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Lot 146
RYUMIN: AN IMPRESSIVE TOKYO SCHOOL IVORY OKIMONO OF SHO-KANNON WITH DRAGONBy Kawai Ryumin, signed Ryumin with seal SanJapan, Tokyo, Meiji period (1868-1912)Standing on the back of a writhing dragon, the tall Kannon finely carved and ornately adorned with a large necklace suspending lengthy strands of jewels and medallions down to its knees. Clothed in a thin robe flowing in the wind, rippling elegantly along the back, Kannon holding a basket filled with large peony blossoms and wearing a large tiara with a small figure of Amida (Amitabha). The fierce dragon opening its mouth in a roar as it walks, the crashing waves surround it, its whiskers, scales, and horns are finely carved. The base signed RYUMIN within an ornately design frame of two confronting dragons and with a red seal San. HEIGHT 32.2 cmCondition: Good condition with minor wear, expected age cracks, restorations to one whisker and one horn and two small restorations to the edge of Kannon's robe near the shoulder.Provenance: From a private collection in Germany.Kawai Ryumin was a member of the Ivory Group of the Tokyo Chokokai (Tokyo Carvers' Association) between Meiji 37 and Taisho 4 (1904-1915), his original name was Kawai Masagoro (Shogoro). He was a pupil of Kaneda Kenjiro (1844-1914) who together with Ishikawa Komei (1852-1913) co-founded the Kankokai Craft Company in 1877, and later became the adoptive father of the eldest daughter of the renowned lacquerer Shibata Zeshin (1807-1891). Although he is best known for his ivory carvings, he also commissioned figures in bronze.Auction comparison:Compare a related Tokyo school ivory okimono of Sho-Kannon with a dragon, signed Ono Hakujitsu koku, at Bonhams, Chinese & Other Asian Works of Art, 3 March 2010, London, lot 42 (sold for GBP 18,000).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number DK-K-230425-198). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 201
OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.
Lot 202
UTAGAWA TOYOHARU: THE BATTLE OF JIUXIAN-SHAN IN CHINABy Utagawa Toyoharu (1735-1814), signed Utagawa Toyoharu kore o hakaruJapan, c. 1780Color woodblock print on paper. Horizontal oban. Signed Utagawa Toyoharu kore o hakaru; publisher Iwatoya Genpachi. Titled Kyusensan kassen no zu (The Battle Of Jiuxian-Shan In China) from the series Newly Published Perspective Pictures (Shinpan uki-e).This elaborate 'ukie' ('perspective print') on a Chinese war theme may at first seem far from 'Ukiyoe' taste. However, the scene is a realization of one of the 'Bunraku' puppet plays of Chikamatsu Monzaemon (1653-1724), most of which remained very popular through the Edo period.SIZE of the sheet 24 x 36 cmCondition: Good condition and well-preserved colors with slightly trimmed margins. Some creasing, rubbing, staining, and browning of paper, commensurate with age.Provenance: From the collection of Adolphe Stoclet (1871-1949) and thence by descent in the Stoclet family, previously in the collection of Hayashi Tadamasa (1854-1906). One red seal of the Hayashi Collection at the right margin. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Utagawa Toyoharu (1735-1814) was the founder of the art school of Utagawa in Japan. He was born in the province of Tajima (Northern Hyogo prefecture). However, he studied in the cultural city of Kyoto relating to the art school of Kano. His early mentor was Tsuruzawa Tangei. In the 1760s, Toyoharu moved to Edo (modern-day Tokyo). Thus, new ideas entered his artistic world when he studied under Toriyama Sekien (1712-1788). Toyoharu designed many perspective prints during the later 1760s and 1770s, laying the foundations for the development of landscape prints. From the 1780s onwards he concentrated on paintings of the fashions and customs of beautiful women. He was the founder of the Utagawa School.Museum comparison:An identical print, with right hand margin trimmed so lacking title, signature, and publisher details, is in the collection of the Museum of Fine Arts, Boston, accession number 11.14708. A related diptych made using slightly different blocks (compare, e.g., the shapes of the clouds and the position of the beacon tower), is in the collection of the British Museum, museum number 1963,0731,0.6.
Lot 212
UTAGAWA HIROSHIGE: SEA BREAM AND SANSHO PEPPERBy Utagawa Hiroshige (1797-1858), signed Hiroshige gaJapan, c. 1832-1833Color woodblock print on paper. Oban yoko-e. Signed Ichiryusai Hiroshige ga with Nishimuraya Yohachi (Eijudo) publisher's seal. Titled Sea Bream and Sansho Pepper with two kyoka poems by Shizugaki Namiyasu and Toshigaki Maharu, from an untitled series known as Large Fish (Uozukushi), circa 1832-33.The impression retaining most of its bright colors, the sharp teeth of the sea bream sharply detailed with thorny sansho pepper prunings with a light blue ground fading to white then to dark blue in the upper part.SIZE of the sheet 25 x 35 cmCondition: Good condition and impression, very few small wormholes, colors slightly faded, and minor soiling. Firmly mounted at the upper margin to a paper mat.Provenance: From the collection of Adolphe Stoclet, and thence by descent in the Stoclet family. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Auction comparison:Compare a set of nine woodblock prints from the same series including an identical Sea Bream and Sansho Pepper, at Christie's, Japanese and Korean Art, 19 March 2019, New York, lot 226 (sold for USD 30,000).
