We found 16019 price guide item(s) matching your search

† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form with flared neck, internally decorated with stylised motifs, signed, height 25cm.Condition Report: Light base wear, otherwise good condition.

† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form with cylindrical neck, internally decorated with a landscape type scene, height 21cm.Condition Report: Good condition with only light wear to the body and underside.

† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form with internal linear decoration, signed, height 17cm.Condition Report: The odd minor scratch to the body, but otherwise good condition with no chips, cracks, or restoration.

† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form, with cylindrical neck internally decorated with stylised motifs on a cobalt blue and turquoise ground, signed, height 22cm.Condition Report: Light surface wear but otherwise good condition.

† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form, internally decorated with stylised motifs, signed, height 22cm.Condition Report: Numerous scratches to the body, light surface wear, bruise to the top of the vase, and a deep scratch beside, a couple of smaller marks to the body.

† PETER LAYTON (born 1937); a contemporary Art Glass vase of pebble form, internally decorated with a rock effect, signed, height 15cm.Condition Report: Light surface wear, but otherwise good condition with no chips, cracks or restoration.

† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form, internally decorated with stylised motifs, signed, height 14cm.Condition Report: Light surface wear, scratches to the body.

† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form with elongated neck, internally decorated with stylised motifs, signed, height 22.5cm.Condition Report: Light surface wear, but otherwise good condition.

† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form with flared neck, internally decorated with a pebble type design, signed, height 23cm.Condition Report: Light surface wear to the body but otherwise good condition.

† PETER LAYTON (born 1937); a contemporary Art Glass bowl of circular form, internally decorated with stylised sea creatures, signed, height 9cm, diameter 13cm.Condition Report: Light surface wear but otherwise good condition.

GOZO GLASS; a contemporary Art Glass vase of circular form with trail iridescent decoration, height 15cm, with a Gozo Glass paperweight, and two further paperweights (4)

GOZO GLASS; two contemporary Art Glass vases with iridescent decoration, height of largest example 23cm (2)Condition Report: Each in good condition with light base wear.

† PAULINE SOLVEN; a contemporary Art Glass bottle vase internally decorated in mottled and stylised detail, signed, height 11cm.

† JONATHAN HARRIS; a contemporary art glass vase (Monsoon), signed and dated 2009 to the underside, height 24cm.

† NORMAN STUART CLARKE; two contemporary Art Glass vases, including a squat example with flared neck, internally decorated with a cobweb style design, height 13cm.Condition Report: Each with light wear to the body but otherwise good condition.

OKRA; a contemporary Art Glass scent bottle and stopper, decorated with lily pads, height 13cm, with two Glasform paperweights including an example with a dragonfly on toadstool, and five similar examples, possibly Royal Brierley and three further paperweights (11)

A contemporary Czech glass vase of ovoid form with internal linear and bubble decoration, height 15cm, with a glass studio scent bottle and stopper, Art Glass bowl, and an Art Deco style glass vase of bulbous form (4)

† Attributed to Peter Layton; contemporary Art Glass vase decorated in iridescent stylised motifs, indistinctly signed and dated 1981, height 19cm.Condition Report: Light base wear, otherwise good.

† ALAN TAYLOR; a contemporary Art Glass vase of ovoid form, with iridescent landscape type decoration, signed and dated 1988, height 15cm, with a similar smaller example, indistinctly signed (2)Condition Report: Light base wear to each but otherwise good condition.

† JANE CHARLES; a contemporary footed art glass bowl with linear decoration on a frosted ground lower body, height 18cm, with a further art glass vase with impressed decoration (2)

† STUART FLETCHER; a contemporary Art Glass vase with trailed decoration, signed, height 14cm.

Five pieces of contemporary Art Glass, including a vase of ovoid form decorated with floral sprays, height 18cm, a further example decorated with bottlenose dolphins, etc (5)

† PRUE COOPER; two contemporary slipware dishes, the first titled 'Still I love thee as thou art, ancient person of my heart?', decorated with two figures, length 36.5cm, with a circular slipware dish decorated with a house and titled 'A little house whose humble roof is weatherproof, under the spars of which I lie both warm & dry', diameter 36cm (2).Condition Report: Both structually ok, the example decorated with the house with some light glaze scratches to the centre, the other Slipware dish with remnance to the back of a circular wall hanging adhesive pad.

A collection of various contemporary art prints

A contemporary Tiffany/Art Nouveau style ceiling pendant, approx. 31cm high

A contemporary copy of Edward Hasted's 1778 maps of the Hundreds of Wachlingstone and the Lowry of Tunbridge, printed on high quality fine art paper. Unframed. 60cm x 42cm.

An illuminated Qur'an, copied by 'Abd al-Jalil ibn Mustafa ibn Isma'il bin 'Abd al-Ghani al-Nabulsi Ottoman Empire, Syria, probably Damascus, dated Sunday, the last day (salkh) of dh'il-qa'dah 1242/24th June 1827Arabic manuscript on paper, 318 leaves, 15 lines to the page written in naskhi script in black ink with diacritics and vowel points in black and red, red dots markings verse-endings, inner margins ruled in red, one illuminated double-page frontispiece in colours and gold, sura headings in naskhi script in red, juz and hizb divisions marked with marginal notes in red, catchwords, contemporary gold-tooled red leather binding with central medallions, with flap with cartouche containing stamped text, Qur'an, sura LVI, al-waqi'ah, verses 79-80 153 x 104 mm.Footnotes:ProvenanceBonhams, Islamic and Indian Art, 21st April 1999, lot 577.Private UK collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A Safavid illuminated miniature Qur'an in a metal case, copied by Asad 'Ibadi al-Sanziwari Persia, dated Thursday 25th Shawwal 991/Thursday 10th November 1583Arabic manuscript on thin polished paper, octagonal, 280 leaves, 15 lines to the page written in fine naskhi script in black ink with diacritics and vowel points in black, gold dots marking verse-endings, circular inner margins in blue and gold, catchwords, sura headings marked with gold ruled lines, circular illuminated opening leaf with centre cut out, two leaves just after beginning misbound upside down, contemporary dark red goat-skin binding with small tooled floral motifs, in a Qajar silver octagonal case with loops for securing bands, in modern cloth-covered slipcase of the Newberry Library, Chicago 45 x 46 mm.; case 51 x 49 mm.; slipcase 154 x 123 mm.Footnotes:ProvenanceEdward E. Ayer (1841-1927).Bequeathed by the above to the Newberry Library, Chicago, December 1920 (label pasted to endleaf, Or. MS. 214).Probably deaccessioned from the Library in 1994.Bonhams, Islamic and Indian Art, 16th October 2003, lot 164.Private UK collection.See Sotheby's, Arts of the Islamic World, 15th October 1998, lot 27; and more recently, 26th October 2022, lot 19, for other examples of miniature Qur'ans formerly in Ayer's possession and subsequently in the Newberry Library.Edward E. Ayer was a Chicago business magnate who made his money in railways. In 1911 he donated part of his collection (which was mostly of Western mediaeval manuscripts, though there were also seventeen thousand items relating to Native American and colonial American history) to the Newberry Library, also giving it an endowment, and sitting on the first Board of Trustees. In 1920 he sold the remainder of his collection to the Library.The scribe is unrecorded.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

