 25 x 21 cm. Thirteen detailed Chinese watercolours of birds fruits flowers plants and fishes together with four portraits of Chinese people posing with a pipe lute flower and a handheld fan. The drawings in this album show the mixture of the Chinese and European styles that was popular in the market for export paintings in the first half of the 19th century: a combination of the Chinese approach to rendering with European aesthetics concerning light shadow and realism. As traditional in these paintings large areas of flat colour have been subtly shaded with very thin lines to draw the veins of the leaves fins of the fish and feathers of the birds. The production of these export paintings began earnestly in the 1820s and reached its height in the 1830s and 1840s especially after China's defeat in the First Opium War 1839-1842 opened the country to foreign trade. Photography was introduced in China in the 1840s and the market for export paintings declined after 1860.By the end of the 18th century Chinese painters in Hong Kong and Canton started producing paintings and drawings for European buyers. Although they were made for artistic and decorative purposes many European naturalists began collecting drawings to study Chinese plants and species. Most of the plants and animals would simply not survive the journey to Europe whereas dried specimens did not preserve the colour or shape of the flower. Most of the export paintings were ensembles of flowers and animals placed on a background. Imagination was more important than copying nature and the realistically painted flowers could have different colours or even be a composition of elements from different species. For that reason serious naturalists commissioned Chinese artists to paint according to the standards of European scientific illustration. With a few tiny spots and minor smudges but otherwise in very good condition. unknown
17751691811775. QIANLONG EMPEROR OF CHINA 1736-1796. Suite of four engravings depicting the conquests of the Qianlong Emperor. From the suite of sixteen engraved plates. Printed in Paris under the direction of Charles-Nicholas Cochin. Broadsheets image size: 515 x 890 mm. Preserved in the contemporary French green paper mounts with black ink outline borders. Professionally framed. With the original French printed labels describing the individual engravings affixed to back of frames. Paris 1769-1774. These four contemporary hand-coloured engravings represent individual scenes from the exceedingly rare series of sixteen engravings commissioned by the Qianlong Emperor to commemorate the victory of his 1755-1760 military campaigns against the Western Mongols. The four plates are: I. "General Fou Te Accepts the Surrender of the Ili" showing the triumphal march of the Emperor and his general to Beijing. Drawn by Sichelbart and engraved by B.L. Prévost in 1769 Pirazzoli-t'Serstevens 1; II. "The victory of Khorgos." in the Spring of 1758 against the forces of Amoursana. Drawn by J. D Attiret cut by C. N. Cochin and engraved by J. Ph. Le Bas in 1774. Pirazzoli-t'Serstevens 4; III. "The great victory of the Qurman." on February 3 1759 when the Chinese general Fou-te with only 600 soldiers defeated an army of 5000 Muslims. Drawn by Damasceno and engraved by A. de St. Aubin in 1770. Pirazzoli-t'Serstevens 8. IV. "The Emperor Gives a Victory Banquet to the Officers and Soldiers who have distinguished themselves in battle" at Tseu-kuang-ko the Imperial Palace Gardens Beijing on July 5 1754. Drawn by Castiglione and engraved by J. Ph. le Bas 1770 Pirazzoli-t'Serstevens 16. These large Chinese-French prints are among the most impressive works ever produced by the method of copper engraving. This is the first series of engraved plates to document the conquests of the Qianlong Emperor. They represented an amalgam of Chinese imagery Italian interpretation and Parisian copperplate engraving at its apogee. The drawings were supplied by Jesuit artists attached to the Emperor's court in Beijing. Upon completion they were shipped to France for engraving as the craft was unknown in China. After the Emperor was shown battle prints by the Augsburg artist Georg Philipp Rugendas 1666-1743 he wished to see his military conquests recorded in intaglio prints as well. He therefore ordered his Jesuit court painters Giuseppe Castiglione 1688-1766 called "Lang Shining" Jean Denis Attiret 1702-1768 "Wang Zhicheng" Ignaz Sichelbart 1708-1780 "Ai Qimeng" and Giovanni Damasceno Sallusti i.e. Joannes Damascenus a SS. Concepcione d. 1781 later bishop of Beijing called "An Deyi" to prepare sketches for the prints which they did in 1764 and 1765. Four of the drawings had been completed by the time of Castiglione's death when the decision was made to send the work to France via the ships of the Compagnie des Indes. According to the Emperor's decree no expense was to be spared. The first four drawings reached Paris in the autumn of 1766 and the remaining twelve in July 1767. The Marquis de Marigny director of the Academie Royale de Peinture et Sculpture decreed that the work should be carried out under the supervision of Charles-Nicholas Cochin 'fils' 1715-1790. As the French paper manufacturers did not have paper of the desired proportions the paper-merchant Prudhomme was ordered to make it to custom; the new size was called Grand Louvois. The copperplates were imported from England. Cochin chose Beauvais for the actual printing of the sheets on the grounds that he was "the only one who can be completely trusted both regarding his talents as