Lot 223
KOMAI YOSHINOBU: THE COURTESAN MATSUKAZE OF OGIYA IN EDO-MACHI ITCHOMEBy Komai Yoshinobu (active 1765-1771), signed Komai Yoshinobu gaJapan, 18th centuryColor woodblock print on paper. Signed Komai Yoshinobu ga and stamped with Hayashi Collection seal in the lower left-hand corner.Two finely robed courtesans sitting on the floor of a furnished room next to a small brazier before a hanging scroll depicting bamboo stalks. The upper register inscribed, and two further inscriptions appear on the upper and lower right-hand side.SIZE of the sheet 25.5 x 19.2 cmCondition: Good impression with fading to colors, minor creasing. Tears and material loss restored, firmly mounted at the upper margin inside a paper mat. Provenance: Ex-collection of Hayashi Tadamasa (1853-1906). Collection of Adolphe Stoclet, acquired from the above, and thence by descent in the Stoclet family. The passepartout is inscribed in French, 'Yoshinobu Komai, seal of the Hayashi Collection, bought from Murakami 10-3-(19)09.' Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Hayashi Tadamasa was a Japanese art dealer in Paris who introduced traditional Japanese art such as ukiyo-e to Europe. Hayashi provided the text for the May 1886 edition of Paris Illustre. Vincent van Gogh traced the figure on the title page for his painting The Courtesan. In 1900 he was a general commissioner of the Japanese art section at the World 's Fair in Paris. He also worked with Dr. George Frederick Kunz and Heber R. Bishop in writing and producing the catalog to the famous jade collection given to the Metropolitan Museum of Art in 1902.Museum comparison:Compare an identical print by Komai Yoshinobu, in the Chicago Institute of Art, accession number 1928.979.
Lot 229
MATSUKAWA HANZAN: SURIMONO OF THE TALE OF THE BAMBOO CUTTERBy Matsukawa Hanzan (1818-1888), signed Matsukawa HazanJapan, 19th centuryHaikai color woodblock print and blind stamping on partially textured paper. Obosho format. Signed Suieido Hanzan and sealed. Titled the Tale of the Bamboo Cutter (Taketori Monogatari i).The lower right-hand register depicts the elderly bamboo cutter, his face set with exceedingly jubilant expression, carrying the swaddled and radiating princess Kaguya-hime from the bamboo grove.SIZE of the sheet 37.4 x 50.5 cmCondition: Good impression with bright colors. Minor wear, some foxing, some crease and folding lines, overall presenting well.Provenance: Collection of Robert and Isabelle de Strycker. Inside the passepartout inscribed, 'Poemes d'eleves de Bante Takimare fame prof. de danse pour la arigratuler. Taketou portaut la jeuue Teruko.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').The Tale of the Bamboo Cutter is considered the oldest surviving monogatari, and though its exact date of composition is unknown, the oldest surviving manuscript dates back to 1592. It tells the story of Kaguya-hime, princess from the moon, who was found as a baby inside a bamboo stalk by an old bamboo harvester. The bamboo cutter, Taketori no Okina, and his wife raised the princess as their own. After discovering the princess, the harvester is blessed with immense wealth, finding a nugget of gold in every bamboo stalk he cuts after finding Kaguya-hime. The young girl grows up to be the most beautiful woman in all of Japan. Suitors come from far and wide to compete for her hand, but none can complete the difficult tasks she puts before them. Finding no suitor, the princess returns to her heavenly realm.Museum comparison:Compare a related suimono print with floral blossoms and a poem, by Matsukawa Hanzan and stamped with the identical seal, in the British Museum, accession number 2018,3007.17.