Late 1st century B.C.-early 1st century A.D. Obv: blundered legend with profile bust right. Rev: blundered legend within wreath. 7.73 grams. Acquired on the German art market around 2000. From the collection of a Surrey, UK, gentleman. A contemporary copy or fake coin produced by a local workshop imitating a bronze official issue of the emperor Augustus. Barbarian fakes manufactured during the ancient Roman timeline, although inexpensive at auction, present a fascinating area to research for those collecting on a budget. TimeLine Auctions normally has a small quantity of contemporary imitations on offer for those interested in this captivating area of numismatics. [No Reserve]

Georg Baselitz Adler. München. Galerie Heiner Friedrich 1975. - Eine der bedeutenden Folgen aus dem frühen Werk des Künstlers - 1 von 30 Exemplaren - Komplett ungemein selten. - 'Intent and uncompromising, Georg Baselitz has gone his own way within contemporary art.' (Andreas Franzke) 'Der Maler, Zeichner, Radierer und Holzschneider Baselitz begeht neue Wege und steht doch zugleich bewußt in der europäischen Maltradition, bedient sich also konventioneller Mittel und sogar Motive, an deren 'Wörtlichkeit' er - zur ersten Verwunderung des Betrachters - nicht haften bleibt.' (Horst Keller, im Vorwort zum Baselitzkatalog Köln 1976) 1 von 30 numerierten Exemplaren. - Die komplette Original-Mappe mit 4 Blatt Radierungen, 3 Blatt Holzstichen mit Strichätzungen und 4 Blatt Holzschnitten, alle übermalt, sowie 2 Holzschnitten für den Umschlag. Graphikblätter in verschiedenen Formaten, jeweils Drucke der Auflage Ende 1974, jedes Blatt unten rechts vom Künstler in Bleistift signiert und datiert 'Baselitz 74', unten links als eines der 30 Exemplare der Auflage arabisch numeriert (Nr. 14). Druck der Radierungen von R. Spiegel, Druck der Holzstiche und Strichätzungen im Atelier Steinmetz, Druck der Holzschnitte vom Künstler selbst. Herausgegeben im Februar 1975 von der Edition der Galerie Heiner Friedrich in München. Die Graphiken im einzelnen: Umschlag: Zwei Holzschnitte. Jeweils 71 : 51 cm. Blau/Schwarz auf Finnenpappe. Blatt 1: Ohne Titel 1974. Radierung, Aquatinta und Kaltnadel, Blau auf Similijapan, Plattenformat 13,7 : 10,1 cm, auf Rives Bütten im Format 70 : 50 cm aufgewalzt. Blatt 2: Ohne Titel 1974. Radierung, Ätzung auf Kupfer, Blau auf Similijapan, Plattenformat 33 : 24,6 cm, auf Rives Bütten im Format 70 : 50 cm aufgewalzt. Blatt 3: Ohne Titel 1974. Radierung und Kaltnadel auf Kupfer, Blau auf Similijapan, Plattenformat 18,6 : 13,5,1 cm, auf Rives Bütten im Format 70 : 50 cm aufgewalzt. Blatt 4: Ohne Titel 1974. Radierung und Kaltnadel auf Kupfer, Blau auf Similijapan, Plattenformat 33 : 24,8 cm, auf Rives Bütten im Format 70 : 50 cm aufgewalzt. Blatt 5: Ohne Titel 1974. Holzstich und Strichätzung. Blau/Schwarz auf Similijapan, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 6: Ohne Titel 1974. Holzschnitt und Fingermalerei, Blau/Rot auf Similijapan, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 7: Ohne Titel 1974. Holzstich und Strichätzung. Blau/Schwarz auf Ingres, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 8: Ohne Titel 1974. Holzschnitt und Fingermalerei, Blau auf Similijapan, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 9: Ohne Titel 1974. Holzschnitt, übermalt, Blau, Rot und Schwarz auf Similijapan, Papierformat 28,5 : 18,6 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 10: Ohne Titel 1974. Holzstich und Strichätzung, Holzstich und Strichätzung, Blau/Schwarz auf Ingres, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 11: Ohne Titel 1974. Holzschnitt, übermalt. Blau/Rot auf Umdruckpapier, Papierformat 45,7 : 35,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. EINBAND: Titelblatt und lose Graphiken in Orig.-Kartonmappe mit 2 weiteren Orig.-Holzschnitten in Blau. 71 : 51 cm. - ILLUSTRATION: Folge von 11 signierten Orig.-Graphiken. - PROVENIENZ: Privatsammlung Berlin. LITERATUR: Jahn 170-181. - Gohr 188. - Franzke S. 262. - Baselitz-Katalog Kestner-Ges 1987, S. 236. - One of the important series from the artist's earlier work. 1 of 30 copies, completely scarce. - Series of 11 signed orig. prints. - The photo boards somewhat browned and with light margins, 1 board with 4 small brown spots, some minor traces of mounting on verso; cover edges somewhat rubbed. Altogether very nice and well preserved set, the prints in fresh colors and clean. - From a private Berlin collection. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.

