'Chinese Ceramics in the Topkapi Saray Museum, Istanbul'
London, 1986. 3 quarto vols.
This is the largest collection of Chinese wares from the late 13th century onwards, dominated by its blue and white, and celadon wares. A fully documented study of the collection and its historical background, with about 4,000 pieces illustrated together with the marks and inscriptions.
'Chinese Jade from the Neolithic to the Qing'
Rawson's book catalogue the Chinese jades assembled by Sir Joseph Hotung and exhibited at the British Museum, London, from June through September, 1995. In keeping with the standard format of exhibition catalogues, this volume consists of an introduction in which the author presents a panoramic history of Chinese jade - from the Neolithic period to the Qing dynasty - followed by the Catalogue with entries for each of Sir Joseph's pieces.
'Oriental Ceramics, The World's Great Collection'
Tokyo, Kodansha, 1980. 11 vols.
100 colour plates and over 300 black and white photographs. Originally published in 1975 in a deluxe 12 volume set. This 1980 - 1982 set consists of 11 volumes with slipcase. The participating museums are: British Museum; Percival David Foundation; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; Freer Gallery of Art, Washington; Musee Guimet Paris; Tokyo National Museum; Museum Pasat, Jakarta; National Museum of Korea, Seoul; Iran Bastan Museum, Teheran; Museum of Far Eastern Antiquities, Stockholm.
'Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum'
Harvard University, Cambridge, 1975.
Max Loehr was an art historian and professor of Chinese art at Harvard Universtiy from 1960 to 1974. As an authority on Chinese art, Professor Loehr published eight books and numerous articles on Chinese bronzes, jades and ancient Chinese painting. This book is a classical reference literature for jade collectors.
'Freedom of Clay and Brush through Seven Centuries in Northern China; Tz'u-chou Type Wares, 960 - 1600 A.D.'
Indianapolis Museum of Art, 1980-81.
The most important catalogue raisonné ever published on this popular and varied ware. Meticulously documented and well illustrated with comparative material.
Suzanne G. Valenstein
'A Handbook of Chinese Ceramics ' The Metropolitan Museum of Art, 1975.
This handsome book is at once a general survey of Chinese ceramics from the early Neolithic period to the present day and an essential reference volume for art historians and connoisseurs. Originally published by The Metropolitan Museum of Art in 1975 as an introduction to its vast collection of Chinese ceramics, the book was highly praised by experts in the field. Read Online
'Hare's Fur, Tortoiseshell and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400 - 1400'
Harvard University Press, 1996.
This groundbreaking catalogue is the first of its kind to examine the exquisite Chinese brown- and black-glazed wares (including those commonly known as Temmoku), tracing their evolution and development from the fifth to the fifteenth century.
'La porcelaine Ming'
Edité par Office du Livre, Fribourg, 1978.
A well-regarded scholarly work on Ming porcelains. Covering the three centuries of imperial porcelain production of Jingdezhen, tracing the origins of the art from 1368, it's symbols, potters' marks and much more. An important reference source loaded with valuable high-quality color photos, supported with valuable notes, apendices and lucid essays. An important art history for any student or collector of Chinese ceramics.
Hajni Elias and Giuseppe Eskenazi
As the West awakes to the economic power of that once-supine dragon, China, this book is a timely reminder that the material culture of China has never failed to entrance and amaze those looking in from the outside, no less over the 50 years covered here than in the more distant past. Giuseppe Eskenazi is the pre-eminent expert and dealer in Chinese art and therefore well-placed to cast light on one aspect of this cultural relationship. Hajni Elias is a highly experienced researcher in the field. Together they have woven a narrative with several strands: Giuseppe’s progression from young boy in Constantinople to doyen of Chinese art dealers, enlivened by reminiscence and anecdote; an overview of the market for Chinese art in the West and the part played in it by scholars, dealers, auction houses, museums and collectors; and a comprehensive pictorial record of hundreds of the marvellous works of art that have passed through the Eskenazi Gallery’s doors.