Lot 23
KAN: A MASTERFUL RITSUO STYLE INLAID LACQUER BUNKO AND COVER REFERENCING SUGAWARA NO MICHIZANEBy a follower of Ogawa Haritsu (Ritsuo, 1663-1747), most likely by Mochizuki Hanzan (1743-1790), sealed KanJapan, second half of 18th century, Edo period (1615-1868)Published & Exhibited: Cornell University, Herbert F. Johnson Museum of Art, Scattered Gold and Midnight Gloss: Japanese Lacquer from the Anbinder Collection, 31 March – 8 July 2007, p. 11. Of rectangular form with lobed edges, the top and sides each with a shaped sunken panel bearing a beautiful gold kinji ground, the cover finely decorated with inlays of aogai, mitsuda, eggshell, coral, and glazed ceramic as well as gold, black, and red takamaki-e to depict three cranes in front of an entrance to the Dazaifu shrine with a blossoming plum tree in the courtyard, the gate tower with subtly inlaid glass windows, the gate and wall roughly textured imitating plaster, the edges and base finished in ishime, the sides gold-lacquered in low relief with Chinese poems (kanshi) by Sugaware no Michizane. The interior of roiro with gold fundame edges, the interior of the cover with gold, red, and black hiramaki-e and takamaki-e with kirigane and mura-nashiji as well as inlays of aogai and mitsuda (pewter) to depict an ox bucking before a meandering river, the lower right corner with an inlaid ceramic seal KAN. SIZE 10.6 x 37.6 x 28.8 cmCondition: Very good condition with minor wear, few tiny nicks, occasional light scratches, minor flaking to ceramic inlays, little rubbing to lacquer and mitsuda inlay. Provenance: Heian Art, Kyoto, Japan. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers, including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.The style of the present bunko is clearly that of Ogawa Haritsu (Ritsuo, 1663-1747), but it is more likely to be by Mochizuki Hanzan (Haritsu II, 1743-1790) or a close follower.The design on the cover, depicting the Dazaifu shrine, a blossoming plum tree, and cranes, allegorizes the legends surrounding Sugaware no Michizane, who at the age of ten composed a Chinese poem praising the beauty of plum blossoms under the full moon. The inscriptions on the sides of the box and cover are Chinese poems by Michizane written during his exile. The inside of the cover also refers to Michizane, as after his death his body was carried in a cart by an ox, which suddenly stopped in front of a stream as if it could not be induced to go farther. Michizane's attendants interpreted this as a sign of where their master wanted to be buried and dug his grave at the exact spot the ox stopped. Later, the Shinto shrine of Dazaifu Tenmangu, visible to the front of this masterful lacquer box, was erected there in his honor. Sugawara no Michizane (845-903) was a scholar, poet, and politician of the Heian period. He is regarded as an excellent poet, particularly in waka and kanshi poetry. Although he reached the high rank of Dajo Daijin (Supreme Head of the Council of State), due to a political rivalry against Fijiwara no Tokihira, he was exiled and died in Dazaifo, Kyushu. After Michizane's death, plague and drought spread and sons of Emperor Daigo died in succession. The Imperial Palace's Great Audience Hall (shishinden) was struck repeatedly by lightning, and the city experienced weeks of rainstorms and floods. Attributing this to the angry spirit of the exiled Sugawara, the imperial court built a Shinto shrine called Kitano Tenman-gu in Kyoto, and dedicated it to him. They posthumously restored his title and office, and struck from the record any mention of his exile. Even this was not enough, and 70 years later Sugawara was deified as Tenjin-sama, a god of sky and storms. Eventually Tenjin evolved into a benign kami of scholarship. With a wood storage box. Auction comparison: Compare a related woven rattan suzuribako by Mochizuki Hanzan, with a similar shaped panel to the top of the cover, dated to the 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 361 (sold for 19,200 GBP). Also compare to a related suzuribako by Mochizuki Hanzan, sealed Hanzan, worked with similar bright inlays, at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 165 (sold for EUR 50,560).
Lot 230
HARADA KEIGAKU: SURIMONO OF FLOWER PARASOLS (HANAGASA)By Harada Keigaku (1803-1885), sealed Keigaku ga inJapan, 19th centuryHaikai color woodblock print and blind stamping on paper. Obosho format. Sealed Keigaku ga in and signed by the publisher Shoken rojin sho (Compilation written by the old man Shoken) with the seal Nishin.The lower right-hand register depicting five noblewomen at a hanami (Flower viewing) standing beneath grey parasols surrounded by flowering cherry blossoms. The upper-left corner depicting a twin peaked mountain. Three rows of vertical poems stretch across the print, consisting of Haiku's regarding spring, birds, and the celebration of flowers.SIZE of the sheet 40.4 x 56.6 cmCondition: Good condition and impression with slight fading to the colors, minor soiling, small creases, folding lines, light staining, and some foxing, otherwise presenting well.Provenance: Collection of Robert and Isabelle de Strycker. Inside the passepartout inscribed, 'Dame noble et ses suivantes allant regarder la floraison des ierisiers (Hanami).' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Museum comparison:Compare a related surimono depicting a festival at Koto Haichiman shrine, dated 1844, In the Minneapolis Institute of Art, accession number P.77.27.94.
Lot 86
NORIYUKI: A SUPERB HAMANO SCHOOL SHIBUICHI TSUBA WITH KANZAN AND JITTOKU By Hamano Noriyuki, sealed Noriyuki (Kuzui)Japan, Hamano school, c. 1800, Edo period (1615-1868)The shibuichi tsuba of nagamarugata shape, with a kozuka hitsu-ana, the nakago-ana with some suaka sekigane, delicately worked in iro-e takazogan of gold, silver, suaka, and shakudo, as well as fine kebori and katakiribori engraving to depict Kanzan walking on a sandy shore towards Jittoku, the tide slowly coming in, the reverse with Jittoku leaning against a broom as he gazes at the moon, both dressed in voluminous robes with foliate designs, the shore with shells and craggy rocks on stippled ground, signed with a seal NORIYUKI (Kuzui).HEIGHT 7.1 cm, LENGTH 6.5 cmWEIGHT 130.4 gCondition: Very good condition with minor wear.Museum comparison:A closely related shibuichi tsuba with the Chinese General Soso crossing the Yangtze River under the moon, bearing the same gold seal and by Hamano Noriyuki, is in the Walters Art Museum, accession number 51.124.