Delivered new to The Earl of Sefton, this stunning R-Type is bodied by E.D. Abbott of Farnham, Surrey in 'Continental' style. Only a handful of such were constructed, and offer stunning styling for a fraction of the cost of the celebrated Fastback Continental.In June 1952, Bentley’s new R-Type was presented to the public and it owed its name to the fact that the VI Series had, by this time, reached the chassis letter ‘R’. The new model continued to utilise the MkVI’s independent front suspension, hydraulic front brakes and six-cylinder, 'F-head' power unit, by now extended to 4,566cc. The standard R-Type was a lively performer, achieving 106mph in silence and reached 50mph from standstill in 10 seconds, despite a curb weight approaching two tonnes.As usual, the R-Type could be ordered in chassis form for bodying by specialist coachbuilders and this manual transmission example was the work of E.D. Abbott of Farnham, Surrey. The stylish, streamlined Continental-style fastback coupé coachwork, designed by Abbott's stylist Peter Woodgate, had been intended for the superseded MkVI chassis and bore more than a passing resemblance to H J Mulliner's contemporary Bentley Continental. After two prototypes had been completed, Abbott bodied 14 'production' cars, that offered here being the first. Of the remaining 13, one was fitted with automatic transmission and one was built with left-hand drive.We understand that B393SP, was sold new to The Earl of Sefton bodied in ‘Continental’ style by Abbott, as a two-door coupé in Ascot Grey.OYE 700 is accompanied by a fascinating history file which contains a list of previous owners which confirm that the car’s first owner was indeed the Rt. Hon. Earl of Sefton at Croxteth Hall. In 1968 it became the property of Richard Clover from Worcester and ten years later, it was registered to the Midland Record Company (Peter John Riley). Jeremy Pemberton of Yellowhammer PLC. acquired the Bentley in 1990 before selling it in 2004 to specialists dealers Frank Dale and Stepsons who, according to invoices in the file, carried out quite a lot of work on the car. A Michael Percival is listed as owning the car in 2004 with Eric Adkins in 2005 prior to Mr and Mrs Silverstone also in 2005. The famous car-collecting dentist, Dr James Hull added it to his Collection in late 2009 and, naturally, it moved to our vendor’s significant Collection around 2012 when Dr Hull sold everything.There are a number of older invoices with the car and it appears that by 1985, whilst in Peter Riley’s custodianship, the Bentley was looking a little sad. A.B.Price, Automobile Engineers of Studley provided an ‘Estimate’ dated 4th February 1985 for “Totally stripping coachwork, rebuilding corroded and damaged panelwork, re-cellulosing the car, replacing wood frame in body structure, completely refitting the interior woodwork and reassembling all fittings etc”. The estimate totalled £14,338. Invoices over the next 18 months totalling over £20,000 from A.B.Price detail the work completed and later invoices over the years from Frank Dale & Stepsons and Hillier Hill detail subsequent maintenance and repairs with the most recent one dated 8th October 2011 recording the odometer reading of 50,572 miles.The history file also contains a number of old V5s, a dozen older MOTs, lots of correspondence, the original ‘buff’ logbook, its R Type Bentley Handbook, an article by Bill Medcalf entitled 'R-Type Continentals' and a booklet called ‘Twenty Years of Crewe Bentleys’ . Additionally there is also a letter from Bentley confirming that they would like OYE 700 to be displayed at the factory as part of ‘The Bentley Experience’.The current indicated mileage is 50,893 meaning that the car has only covered just over 300 miles in the last dozen years, however, having been in two prominent collections this is not surprising. It has been looked after undoubtedly, and presents supremely with gleaming paintwork and a gently patinated interior with beige leather, excellent veneers and an unmarked Mulliner headlining. The engine bay is very tidy however as the car hasn't been used for a number of years. Some level of recommissioning is to be expected.This was the first of the Abbott-bodied cars and one can only imagine the sort of attention the 'swoopy' Continental bodywork would have generated back in 1954, matched only by the sort of admiration it would garner in 2023. We encourage you to view this remarkable piece of automotive art in the metal and appreciate the sheer quality on offer. SpecificationMake: BENTLEYModel: R-TYPEYear: 1954Chassis Number: B393SPRegistration Number: OYE 700Transmission: ManualEngine Number: B446SDrive Side: Right-hand DriveMake: RHDInterior Colour: BeigeClick here for more details and images

(Local Interest) Six Artworks to Include: Myrtle J. Barter - 'Struggling', ink on paper; Beatriz Aurora (Chile, Contemporary), limited edition print of cat, signed, titled and numbered 78/100 below, 61 x 43 cm; A. R. Pearson - Cromford, Derbyshire, oil on board, signed lower right; June Pearson, three embroideries - June Pearson and Myrtle Barter were both associated with Gloucester Art College (6)

After Josef Lorenzl Art Deco style bronze dancing nude girl statue, signed Vivian, on onyx base 24cm h along with two contemporary metal framed mirror and photo frame and four lead figures of ladies.

Agriculture.- Mathews (James) Remarks on the cause of the Scarcity and Dearness of Cattle, Swine, Cheese, &c. &c. and of the Articles Tallow Candles, and Soap..., light spotting and soiling at beginning, ink ownership inscription "3/6 S.Pole Esq." to front pastedown, original boards, uncut, ink manuscript notes to upper cover, rebacked, [Goldsmiths' 17602; Kress B.3926], 1799 § Maxwell (Robert) The Practical Husbandman..., first collected edition, with author's signature "to prevent pyrating" to verso of title, folding engraved plate with explanatory leaf of text at end, contemporary speckled calf, gilt, red roan label, [Goldsmiths' 9224; Perkins 1173; Not in Kress], Edinburgh, C.Wright & Co., for the author, 1757 § Trusler (Dr. John) Practical Husbandry, or, the Art of Farming, with a Certainty of Gain..., fourth edition, ex-library copy with stamp to verso of title, near contemporary calf, [Goldsmiths' 17579], for the author, 1799 § Brown (Robert) Treatise on Rural Affairs..., 2 vol., first separate edition, half-titles, 6 engraved plates, light spotting and browning, bookplate of Ernest Ridley Debenham, contemporary tree calf, [Goldsmiths' 20230; Perkins 240], Edinburgh, 1811, all rubbed; and 3 others, agriculture, 8vo & 4to (8)⁂ The first is an interesting study of everyday prices by a market trader/butcher of long standing. While most studies of inflation/prices focus on corn prices (for obvious reasons), James Mathews draws on his much wider experience where "High Street" prices for every day purchases are real challenges for the poor. This is a reissue of the work first published in 1797 with a cancel title-page; both editions are scarce.

