"After arriving at the Nationals, Seishun scouts their upcoming opponents: their old rivals Rokkaku, and an unknown team from Okinawa, Higa Junior High. After watching Higa mow through their first-round match-ups, the Seishun players are taken aback by the team's dominance. But there's no time for doubt--the second round is starting, and it's Ryoma versus Higa's heavy hitter, the giant Kei Tanishi, and his unreturnable 'Big Bang' serve."--P. [4] of cover.

FOREWORD RECUMBENT HORSE Chinese, Ming Dynasty. 1 Length: 3 /2 in (9 em). The formation of the head with its marked convexity of outline resembles that of one depicted on a mural painting in a Northern Song tomb, discovered at Pai-Sha in Honan. Despite its size, this horse has a strong sculptural quality. Worked from pale green jade with light brown markings. t has been said that a single daily issue of a newspaper effort to survey the jade scene worldwide. These volumes such as The New York Times, Neue Zurcher Zeitung or Le were bigger than was necessary considering the amount of Monde contains more information than someone text included (measuring 24 x 18 inches, 61 x 46 cm, and living in the 17th century would have faced in a lifetime. weighing 110 lb (50 kg) together), and Bishop was not Jade scholarship cannot escape the information explosion interested in wide dissemination of the subject. He printed of our century. Our knowledge on the subject of jade has only 106 copies, none of which was for sale, and then des been radically expanded in two directions, from the past troyed the plates. The copies were sent to important libra and in the present, and a definitive survey bringing together ries, museums and crowned heads around the world. As the latest research from around the world is long overdue.

Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the contributions to this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analyzing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing a broader introduction to the intricate workings of the art market.

The Evolution of Taste in American Collecting is a new critical translation of René Brimo’s classic study of eighteenth- and nineteenth-century patronage and art collecting in the United States. Originally published in French in 1938, Brimo’s foundational text is a detailed examination of collecting in America from colonial times to the end of World War I, when American collectors came to dominate the European art market. This work helped shape the then-fledgling field of American art history by explaining larger cultural transformations as manifested in the collecting habits of American elites. It remains the most substantive account of the history of collecting in the United States. In his introduction, Kenneth Haltman provides a biographical study of the author and his social and intellectual milieu in France and the United States. He also explores how Brimo’s work formed a turning point and initiated a new area of academic study: the history of art collecting. Making accessible a text that has until now only been available in French, Haltman’s elegant translation of The Evolution of Taste in American Collecting sheds new critical light on the essential work of this extraordinary but overlooked scholar.

The modern histories of China and Japan are inexorably intertwined. Their relationship is perhaps most obvious in the fields of political, economic, and military history, but it is no less true in cultural and art history. Yet the traffic in artistic practices and practitioners between China and Japan remains an understudied field. In this volume, an international group of scholars investigates Japan’s impact on Chinese art from the mid-nineteenth century through the 1930s. Individual essays address a range of perspectives, including the work of individual Chinese and Japanese painters, calligraphers, and sculptors, as well as artistic associations, international exhibitions, the collotype production or artwork, and the emergence of a modern canon.