Lot 120
A CHINESE DOUCAI DECORATED PORCELAIN TIANQIUPING VASE, 20TH CENTURY. Globular body with cylindrical neck decorated in underglaze blue and polychrome enamels featuring dragons on chrysanthemum scroll ground between band of waves and ruyi lappets. Apocryphal six character seal mark of Qianlong to base. 31cm tall. 5mm chip to rim leading into an almost U shaped hairline at the neck. No other signs of damage or repair.
Lot 17
TWO CHINESE BLUE AND WHITE PORCELAIN DISHES, 18TH CENTURY. The first decorated with two pheasants perched on rock work within a floral scene, with seal mark in double ring to base; Together with another blue and white dish densely decorated with a scale pattern and stylised floral motifs. Kangxi period (1662-1722). Approx. 27.5cm diam. (2) The first with repaired section to rim with chip and fritting. The other dish with 3cm firing fault to base, no visible cracks or chips, no repairs, some wear and scratched to the exterior.
Lot 178
TWO CHINESE PORCELAIN BOWLS, EARLY 19TH CENTURY. To include a blue ground sgraffito bowl with enamelled pink, yellow and green flower balls, with six character mark of Jiaqing to base; Together with a pink ground bowl with painted floral decoration and seal mark to base in underglaze blue. Approx. 17cm diam. (2) Both in good order with no cracks or chips and no repairs.
Lot 210
A FRAMED VINTAGE COTTON WOODBLOCK PRINT WITHIN CHINESE SILK BORDER. The cotton woodblock print probably Indian, printed with scrolling foliage and geometric pattern panels, within a Chinese sea green machine worked silk border with chrysanthemums and with seal marks, within white frame, 51.5cm x 57.5cm exc. frame Uninspected out of the frame. Some minor wear and lose threads but overall in good decorative order.
Lot 227
A CONTEMPORARY CHINESE CALLIGRAPHIC SCROLL IN BOX. Centred by a large character above a verse in black ink, with a red seal, the inscription relating to peace and withholding anger, ink on paper, 178cm x 73cm overall In good order, minor wear at edges, some fold marks and minor creasing. Box with some wear and tearing.
Lot 272
A COLLECTION OF CHINESE AND JAPANESE PLATES AND DISHES, LATE 19TH/20TH CENTURY. Comprising: a Satsuma circular dish decorated with samurai within a brocaded border, a Kutani charger painted with a cockerel, amongst fan and mon-shaped panels of birds, prunus and gilt scrolls, red enamelled six character mark, an Imari charger with phoenix within a pine and prunus panelled border, a small scalloped Imari dish with jardinieres of flowers, red enamelled six character mark and a Chinese plate printed and painted with phoenix on rock work amongst flowers, red seal mark to reverse, the largest 36.7cm diam. (5) Overall in good order. There is some minor wear to gilding and enamels throughout. The Chinese plate with phoenix - extended firing crack to foot rim. The Kutani dish is cracked across and riveted. With a large triangular-shaped section cracked in two and riveted to rim. Satsuma dish - some scratching to enamels and orange ground.
Lot 28
A FINE CHINESE FAMILLE ROSE PORCELAIN BALSAM PEAR BOWL, DAOGUANG MARK AND PERIOD (1820-1850). Finely decorated in enamels with bamboo and leafy vines with hanging fruit and butterfly, continuing into the interior of the bowl. Six character seal mark of Daoguang in underglaze blue to base. 11cm diam.Provenance: Property of a local gentleman. Gifted as a wedding present to the vendor's parents in 1953, thence by descent. Good condition without any cracks or chips and no signs of repair. One 3mm glaze imperfection to the body near one hanging fruit.Ref: See an almost identical bowl sold at Christie's New York, 22–23 September 2022 'Important Chinese Ceramics and Works of Art' sale, LOT 1057.
Lot 31
A CHINESE FAMILLE ROSE PORCELAIN LANTERN VASE, REPUBLIC PERIOD. Enamel decorated featuring eight figures and lion dog in garden scene between bands or ruyi, lappets and key fret design. Six character seal mark of Qianlong to base in iron red. Together with a carved and pierced wood display stand. 28.5cm tall. Good overall condition with no signs of damage or repair. Stand in good condition.
Lot 35
A CHINESE BLANC DE CHINE FIGURE OF BUDAI, QING DYNASTY. The figure seated dressed in robes open at the chest, with his right knee raised holding onto a clothed sack under his left arm. Two impressed seal marks to the back; A two character mark in double gourd above a rubbed four character mark in a square. Together with an open work wood display stand. Figure 18cm tall x 20cm.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. Good overall condition. Firing cracks to edge of base with another fault around the left ankle.
Lot 36
A CHINESE 'WU SHUANG PU' SQUARE FORM PORCELAIN BRUSH POT, REPUBLIC PERIOD. Decorated in famille rose enamels to each side with a figure and calligraphy from Wu Shuang Pu. Six character seal mark of Qianlong to base. 16.3cm tall. With a carved and pierced square form wood display stand.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. Brush pot in good condition with no signs of damage or repair. The wooden stand has most likely shrunk and does not fit the pot.