NO RESERVE Textiles.- Berthollet (Claude Louis) Essay on the New Method of Bleaching, translated by Robert Kerr, second edition in English, lacking half-title (supplied in facsimile), with folding engraved plate of apparatus, one or two leaves with hole to pagination, old ink inscription "From the Trustees Office..." with recipient's name crossed out on front free endpaper, contemporary sprinkled calf, rubbed, rebacked preserving old roan label, [Duveen 74], Edinburgh, William Creech, 1791; Elements of the Art of Dyeing, translated by Andrew Ure, 2 vol., second edition in English, lacking half-titles, 9 folding engraved plates on machinery, contemporary half calf, rubbed, upper joint of vol.1 split, spines and corners repaired, [Duveen 74], 1824, 12mo & 8vo (3)

A contemporary Art Deco style tablet ring, in white 18ct gold, set with emeralds and diamonds, ring size J, 2.9g

A VERY RARE DOUCAI 'CHRYSANTHEMUM' MEDALLION BOWLYongzheng six-character mark and of the period The finely-potted bowl with gently rounded sides rising from a short straight foot, meticulously painted with underglaze blue outlines and overglaze enamels on the exterior with five medallions containing multi-coloured scrolling chrysanthemums, surrounded by tricorn scrolling floral motifs. 11.8cm (4 1/2in) diam.Footnotes:清雍正 鬪彩團菊紋碗 青花「大清雍正年製」楷書款 Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.Meticulously decorated with roundels of chrysanthemum flowers separated by lotus sprays, the present bowl is a testament to the Yongzheng emperor's penchant for classic styles of the past. In this instance, the design and colour scheme are based on a Ming dynasty prototype dating to the Chenghua period, which was adapted and reinterpreted in accordance to contemporary taste. See a doucai bowl excavated from the Ming Imperial kilns at Jingdezhen, included in the exhibition A Legacy of Chenghua, The Tsui Museum of Art, Hong Kong, 1993, no.C119. Chenghua polychrome porcelain provided much inspiration to the potters active at the Imperial kilns during the Yongzheng period as these early wares were particularly treasured by the emperor. An official record dated to 1732 lists 57 porcelain designs that were to be produced by the Imperial kilns and mentions Chenghua polychrome porcelain among the most admired wares of the past. While masterpieces of the past were at times sent to Jingdezhen and used as models for direct copying, the most successful Yongzheng wares are contemporary interpretations of classic designs. The present lot is such a creation: chrysanthemum roundels are known on Chenghua porcelain but the addition of the aubergine enamels to highlight some of the petals is characteristic of the Qing period. Compare with a pair of similar doucai bowls, Yongzheng marks and of the period, illustrated in Chinese Porcelain: The S.C.Ko Tianminlou Collection: Part I, Hong Kong, 1987, no.100, and a similar doucai bowl, Yongzheng mark and period, in the Palace Museum, Beijing, illustrated by Beauty of Ceramics: Gems of Doucai, vol.6, Taipei, 1993, pl.102.See three similar doucai 'chrysanthemum' medallion bowls, Yongzheng six-character marks and of the period, which were sold at Sotheby's Hong Kong, 29 April 2022, lot 3515, Sotheby's London, 6 November 2016, lot 152 and Christie's Hong Kong, 28 May 2014, lot 3459.For further information on this lot please visit Bonhams.com

A FINE AND RARE CARVED CELADON-GLAZED 'PEONY' BOWLYongzheng seal mark and of the periodFinely carved in shallow relief with a continuous peony scroll below a narrow band of hooked ribbon scroll, the foot with key-fret and the interior with scrolling peonies around a central medallion with further peony spray, the interior rim with a band of key-fret, covered overall in a pale celadon glaze. 26.7cm (10 1/2in) diam. Footnotes:清雍正 青釉淺浮雕纏枝花卉紋碗青花「大清雍正年製」篆書款Provenance: Sotheby's Hong Kong, 29 November 1976, lot 528A European private collection來源：香港蘇富比，1976年11月29日，拍品編號528歐洲私人收藏Remarkable for their impeccable quality of the glaze, elegant shapes and refined bodies; monochrome porcelains made in the Imperial kilns at Jingdezhen during the Yongzheng reign are ranked among the finest examples of Imperial wares made during the Qing dynasty. The Yongzheng emperor's enthusiasm for ancient art and innovation is clearly displayed by the present bowl. The elegant scrolling flower motif is reminiscent of early 15th century blue and white Imperial porcelain, while the glaze has been made to imitate the celebrated 'Longquan' celadon wares. By combining the two together, the potter has succeeded in creating a contemporary, elegant bowl suitable to the taste of its time. A smaller celadon-glazed bowl of this form and decoration, also with a Yongzheng reign mark and of the period, in the Palace Museum, Beijing, is illustrated in Qingdai yuyao ciqi, vol.1(II), Beijing, 2005, pl.106. See also a similar celadon glazed bowl, Yongzheng seal mark and period, illustrated by R.Krahl, The Anthony de Rothschild Collection of Chinese Ceramics, London, vol.2, 1996, pp.258-259, no.144.A similar bowl, Yongzheng seal mark and of the period, was sold at Sotheby's Hong Kong, 8 April 2011, lot 3007. A related large celadon-glazed bowl with fruits, Yongzheng seal mark and of the period, was sold at Bonhams Hong Kong, 28 May 2019, lot 149.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A collection of early to mid 20th century silver plated items, to include: trays, dishes, flat wares, long jump trophies, brass wares, early 20th century desk stands, door knockers, North African pots, wine coolers, hand bell, serving tray and contemporary 'Romney' plate fruit bowl (Sheffield), Art Deco

A contemporary Kris Heaton for Neo Art studio glass sculpture of organic ovoid form with three pulled prongs and a central aperture, decorated with mottled iridescent green amethyst and pink spots over a clear crystal ground, engraved signature, retains original paper label to base, height 21cm, together with a similar smaller example by the same hand. (2)

Michael Bigger (American, 1938-2011). Polychrome bronze and glass sculpture titled "Maquette Form #4," depicting a green-blue painted abstract form, 1988. Initialed and dated along the bottom edge of the glass.Bigger's commissions are represented in collections across the United States and Canada. His sculptures have been shown in many galleries and museums including the Whitney Museum of American Art, New York; Muse Gallery, San Antonio; Flanders Contemporary Art, Minneapolis and at Chicago's Navy Pier international Art Exposition.Provenance: from the collection of an important Minnesota institution.Height: 11 in x width: 14 1/2 in x depth: 8 in.Condition: There are no major losses, dents, cracks, or restorations. There are a few small chips along the lower edge of the glass, consistent with display and age. Light dust and dirt collected in the recessed areas of the work. Light wear along the underside with some signs of minor paint losses and rubbing, consistent with age and display.

