Beschreibung:

Including: Maxwell Hearn, ed. Landscapes Clear and Radiant: The Art of Wang Hui (1632-1717), New York: The Metropolitan Museum of Art, 2008; Fong, Wen C., Between Two Cultures: Late Nineteenth- and Twentieth-Century Chinese Paintings from the Robert H. Ellsworth Collection in the Metropolitan Museum of Art, New York: The Metropolitan Museum of Art, 2001; Fong, Wen C., Images of the Mind: Selections from the Edward L. Elliott Family and John B. Elliott Collections of Chinese Calligraphy and Painting at The Art Museum, Princeton University, Princeton, New Jersey: Princeton University Press, 1984; Fong, Wen, Summer Mountains: The Timeless Landscape, New York: The Metropolitan Museum of Art, 1975; Barnhart, Richard, Li Kung-Lin's Classic of Filial Piety, New York: The Metropolitan Museum of Art, 1993; Sickman, Lawrence, Chinese Calligraphy and Painting in the Collection of John M. Crawford, Jr., New York: The Pierpont Morgan Library, 1962; The John M. Crawford, Jr. Collection of Chinese Calligraphy and Painting in the Metropolitan Museum of Art Checklist, New York: The Metropolitan Museum of Art, 1984; The Rongbaozhai Thirtieth Anniversary Commemorative Publication 《榮寶齋三十週年紀念冊》(Rongbaozhai sanshizhounian jiniance), Hong Kong, 1980; Lai T.C., T'ang Yin Poet/Painter 1470-1524, Hong Kong, 1971; Lai T.C., Chinese Painting: Its Mystic Essence, Hong Kong: Swindon Book, 1974; Calligraphy and Paintings by Badashanren 《八大山人書畫》(Badashanren shuhua), Yang Yang, Taipei: 艺术图书公司 yishu tushu gongsi, 1974; Li, Chu-Tsing, The Autumn Colors on the Ch'iao and Hua Mountains: A Landscape by Chao Meng-Fu, Ascona, Switzerland: Artibus Asiae, Institute of Fine Arts, New York University, Supplementum XXI, 1965; Barnhart, Richard M. Marriage of the Lord of the River: A Lost Landscape by Tung Yuan, Ascona, Switzerland: Artibus Asiae, Institute of Fine Arts, New York University, Supplementum XXVII, 1970; Li, Chu-Tsing, A Thousand Peaks and Myriad Ravines: Chinese Paintings in the Charles A. Drenowatz Collection, Vol. I & II, Ascona, Switzerland: Artibus Asiae, Institute of Fine Arts, New York University, 1974; Lee, Sherman E. and Wen Fong, Streams and Mountains Without End: A Northern Sung Handscroll and Its Significance in the History of Early Chinese Painting, Second, Revised Edition, Ascona, Switzerland: Artibus Asiae, Institute of Fine Arts, New York University, Supplementum XIV, 1967; Clapp, Anne De Coursey, Wen Cheng-Ming, The Ming Artist and Antiquity, Ascona, Switzerland: Artibus Asiae, Institute of Fine Arts, New York University, Supplementum XXXIV, 1975; Munakata, Kiyohiko, Ching Hao's Pi-fa-chi: A Note on the Art of Brush, Ascona, Switzerland: Artibus Asiae, Institute of Fine Arts, New York University, Supplementum XXXI, 1990; Qian, Juntao and Ye Luyuan, The Origin of Chinese Seals 《中國鈐印源流》 (Zhongguo qianyin yuanliu), Hong Kong, 1974; Feng, Zuomin, Chinese Seals 《中國印譜》 (Zhongguo yinpu), Taipei, 1975; Lai T.C., Chinese Seals, Seattle and London: University of Washington Press, 1976; A Chronology of Wen Cheng-Ming's Painting 《文徵明畫系年》 (Wen Zhengming huaxinian), Taipei: Origin Publishing Co., 1976; The Chunhuage tie and Rare Rubbings from the Collection of Robert Hatfield Ellsworth, Beijing: Wenwu chubanshe, 1996; Chinese Paintings and Calligraphy from the Ellen B. Elliott Collection, Christie's New York, Monday, November 25, 1991; Ming and Qing Dynasty Painting from the Er Zhi Xuan Collection, China Guardian 2008 Spring Auctions, Beijing, April 2008.