Lot 37
A CHINESE FAMILLE ROSE HEXAGONAL PORCELAIN BOWL, TONGZHI PERIOD (1861-75). Decorated to the exterior with various figures in a courtyard scene under a gilt rim with a turquoise interior and base. Six character seal mark of Tongzhi to base in iron red. 25.5cm diam.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. Good overall condition with no signs of damage or repair. Minor wear to interior with small minor losses to enamel in places
Lot 43
TWO CHINESE PORCELAIN ITEMS, 19/20TH CENTURY. To include a circular blue and white porcelain seal paste box, decorated with dragons chasing flaming pearl above waves, six character mark of Kangxi to base; Together with a porcelain seal box and cover decorated with landscape scene, with four character mark of Qianlong to base. An inscribed soapstone seal with figure of lion within. Circular box 8.6cm diam.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. Blue and white box and cover in good condition with no damages or repairs. Minor nicks around the bottom of the cover to the other, otherwise in good order.
Lot 5
TWO CHINESE BATAVIA WARE PORCELAIN BOWLS AND COVERS, QING DYNASTY. With underglaze blue decoration to the interiors featuring fish with cafe au lait ground exterior. Each with four character seal marks in underglaze blue to the covers. 11.5cm and 12cm diam. (2) Small chip to rim of smaller bowl. Two minor chips to foot rim of cover. The other bowl and cover in good overall condition.
Lot 9
TWO CHINESE BLUE AND WHITE PORCELAIN BOWLS, 19TH CENTURY. Rounded bowls with everted rims decorated with sweet pea design and band of key fret at the rim. Each with seal marks to base, probably mid 19th century. 21.5cm diam. (2) Both in good overall condition with no signs of damage or repair. Minor nicks and frits to note on one.
Lot 93
CHINESE SOAPSTONE SEALS TOGETHER WITH A SILK EMBROIDERED PURSE, 19/20TH CENTURY. Two square form seals, one inscribed and dated to 38 years from Republic period, 1950 with four character seal; Together with a purse embroidered with gold thread depicting birds and flowers with tassels. Seals 7cm and 8.3cm tall. (3) Purse loose and worn fabric around the top and bottom, with the outer lining open at the bottom.
Lot 2314
A CHINESE FAMILLE ROSE BOWL painted with deer and crane amongst trees and rockery, red seal mark, 18.5cm diameter, Canton bowl, 18cm diameter, export tea bowl, 7.5cm diameter Imari shaped bowl, 15.5cm diameter and a Samson hexagonal vase, 15.5cm high (5) Condition Report:famille rose bowl with minute rim chip,Canton bowl minor rubbing to gilding,tea bowl with hairline crack,Imari bowl minor hairline crack and vase minor rubbing
Lot 46
WANG XUETAO (1903-1982): 'ROOSTER'China, 20th century. Ink, watercolor, and gouache on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Finely painted in bright colors, the rooster, standing on one leg, eyes filled with enthusiastic longing as two insects jump playfully from a blossom.Inscriptions: To the left margin artist's signature ‘Xuetao’ and seal ‘Wang Xuetao yin’.Provenance: Belgian trade.Condition: Very good condition with minor wear and light foxing. The silk brocade mounting shows wear, soiling, foxing, some creasing, fraying to the back, and water stains. Dimensions: Image size 64 x 43.2 cm, Size incl. frame 195.5 x 57 cmWang Xuetao (1903-1982) was a Chinese painter from Hebei province, who attended the Baoding Zhili Teachers College and the Peking College of Arts. Later he studied under Wang Mengbai, Qi Baishi, and Chen Banding.Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 30 November 2021, lot 1206 Price: HKD 475,000 or approx. EUR 58,500 converted and adjusted for inflation at the time of writing Description: Wang Xuetao (1903-1984): Rooster Expert remark: Compare the closely related motif with the rooster similarly posed, eyeing an insect. Note the larger size (106 x 52.6 cm).
Lot 61
QI GONG (1912-2005): 'BAMBOO AND BUTTERFLIES'China. Ink and watercolors on paper. With a silk brocade frame, mounted as a hanging scroll. Finely painted in varying shades of green with leafy stalks of bamboo and two red butterflies playfully flying below.Inscriptions: Upper right, signed ‘Jianjingweng Qi Gong’ and inscribed with a poem. One seal of the artist.The poem inscribed on this painting can be translated as follows:The green bamboo shoots from the earth and supports the sky,One cannot take them in the hand as a fishing rod, The leaves and the branches are so long and get tangled,It is so difficult to remove the superfluous leaves and branches. Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Very good condition with only minor wear and little foxing.Dimensions: Image size 82 cm x 33 cmQi Gong (1912-2005), whose artist name was Jianjingweng, was a descendant of the Yongzheng Emperor through his son Hongzhou, formally known as Prince He. He grew up in extreme poverty but learned Chinese calligraphy in his childhood and studied various historical stone inscriptions of calligraphy. Qi Gong was versatile in all writing styles, especially the regular script (kaishu), the running hand (xingshu), and the cursive script (caoshu).Auction result comparison:Type: Closely relatedAuction: Bonhams San Francisco, 21 June 2011, lot 8396Price: USD 13,420 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: Qi Gong (1912-2005), Green BambooExpert remark: Compare the closely related motif and fine details. Note the size (94 x 46 cm).