Jeff Millikan (American, b. 1952). Group of two cibachrome photographs from the artist's "Fish Dream" series, 1984. One titled "Looking For Bing #30" and one untitled and numbered #23 in the series.Provenance: Distinguished corporate collection, Minnesota.Millikan has had numerous solo exhibitions at institutions including the Minneapolis Institute of Arts, the Walker Art Center, the Minnesota Center for Book Arts, the Museum of Contemporary Photography in Chicago and the Lawrence Miller Gallery in New York City. For the past 35 years he has taught at the University of Minnesota as an adjunct professor in the Art department.Fish Dream #30; sight: 15 in x width: 21 1/2 in. Framed; height: 21 1/2 in x width: 28 1/2 in. Fish Dream #23; sight: 14 1/2 in x width: 21 1/2 in. Framed; height: 24 in x width: 30 in.Condition: Both photographs appear to be in good condition. The emulsion appears smooth. There are no visible tears, creases, or restorations. The colors are bold and bright. #30 is framed under plexiglass; some light wear to the frame; not inspected out of frame. #23 is framed under glass; some light wear and scratches to the metal frame; not inspected out of frame.

George Henry RA RSA RSW (British, 1858-1943)Rowans signed and dated 'George Henry/1895' (lower right)oil on canvas91.5 x 69cm (36 x 27 3/16in).Footnotes:ProvenanceThe property of Ms Bette MidlerExhibitedEdinburgh, Royal Scottish Academy, 1896, no. 327.The Glasgow Boys swiftly revolutionised Scottish painting and, in the process, provided a direct conduit between contemporary Continental advances and British Art. Theirs was an original, pioneering vision which did not resort to imitation or pastiche, and of the group George Henry was the most enigmatic figure. His early years were shrouded in mystery, and he studied in Glasgow before beginning to exhibit in the early 1880s. An early alliance with EA Hornel saw them working together in Kirkcudbright, much inspired by the rich seam of Galloway folklore.Rowans sees the mature Henry, not long back from Japan, recalling his collaborations with Hornel on such as The Druids - Bringing Home the Mistletoe (Glasgow Museums). The rich, warm colour emphasises the decorative appeal of the deliberately flattened perspective, while the cropped blue ellipses to the right edge are quite radical design components and call to mind the winding burn in his celebrated Galloway Landscape.The rowan tree is significant in Scottish folklore. Sometimes called the 'Traveller's Tree', it was thought to ensure one never became lost en route. Rowans were planted by doors or gates to ward off witches, while druids' staffs were also made from rowan wood.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Alan Reynolds (1926-2014)Time and October Landscape, 1953signed and dated in pencil (upper left)ink, watercolour and gouache28 x 38cm. Provenance:James Huntington-Whiteley Modern & Contemporary Art;The collection of Margaret Bailey.The left edge of the paper is rough as shown in the image. No damage or rips to the paper. Colours appear vibrant and bright. Gallery framed and glazed.

TAI XIANGZHOU (b.1968)Cosmos Worlds 1 and 2, 2014Two paintings, ink on paper, each framed. 45cm high x 75cm wide (17 3/4in high x 29 1/2in wide). (2).Footnotes:泰祥洲(1968年生) 天象世界1和2 水墨紙本 鏡框 2014年作Born in 1968 to a scholarly family in the provincial capital of Yinchuan, Ningxia, in north-central China, Tai began his training in Chinese calligraphy at the young age of four. After studying interactive design in Auckland, New Zealand, he led successful careers in digital media and conservation, founding the cultural magazine 'Chinese Heritage'. In 2003, his encounter with the painter Liu Dan pushed him to further explore the techniques of traditional Song and Yuan dynasty paintings. By 2006, Tai had devoted himself to ink painting and had begun to investigate Chinese landscape paintings from the perspective of astrology. Under the mentorship of philosopher Bao Lin, he completed his PhD from Tsinghua University in 2012 with a dissertation entitled 'Phenomena of the Universe-The Concepts and Structure of Chinese Landscape Paintings.' This work was highly admired by renowned art historian Fang Wen, who recommended the book in the preface and recommended for publishing by the Zhonghua Book Company. Attending to the nature of the materials of painting, Tai has researched traditional papermaking techniques and now paints exclusively on paper and silk produced by tenth-century methods. He also only uses ink from the Qianlong era (1736-1795), which is considered to be one of the highest-quality inks. In addition to painting, Tai in 2010 created an interactive and multimedia installation based on classical Chinese cosmology, 'The Gateway of Expedient Means', modelled on medieval revolving repositories of Buddhist sutras and constructed in wood using traditional mortise-and-tenon joinery. He currently lives and works in Beijing. Tai Xiangzhou's works are in the Art Institute of Chicago; the Arthur M.Sackler Museum, Harvard University; the Asian Art Museum of San Francisco; the Brooklyn Museum; Princeton University Art Museum; and Yale University Art Gallery.For related paintings by Tai Xiangzhou, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.44-45.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LI XUBAI (b.1940)Lush Mountain in Smoky Clouds, 2015Ink and pigment on xuan paper. 178cm long x 97cm wide (70in long x 38 1/4in wide).Footnotes:李虛白（1940年生） 雲煙翠嶂 水墨設色紙本 立軸 2015年作Li Xubai was born in Fuzhou, Fujian Province, 1940. He moved to Hong Kong in 1979, where he has been the editor of art magazines such as 'The World of Collectors' and 'Dragon Roots Art Magazine'. He moved again in 1996, but this time to Canada, where he now lives. Although he began his artistic career by teaching himself Western-style painting, he was interested in Chinese classical literature, poetry and landscape painting since the 1960s. His paintings are influenced by the Song masters of the 12th century, but he maintains his connection with the contemporary world by creating a seemingly flat pictorial space and a pixilated effect that reminds one of digital media. By choosing to paint in a classically derived style, Li Xubai asserts his cultural identity while working in a foreign land. The poems he inscribes on his paintings in traditional literati fashion usually mention his foreign residence, echoing numerous inscriptions by painterly predecessors who wistfully invoked their own political exile. In the present lot for example, Li wrote in the Song dynasty lyric-metre-style. According to the inscription, this painting and the poem were made in Canada at his home.Li's works have been exhibited widely, including at the University Museum and Art Gallery at the University of Hong Kong, Saatchi Gallery in London, and the He Xiangning Art Museum in Shenzhen.Compare with a related painting by Li Xubai, which was sold at Christie's Hong Kong, 29 May 2022, lot 1010.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