well as his honesty which is well-known." The work proceeded slowly; standards of the highest quality were called for and some of the pictures especially the one by Sallusti needed careful editing. The original order was for 100 copies of each print but by 1768 this figure was increased to 200 copies so that at least 100 would survive the journey back to China ! -- however several authorities claim that many copies were lost at sea. In any event the final delivery was not shipped until 1775 occasioned in part by the difficulty the printers had producing a uniform series of prints from drawings by different artists. Three of the initial drawings were made by Attiret six by Damasceno one by Sichelbart and at least two by Castiglione; the remaining are unsigned but have been attributed to Castiglione by C. & M. Beurdeley and others. The engravers were L.J. Masquelier 1 J. Aliamet 2 J. Ph. Le Bas 5 A. St.-Aubin 2 F.D. Née 1 B.L. Prevost 2 P.P. Choffard 2 and N. de Launay 1. The Emperor's instructions stated that all the impressions were to be sent to him along with the original copper plates. However there is plentiful evidence that prints were pulled for the King of France and influential persons in Paris as well. Most of the surviving sets and individual prints appear to belong to this surreptitious group. The above series is not only a landmark in the history of Chinese and European art but also testifies to the direct artistic cooperation between China and Europe in the eighteenth century. It has been a common misconception that China was only interested in itself and detested the foreigners -- here the Emperor himself proved the contrary. VERY RARE IMPRESSIONS WITH CONTEMPORARY FRENCH HAND-COLOURING. The complete set of sixteen black and white engravings or a few individual prints from this set have come onto the market for sale only rarely. We can locate no other examples of any of the prints with contemporary colouring having been for sale or in public or private collections. PROVENANCE: Robert Barnwell Roosevelt 1829-1906 the uncle of Theodore Roosevelt and great-uncle of Eleanor Roosevelt. He was an early conservationist and worked for the protection of waterways. Roosevelt served in Congress and was later appointed to a diplomatic post in the Netherlands. He is credited with influencing his nephew Theodore Roosevelt to become a conservationist. With the ownership label "R.B. Roosevelt/ 26 East 20th Street/ New York" attached to the verso on one print. Cohen-De Ricci 1012-1013. Cordier Bibliotheca Sinica 641-642. Fünf Jahrhunderte Buchillustration 141. Brunet V 1178. P. Pelliot "Les conquêtes de l'empereur de la Chine" T'oung Pao ed. H. Cordier & P. Pelliot vol 20 1921 pp. 183-274. Michèle Pirazzoli t'Serstevens Gravures de conquêtes de l'Empereur de la Chine Kien-Long au Musée Guimet 1969. Hartmut Walravens "The Introduction of Copper-Engraving into China" 62nd IFLA General Conference August 25-31 1996. unknown
180026715Canton 1800. Large 4to. 15 x 12 1/2 inches. 141 watercolours on thin paper nearly all captioned in ink in Chinese in the lower right corner each tipped to a sheet of wove paper. Mid-nineteenth century citron half morocco over marbled paper covered boards spine with raised bands in six compartments lettered in gilt in the second compartment the others with a repeat decoration in gilt marbled edges<br/> <br/> Provenance: Annie Pearson Viscountess Cowdray née Cass 1860-1932 Dunecht House Aberdeenshire.<br/> <br/> An extraordinary album of early Chinese export watercolours of the highest quality.<br/> <br/> Beginning in the late 18th century centred on the treaty port of Canton there existed a thriving trade in ethnographical watercolours executed by local Chinese artists and sold to the western merchants and travellers. The best known result of this trade is William Mason's Costume of China first published in London in 1800 which is illustrated with 60 hand-coloured aquatints adapted from a series of original watercolours by Pu-Qua of Canton. It was common for the local artists including Pu-Qua to work from a set series of models. The present album includes a number of compositions that are from the same set of models as those used by Pu-Qua but they include more detail and more of the trade-associated paraphernalia than are shown in the images as published in Mason's work. This suggests that they were not copied from Mason but were after another more detailed source or were unique compositions by the artist based on a similar series of models. Importantly these watercolours are of a uniformly higher quality than usually encountered and represent not only a wide array of occupations but also members of the highest echelon of Chinese society. The detailing on the costumes worn by these members of the royal court is breathtaking with copious use of gilt. Later collections of Chinese export watercolours were routinely executed on less expensive pith paper whereas the present watercolours are on high quality tissue and are larger in size than those typically encountered. The album represents an earlier more prestigious style of export watercolour paintings specifically meant for wealthy Europeans. These are Chinese watercolours of the highest quality designed and executed to the highest standards. The album was once owned by Annie Pearson Viscountess Cowdray Steward of Colchester and wife of Lord Weetman Dickinson Pearson 1st Viscount Cowdray.<br/> <br/> Cf. Crossman The China Trade Princeton: 1972; cf. Clunas Chinese Export Watercolours London: 1984. unknown