Lot 70
CHEN SHAOMEI (1909-1954): 'SCHOLARS IN LANDSCAPE'China, dated 1943. Ink, watercolors, and gouache on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Depicting a house by the river with three scholars enjoying a cup of tea, all within a verdant landscape with pine trees framed by imposing rocks and mountains.Inscriptions: To the top-left, inscribed with a reference by the artist to the style of Guo Xi which he incorporated in this artwork. Dated ‘3rd month of the Guiwei year (corresponding to 1943)’. Signed ‘Shaomei Chen Yunzhang’, seal ‘Chen Yunzhang’.Provenance: British trade.Condition: Excellent condition with wear and very minor creasing. The brocade frame in very good condition with traces of age and minor foxing.Dimensions: Image size 117 x 63 cm, Size incl. mounting 212 x 76.5 cmChen Shaomei (1909-1954), also known as Chen Yunzhang, started studying under Jing Bei-Lo at the Chinese Brush Painting Research Association when he was just 15 years old. He is known as an excellent representative of the Northern School of Chinese Landscape Painting and is praised as the “First painter after Tang Yin.” He grew to fame at the young age of 20, developing new styles, methodologies, and genres which he built from studying the old masters of Chinese painting.Auction result comparison: Type: RelatedAuction: Sotheby’s Hong Kong, 7 April 2023, lot 3193Price: HKD 1,079,500 or approx. EUR 131,000 converted and adjusted for inflation at the time of writingDescription: Chen Shaomei (1909-1954), Scholar under Pine TreeExpert remark: Note the size (86.4 x 40.2 cm).
Lot 43
LIN FENGMIAN (1900-1991): 'CROW ON PINE BRANCH'China, 20th century. Ink and watercolor on rice paper. Set behind a mat and inside a wooden frame, behind glass. Boldly painted with a single crow, hunched slightly over, looking up, perched on a large pine branch with stylized pine needles protruding out of the upper right-hand register.Inscriptions: The lower left-hand corner signed and stamped with the artist’s seal, ‘Lin Fengmian’.Provenance: A Brazilian private collector. Accompanied by a copy of the declaration of authenticity from Gerald Markowitz, grandson of the artist Lin Fengmian, validating the work, signed, and dated, 12 July 2023.Condition: Good condition with minor traces of wear, creases, and small tears along the margin. The frame in very good condition with only minor wear.Dimensions: Image size 24 x 29 cm, Size incl. frame 35 x 40 cmLin Fengmian (1900-1991) is considered a pioneer of modern Chinese painting, mostly for blending Western and Chinese styles, as he was one of the earliest Chinese painters to study in Europe. He was also an important innovator in the area of Chinese art education and one of The Four Great Academy Presidents, a group of artists who were revered in the early Republic due to their effective stewardship of the art academies they presided over.Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 24 October 2005, lot 927 Price: HKD 200,000 approx. EUR 38,500 converted and adjusted for inflation at the time of writing Description: Lin Fengmian (1900-1991): Lone bird Expert remark: Note the related style, the yellow beak, and the signature similarly placed. Note the similar size (35 x 35 cm).
Lot 44
LIN FENGMIAN (1900-1991): 'PAIR OF HERONS'China. Ink and watercolor on paper, framed. Depicting a pair of herons perched at the shore of a lake, fishing, surrounded by reeds, painted with vivid brush strokes, and sharp yellow beaks.Inscriptions: Lower right, signed ‘Lin Fengmian’. One seal, ‘Lin Fengmian’Provenance: A noted private collection. Previously sold at Bonhams, Hong Kong, Admiralty, Chinese Paintings, August 2022, lot 58, for HKD 255,000 or approx. EUR 31,500 converted and adjusted for inflation at the time of writing. By repute acquired from a collector who purchased the painting directly from Chung Kiu Chinese Products Emporium, which was established on Nathan Road in Hong Kong in 1958, and is a known early provenance of works by Lin Fengmian. Merchant paper label to backside with inscription: "Lin Fegmian, pair of herons". Condition: Very good condition with only minor wear, few minuscule tears, some foxing, and little creasing.Dimensions: Image size 72 x 65.5 cm, Size incl. mounting 100 x 93 cmLin Fengmian (1900-1991) is considered a pioneer of modern Chinese painting, mostly for blending Western and Chinese styles, as he was one of the earliest Chinese painters to study in Europe. He was also an important innovator in the area of Chinese art education and one of The Four Great Academy Presidents, a group of artists who were revered in the early Republic due to their effective stewardship of the art academies they presided over. Auction result comparison:Type: Closely relatedAuction: Sotheby’s London, 4 November 2020, lot 131Price: GBP 119,700 or approx. EUR 160,000 converted and adjusted for inflation at the time of writingDescription: Lin Fengmian (1900-1991), Two cranesExpert remark: Compare the closely related motif, brush strokes, color, and size (66 x 69.5 cm)
Lot 59
JU LIAN (1828-1904): WEALTH, AND EVERLASTING SPRINGChina, dated 1890. Ink, watercolor, and gouache on paper. Mounted as a hanging scroll, on paper with fabric coated endpieces. Masterfully painted with a large peony blossom and bud sprouting behind hallowed rockwork with a triad of bees flying to pollinate the central blossom.Inscriptions: The upper left-hand corner is signed by the artist, inscribed with the title ‘Wealth and everlasting spring’, the dating ‘autumn of the geng yin year’ (corresponding to 1890), and a dedication note. The lower right-hand corner is sealed with an old collector’s seal.Provenance: From an old private collection in Northern Germany, in the family collection since 1929.Condition: Shows wear, light creasing, minuscule foxing, stains, and some tears and material loss with associated touch-ups, overall displaying well. The mounting has some foxing, creasing, and small tears. Dimensions: Image size 82 x 33 cm, Size incl. mounting 210.5 x 46.5 cmJu Lian (1828-1904) was a Chinese painter from Panyu, modern day Guangzhou, who painted during the late Qing dynasty. His courtesy name was 'Ancient Spring,’ and his pseudonym was 'Old Man of the Divided Mountain.’ He was the younger brother of the painter Ju Chao and was known for his plant-and-insect and bird-and-flower paintings.Auction result comparison: Type: Related Auction: Christie’s Hong Kong, 26 November 2012, lot 979 Price: HKD 437,500 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: Ju Lian (1828-1904): Peonies and butterflies Expert remark: Compare the related motif albeit with butterflies. Note the smaller size (61.5 x 39.5 cm).