TONG YANGTZE (b.1942)Not Acting Does Not Imply an Inability to do so (Mencius), 1996Ink on paper, framed. 69cm long x 137cm wide (24 1/4in long x 54in wide).Footnotes:董陽孜（1942年生） 是不為也，非不能也（孟子） 水墨紙本 鏡框 1996年作Born in Shanghai in 1942, Tong Yang-tze begn to practice calligraphy at the age of eight in the styles of the fourth century Jin dynasty calligrapher Wang Xizhi (303-361) and Tang dynasty governor Yan Zhenqing (709-785). She received her BFA from the National Taiwan Normal University, and later studied oil painting and ceramics at the University of Massachusetts, where she received an MA degree in 1970. Tong, who currently lives and works in Taiwan, has gradually developed her own visual language that benefits from her previous training in different mediums and art-forms. Inspired by philosophical works like the Dao De jing and texts from Confucius and Mencius, Tong creates powerful calligraphic works in cursive style (caoshu) that reach toward the extremes of abstraction. Characters are dramatically distorted but usually remain decipherable so that there is a sustained dialogue between content and style, meaning and autonomous gesture. Variations in the width and character of the lines/strokes serve to sustain the effect of movement generated in the execution of each character and contribute to dramatic overall visual effects. Moreover, Tong's works - titled with the phrase calligraphed - are not only visually beautiful but are also profound in content.Tong Yangtze's works are in several important museums and collections, including the Kaohsiung Fine Art Museum, Taiwan; Taipei Fine Art Museum; the Olenska Foundation, Geneva; City University of Hong Kong; and the Taiwan National College of the Arts. See a related work by Tong Yangtze, illustrated in Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.166-167.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LIU DAN (b.1953)Old Cypress from the Forbidden City, 2007Ink on xuan paper, signed in lower right corner. 259.1cm high x 137.2cm wide (102in high x 54in wide) Footnotes:劉丹（1953年生） 紫禁城御花園古柏 水墨紙本 鏡框 2007年作Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.71.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, p.75.展覽著錄：《當代中國水墨畫》，紐約，2010年，第71頁。Michael Goedhuis著，《Ink: the Art of China》， 薩奇美術館，倫敦，2012年，第75頁。Liu Dan is one of the most internationally renowned painters of his generation, known for his meticulously detailed ink paintings of rocks, trees and flowers that combine literati traditions with western hyper-realism. Liu Dan's paintings of trees are rare, and most of his work usually depicts rocks or flowers. The present lot depicts a specific cypress tree in the Imperial garden of the Forbidden City. The garden, which is at the rear of the palace, was a private retreat for the Imperial family. Many of the trees planted there date to the Ming dynasty and are living time capsules of history. Indeed, the cypress in Chinese is baishu (柏樹) which is homophonous with bai (百) 'hundred', and so symbolises longevity as well as virtue. The present painting therefore, seems to capture the essence of China's long and textured history. Born in Nanjing, Jiangsu Province, in 1953, Liu studied the Confucian classics, poetry, painting, and calligraphy with his grandfather at an early age. After the disruption of the Cultural Revolution and joining the Nanjing Red Guards, Liu returned to traditional painting under Ya Ming (1924-2002) at the newly reopened Jiangsu Academy of Chinese Painting, Hangzhou, from 1978 to 1981. He later moved to Hawaii and studied Western art. Liu then moved to New York in 1992, and after fourteen years there, he returned to China in 2006.Despite his highly privileged training with noted ink painter Ya Ming, and years of study at the Jiangsu Provincial Academy of Painting in his native town of Nanjing, Liu Dan's work departs from the dramatic expressive qualities of the brush and brushstrokes that were central to his education. Having mastered the art of self-expression via the brushstroke, for centuries regarded as key to the most sophisticated Chinese ink painting revealing the hand and heart of the artist, Liu Dan rejected it in favour of a focus on structure. There are three reasons why Liu's painting moved away from brush-strokes to hyper-realism: Firstly, he found it imperative to reconnect with an original pure creative spirit and for this reason he delighted in the less self-conscious forms of classical and medieval Western art, and Chinese art of the Yuan dynasty (1271-1368) and earlier. Secondly, while living in the West - primarily Hawaii and New York, from 1981 until moving to Beijing in 2006 - he concluded that most twentieth-century Chinese art had been produced in response to external pressures. He aspired to be an agent of self-directed creativity rather than reactive production. Thirdly, he developed a personal philosophy of nature's generative force, observing that natural forms evolve and duplicate on a grand scale, such that rocks can be considered the 'stem cells of landscape, see, C.von Spee, Modern Chinese Ink Paintings, London, 2012, p.101. Liu Dan explains his doctrine as an artist: 'Your one responsibility as an artist is changing the visual experience of people, the way they look at things. Your one purpose is to encourage an openness of mind that allows them to look beyond everyday concerns and think freely.' Liu Dan's ink paintings, whether of landscapes, scholar's rocks, or old cypress trees in the Forbidden City, are all fastidiously conceived, complex works which highlight his concern to emphasise underlying compositional structure over virtuoso expressions of brushwork. Liu's paintings are collected globally and can be found in many prestigious museums and collections including the British Museum; the Musée Guimét, Paris; The Shanghai Contemporary Art Museum; the Ashmolean Museum, Oxford; and the San Diego Museum of Art. See a painting of a poppy by Liu Dan, which was sold at Christie's New York, 16 September 2016, lot 1118.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LI HUAYI (b.1948)Landscape, 2010-2011Ink on paper, signed on the bottom right, framed and glazed. 180cm high x 91cm wide (71in high x 36in wide). Footnotes:李華弌(1948年生) 山水 水墨紙本 鏡框 2010-2011年作Published, Illustrated and Exhibited: Michael Goedhuis, The Ink Art of China, London, 2019, pp.18-19. 展覽著錄：Michael Goedhuis著，《水墨中國》，倫敦，2019年，第18-19頁Li Huayi is internationally renowned for his meticulously detailed landscape paintings that are reminiscent of masterworks from the Song dynasty (960–1279). He was born in Shanghai in 1948. As a child, Li began studying ink painting with a family friend, Wang Chuantao (1903-1978), as well as Western-style painting with Zhang Chongren (1907-1998), who had trained at the Royal Academy of Arts in Brussels. Li was thus trained well in the technical skills of European painting and traditional Chinese painting. Li can thus be said to have inherited Shanghai's cosmopolitan past. As a young man growing up in China during the Cultural Revolution, however, artists and art students were expected to produce the Socialist Realist propaganda images demanded at the time. By the time the Cultural Revolution ended following the death of Mao Zedong in 1976, young artists were eager to experiment and develop new ideas about making art. The open-door policy initiated in 1979 opened up new possibilities and in 1982, Li Huayi emigrated to the United States to find an art world in transition from abstraction to post-modernism. During his graduate studies at the Academy of Art College in San Francisco, he began to concentrate on subtle abstract compositions, unlike anything he had attempted in China. After a decade in San Francisco, Li Huayi's artistic experimentation and transformation bore fruit. Li travelled to China's famous mountains and to the Buddhist caves of Dunhuang, as a means of rejuvenating his art through the inspiration of natural beauty. He once again turned his attention to the classical masterpieces of Chinese landscape painting - in particular the masters of Northern Song dynasty monumental landscape painting such as Fan Kuan (c.960-1030), Li Cheng (919-967), and Guo Xi (c.1020-1090); see Eskenazi Ltd., Waterfalls, rocks and bamboo by Li Huayi, London, 2014, p.11.Li Huayi's careful study of the classics of Chinese and European painting, as well as the modern American practice of abstraction, yielded paintings that are at once firmly rooted in the history of Chinese art and instantaneously meaningful to contemporary viewers. As Li said himself: I began to incorporate elements from traditional Chinese arts in my own works. Tradition is the spiritual core of every form of Chinese art – porcelain, pottery, rubbings, carvings, everything. But each of these arts also contains an abstract side; see M.Knight, The Monumental Landscapes of Li Huayi, San Francisco, 2005, p.2.The solid pine, the mist that both divides and unites the mountain peaks, the overhanging cliff, the tree clinging to rocky precipices, all echo the most potent motifs of Northern Song painting. Li's synthesis of styles is achieved through fastidiously rendered brushstrokes and a unique sense of composition that is inspired by the past and wholly his own. The dreamlike contrasts of pale mist and dark mountain cliffs also resemble works of the seventeenth century artists of the weird and fantastic, most notably Wu Bin (1573-1620) and Gong Xian (1618-1689), who created bizarre images of completely impossible mountains and rocks. The meticulously detailed trees and rocks in Li Huayi's paintings are convincingly naturalistic, but they are placed in impossibly dangerous mountain settings. Clearly imaginary, they are powerfully persuasive.Li applies ink on the paper first, and then allows the composition to take shape in response to the density of the ink. This element of chance brings his work close to late or post-modernist ideas. His success at unsettling or disturbing the viewer seems grounded in our shared conviction that the universe is indeed an orderly one and that both artist and viewer share this knowledge. This order, so well understood and recreated by the great landscapists of the Song dynasty, has in the artist's work, slipped only temporarily out of our grasp, like an interrupted dream. As modern as they are antique, these paintings persuade us that they are part of a cosmic whole and that they exemplify a universal harmony.Li Huayi's paintings are in many prestigious museums across the world, including the Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the National Museum of Tokyo; and Brooklyn Museum, New York. See a related landscape painting by Li Huayi, painted in 2008, which was sold at Christie's New York, 10 November 2022, lot 180.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

