Baimei xinyong tuzhuan 百美新詠圖傳 / [Yan Xiyuan zhuan 顔希源撰 ; Wang Hui huitu 王翽繪圖].
Caption title. Baimei xinyong 百美新詠.
Loose volume of Baimei xinyong 百美新詠 lacks publishing information or date, covering nos. 60-100 indicating a two-volume original rather than four; given the size (25 cm.) and numbering, it appears to match the 1805 edition most closely (Cornell ed., 嘉慶10 [1805], OCLC # 32128340).
Local access dig.pdf. [Yan-Baimei xinyong.pdf]

Online four volume editions match the contents. See: BSB edition here.
See Google Books edition (same as BSB but in black & white)
See the 同治庚午 [1870] edition via the Hathi Trust

The eternal present of the past : illustration, theatre, and reading in the Wanli period, 1573-1619 / Li-ling Hsiao.

Includes bibliographical references (pages 313-334) and index.

Acknowledgments; List of Illustrations; Introduction: Theater, Illustration, and Time; Chapter One: Toward the Contextualization of Woodblock Illustration: A Critique of Art Historical Method; Chapter Two: The Stage or the Page: Competing Conceptions of the Play in the Wanli Period; Chapter Three: Performance Illustration; Chapter Four: Performance as an Interaction with the Past; Chapter Five: Image as an Interaction with the Past; Chapter Six: Reading as an Interaction with the Past; Conclusion: The Role of the Publisher; Appendix; Glossary; Bibliography; Index.

Drawing together illustration, theater, and literature, this study examines a late Ming conception of the stage as a mystical space for temporal conflation that allowed the past to be reborn in the present and to uphold the continuity of the cultural tradition.--OCLC record

This study draws together various elements in late Ming culture – illustration, theater, literature – and examines their interrelation in the context of the publication of drama. It examines a late Ming conception of the stage as a mystical space in which the past was literally reborn within the present. This temporal conflation allowed the past to serve as a vigorous and immediate moral example and was considered a hugely important mechanism by which the continuity of the Confucian tradition could be upheld.
By using theatrical conventions of stage arrangement, acting gesture, and frontal address, drama illustration recreated the mystical character of the stage within the pages of the book, and thus set the conflation of past and present on a broader footing.--Brill webpage.

Local access dig.pdf. [Hsiao-Eternal present of the past.pdf]