Lot 57
ZHAO SHAO'ANG (1905-1998): 'SPARROW ON GOURD'China, 20th century. Ink and watercolors on paper. Framed by a silk brocade coated border. Superbly executed in bold and vivid brushstrokes with expressive splashes of warm colors depicting a squawking bird perched on a gourd hanging from a vine.Inscriptions: To the bottom-right, signed ‘Shao’ang.’ One seal, ‘Shao‘ang’.Provenance: From the collection of Jan Bušniak. Jan Bušniak (1919-1988) was a Slovak economist and diplomat who served as the Ambassador of Czechoslovakia to the People's Republic of China between 1957 and 1960. Bušniak served as a member of the Czechoslovakian delegation at the UN General Assembly from 1958 to 1959 and 1963 to 1965, and later, as head of the delegation from 1967 to 1968. He has published articles in the periodicals Rude pravo, Pravda, Nove slovo, and others.Condition: Good condition with minor wear, little soiling, and foxing.Dimensions: Image size 68 x 30.5 cm, Size incl. frame 74 x 36.6 cmZhao Shao’ang (1905-1998) or Chao Shao’an, lived a momentous life vividly expressed through brush and ink over a nearly eighty-year career. The artist came of age in southern China following the collapse of China’s last imperial dynasty and began his first apprenticeship in ink painting under the Lingnan School of painting—famous for creatively blending international painting methods and materials with traditional Chinese technique. From the 1930s-1960s, he traveled for solo and group exhibitions across Asia, Europe, and the United States. He settled permanently in Hong Kong in 1948 and established the Lingnan Art Studio in his residence. There, he mentored students in the Lingnan method and ensured its place as one of the most influential styles of twentieth-century Chinese ink painting. He has been praised by some critics as the best flower-and-bird painter of his time. He had a firm grasp of both avian anatomy and the nature of human perception, and his representations of birds excel not only in their "jewel-like sensuous glitter," as noted by the critic Pierre Rouve, but also in their animated postures. In a remarkable continuation of Chao’s international legacy, two generations of his descendants have attended the University of Notre Dame, hosting prominent exhibitions of his work at the university.The Lingnan School of painting, also called the Cantonese School, is a style of painting from the Guangdong or Lingnan region of China. It was founded by Chen Shuren and his two brothers, Gao Jianfu and Gao Qifeng, also known as “The three greats of Lingnan.” The Lingnan style of painting was revolutionary and innovative compared to traditional Chinese painting, influenced by Nihonga visual arts and by the early Qing painter, Yun Shouping (1633-1690). In the late 19th century, scholars in China broke through entrenched conservative thoughts and began to actively seek to create and promote new schools and styles of art. According to Wang Lipu's view, the Lingnan school is characterized by a focus on blank space, complex brush strokes, vibrant coloring, and an emphasis on background colors.Auction comparison:Type: Closely related Auction: Christie’s Hong Kong, 26 May 2008, lot 1004 Price: HKD 81,250 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: Zhao Shao'ang (1905-1988), Sparrow on Gourd (1964)Expert remark: Compare the closely related motif, style, and technique. Note the size (57 x 37.5 cm).
Lot 48
XU BEIHONG (1895-1953): 'GALLOPING HORSE'China, dated 1942. Ink and watercolor on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Finely painted, the dark horse stretching out in full stride through a grassy field.Inscriptions: To the right-edge, inscribed ‘On a winter day in the Year of Renwo,’ (corresponding to 1942) and signed ‘Beihong’. One artist’s seal ‘Donghai Wangsun’. The reverse with two collector’s seals.Provenance: Austrian private collection. Previously sold at Bonhams Hong Kong, 9 October 2019, lot 121, from the personal collection of Li Yanshan, for HKD 281,875 or approx. EUR 36,500 converted and adjusted for inflation at the time of writing. The collector’s seal ‘Yanshan suocang shuhuayin’ applied to scroll border. Li Yanshan (1898-1961) was a renowned Chinese painter, calligraphist, poet, art educator and Chinese art connoisseur. He was hailed as a master of Guohua landscape painting.Condition: Excellent condition with only minor wear. The mounting with usual traces of wear and age.Dimensions: Image size 67 x 55 cm, Size incl. frame 200 x 64 cmXu Beihong (1895-1953) is primarily known for his ink paintings of horses. He was one of the first Chinese artists to articulate the need for artistic expressions that reflected a modern China at the beginning of the 20th century. He is regarded as one of the four most important pioneers of Chinese modern art. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2017, lot 188 Price: HKD 2,250,000 or approx. EUR 302,000 converted and adjusted for inflation at the time of writing Description: Xu Beihong (1895-1953), Standing Horse Expert remark: Compare the identical signature and seal. Note the smaller size (56 x 38 cm).