XU BING (b.1955)Happy the Man, 2019Ink on paper, signed by the artist and with two seals, framed. 60cm high x 100cm wide (23 1/2in high x 39 1/2in wide).Footnotes:徐冰（1955年生）快樂的人 水墨紙本 鏡框 2019年作Xu Bing, born in Chongqing, Sichuan Province, is one of modern China's internationally acclaimed artists. He originally entered the Printmaking Department of the Central Academy of Fine Arts, Beijing, in 1977, and eventually began to teach and acquired his Master of Fine Arts there. The work that made Xu Bing's name however, was the monumental installation Tianshu (1987-1991), now known as Book from the Sky; woodblock printed books containing thousands of invented characters that cannot be decoded. The artwork raised fundamental questions about the Chinese identity and its relationship to the written word. In 1988 he participated in the pioneering and seminal Chinese contemporary art exhibition 'China Avant-Garde' at the National Gallery, Beijing. A year later, Xu became honorary fellow at the University of Wisconsin-Madison and moved to the United States. Starting in 1993, the year in which Xu moved back to Beijing, he began to exhibit widely throughout the world and gained international prominence as an artist and educator.Xu is perhaps most famous, however, for his square-word calligraphy, as exemplified in the present lot. Square-word calligraphy, also known as New English calligraphy, is a way of presenting English or other words of the Roman alphabet as Chinese characters. The appearance of the writing is very close to that of a Chinese text; yet closer inspection shows that each 'character' is composed not a brushstroke components representing the radical or phonetic elements of a Chinese character, but letters of the Roman alphabet organised in a way that resembles the shape and proportions of Chinese characters. The present lot in fact is from the poem by John Dryden (1631-1700), 'Happy the Man'. Square word calligraphy forces the viewer to readjust their reading, and raises questions about cultural assumptions regarding language. It perhaps gives the viewer the feeling of learning to read again; see Xu Bing: Landscape/Landscript: Nature and Language in the Art of Xu Bing, Oxford, 2013, p.149.See a related piece of Square-word calligraphy 'On Returning to the Wheel Rim River', by Xu Bing, which was sold at Sotheby's Hong Kong, 1 October 2018, lot 584.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LI JIN (b.1958)Health, 2005Ink on paper, with calligraphic inscription and seal of the artist, glazed and framed. 45cm wide x 38cm high (17 3/4in wide x 15in high). Footnotes:李津（1958年生） 中華有神功 水墨紙本 鏡框 2005年作Li Jin and his work belongs to the 'New Literati' movement of Chinese ink painting but are more quirky than most, exuding a hedonistic and charming appreciation for the simple things in life, notably food, wine and sex, but also bathing and sleeping etc. Before his study in the Painting Department at the Tianjin Academy of Fine Arts, where he now teaches, Li Studied dyeing and weaving at the Tianjin Academy of Arts and Crafts, which partly explains his mastery of pattern and colour. His aunt was Zhou Sicong (1939-1996), an important ink painter who often made use of bleeding colour or ink. This technique can often be seen in Li's own paintings which hint at insouciance but, like all good literati painting, could not be created without mastery of the brush. Li Jin gradually formed his uniquely playful style in the early 1990s, and is now famous for his humour and seductive depictions of the good life. In contrast to the formality and stereotyped subjects of historical literati paintings - often derived from famous texts, pictures by earlier masters, or both - food and wine and the simple things in today's life are Li's subject matter. The Falstaffian figure that appears repeatedly in his work is modelled on himself. For more on Li Jin, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.148-150.The present lot is typical of the artist's humour. The inscription reads: 中华有神功, which may be translated as 'Amazing Kungfu in China' and is actually taken from a popular song by Tu Honggang. It depicts an ailing figure with pain in his expression as the skin on his back is pulled by the heated glass bulbs for moxibustion, exhibiting Li Jin's unique mix of tradition, modernity and humour.Li Jin's paintings are in several important institutions and collections globally, including the National Arts Museum, Beijing; Hong Kong Museum of Art; Olenska Collection, Geneva; Seattle Art Museum; and the Berkeley Art Museum.For further information on this lot please visit Bonhams.com