Lot 40
GAO JIANFU (1879-1951): 'MAJESTIC EAGLE ON CLIFF'China, dated 1917. Ink, watercolors, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame. Finely painted with an eagle perched on a cliff, its talons clasped sharply around the outpost, keeping its footing, as it attentively surveys the area nearby.Inscription: To the top-right, inscribed ‘In June of the 5th year of the Republic period, Gao Lun painted in Japanese capital’. One seal ‘Gao Jianfu’. Another seal at the bottom right corner.Provenance: French trade.Condition: Good condition with minor wear, few stains, and very few touch-ups. The mounting with traces of age and wear.Dimensions: Image size 113.5 x 35.5 cm, Size incl. mounting 196 x 48 cmGao Jianfu (1879–1951), a native of Guangzhou, was credited for leading the Lingnan (Canton) School’s effort to modernize Chinese traditional painting as a ‘new national painting.’ Along with his brother Gao Qifeng and friend Chen Shuren, they are known as the Three Masters of the Lingnan School. Gao Jianfu learned painting with Ju Lian (1828-1904) in his early years before he went to Japan, where he was influenced by the Nihonga movement that synthesized Western realism—natural light and luminous colors—with Eastern materials, techniques, and subject matter. This new hybrid art included the use of perspective, and other elements of Western painting. Jianfu once wrote: ‘I think we should not only take in elements of Western painting. If there are good points in Indian painting, Egyptian painting, Persian painting, or masterpieces of other countries, we should embrace all of them too, as nourishment for Chinese painting.’ While in Japan and after his return, he was involved in Sun Yat-sen’s revolutionary movement. After Sun Yat-sen passed away, Gao Jianfu devoted himself to the modernization of Chinese painting and art education.Auction result comparison: Type: Closely relatedAuction: Shanghai Chongyuan Arts Auction Co. LTD, Shanghai, 30 June 2005, lot 1237Price: CNY 286,000 or approx. EUR 57,000 converted and adjusted for inflation at the time of writingDescription: Gao Jianfu (1879-1951), Eagle and Pine (1923)Expert remark: Compare the closely related subject. Note the size (58 x 90 cm).
Lot 49
XU BEIHONG (1895-1953) AND ZHANG SHUQI (1899-1956): 'TWO PIGS', DATED 1937China. Ink and watercolors on paper. Mounted as a hanging scroll with finely carved and lacquered wood handles. Superbly painted with two black pigs standing foursquare side by side below a tree, one with its head raised and turned to the side. The top left corner with a text written in calligraphy about the two pigs.Inscriptions: Inscribed and signed with ‘Shuqi and Beihong in Chengdu, in the twenty-sixth year of the Republic era (corresponding to 1937) and two seals, ‘Shuqi’ and ‘Donghai Wang Sun’. Lower left, a collector’s seal, ‘Zuhou Yingnan’. Lower right, one seal.Provenance: A noted private collector. Previously sold at Bonhams, Hong Kong, Admiralty, Chinese Paintings, March 2022, lot 22, for HKD 38,000 or approx. EUR 5,000 converted and adjusted for inflation at the time of writing. Condition: Very good condition with minor wear, few water stains with associated small touchups. The handles with minuscule chips.Dimensions: Image size 115 x 50 cm, Size incl. mounting 205 x 62.5 cm Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings to become one of the most sought-after, admired and influential painters of China. One of his well-known works, the “Cultivation of the Peaceful Land”, sold for 27.4 million euro in 2011 and therefore ranks among the most expensive paintings in the world. After the founding of the People's Republic of China in 1949, Xu became president of the Central Academy of Fine Arts and chairman of the China Artists Association. Xu Beihong, together with Zhang Shuqi and Liu Zigu, were called the "Three Masters of Jinling (Nanjing)." Xu Beihong was a master of both oil and ink paintings. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasized the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one most responsible for the direction taken in the modern Chinese Art World.Zhang Shuqi (1899-1956) was a Chinese painter from Zhejiang, noted for painting flowers and birds. He studied at Shanghai under Liu Haisu. He temporarily taught at the National Center University. From 1942 to 1946, he lived in the United States. After that, he returned to China for a time, but ultimately settled in the US. His works are held in the Art Gallery of Greater Victoria, the Ashmolean Museum, and Stanford University.Literature comparison:Compare a painting of two pigs by Xu Beihong, sold at Christie’s Hong Kong, 30 November 2012, lot 2591. Compare the closely related depiction of the pigs, with similarly painted snouts and tails. Note the smaller size (89.5 x 53.5 cm).
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