LI JIN (b.1958)Reading at Night, 2005Ink on paper, signed and dated, with calligraphic inscription and seal of the artist, glazed and framed. 38.1cm wide x 44.5cm high (15in wide x 17 1/2 high).Footnotes:李津（1958年生） 夜讀圖卷 水墨紙本 鏡框 2005年作The inscription on the present lot reads: 夜讀圖卷, which may be translated as 'Scroll of Night Reading'. It depicts a man sitting before an open book, but his mind wanders as he gazes up. A cat sleeps beneath the table echoing the figures' idleness and leisure.Li Jin and his work belongs to the 'New Literati' movement of Chinese ink painting but are more quirky than most, exuding a hedonistic and charming appreciation for the simple things in life, notably food, wine and sex, but also bathing and sleeping etc. Before his study in the Painting Department at the Tianjin Academy of Fine Arts, where he now teaches, Li Studied dyeing and weaving at the Tianjin Academy of Arts and Crafts, which partly explains his mastery of pattern and colour. His aunt was Zhou Sicong (1939-1996), an important ink painter who often made use of bleeding colour or ink. This technique can often be seen in Li's own paintings which hint at insouciance but, like all good literati painting, could not be created without mastery of the brush. Li Jin gradually formed his uniquely playful style in the early 1990s, and is now famous for his humour and seductive depictions of the good life. In contrast to the formality and stereotyped subjects of historical literati paintings - often derived from famous texts, pictures by earlier masters, or both - food and wine and the simple things in today's life are Li's subject matter. The Falstaffian figure that appears repeatedly in his work is modelled on himself. For more on Li Jin, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.148-150.Li Jin's paintings are in several important institutions and collections globally, including the National Arts Museum, Beijing; Hong Kong Museum of Art; Olenska Collection, Geneva; Seattle Art Museum; and the Berkeley Art Museum.For further information on this lot please visit Bonhams.com

GU WENDA (b.1955)Forest of Stone Stele #16, 2000,Ink rubbing on rice paper, edition 2 of 25, framed. 180cm high x 97cm wide (71in high x 38in wide). Footnotes:谷文達（1955年生） 碑林#16 拓片 版次2/25 鏡框 2000年作Gu Wenda was a leading figure of China's 1980s 'New Wave' art movement, and later a prominent member of China's art diaspora when he moved to New York in 1987. He originally studied traditional ink painting at the Zhejiang Academy of Fine Arts and achieved a superlative degree of technical skill which he put to devestating effect during the exciting era of China's opening-up policy. His early landscapes, such as Ink Valley and White Water (1986), illustrated in China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, p.89, show an understanding of historical masters but feature iconoclastic compositions and surreal spaces, reflecting the mentality of Chinese society and idealist art of the 1980s, when huge social changes took place. By combining different character components, Gu has invented unreadable characters to investigate the power of the written word. In most of these works, he places these powerfully symbolic pseudo-characters in vast surreal spaces. See for example, The Mythos of Lost Dynasties, C Series No.6: Cloud and Water, 1996-1997, illustrated in Chinese Ink Painting Today, New York, 2010, pp.152-153. For more information about Gu Wenda, see also W.Hung, Contemporary Chinese Art: A History, 1970s>2000s, Singapore, 2014, pp.314-315.Gu Wenda's works are in many prestigious collections and museums globally, including the Guggenheim Museum, New York; The British Museum, London; the Museum of Fine Arts, Boston; the Uli Sigg Collection, Switzerland; Shanghai Art Museum; China National Art Museum, Beijing; and the San Francisco Museum of Modern Art.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

GU WENDA (b.1955)Storm Clouds Gathering Over a Small Hut, 1993Ink on paper, signed by the artist, framed. 68.5cm high x 99cm wide (27in high x 39in wide). Footnotes:谷文達（1955年生） 曲徑通幽處 水墨紙本 鏡框 1993年作 Gu Wenda was a leading figure of China's 1980s 'New Wave' art movement, and later a prominent member of China's art diaspora when he moved to New York in 1987. He originally studied traditional ink painting at the Zhejiang Academy of Fine Arts and achieved a superlative degree of technical skill which he put to devastating effect during the exciting era of China's opening-up policy. His early landscapes, such as Ink Valley and White Water (1986), illustrated in China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, p.89, show an understanding of historical masters but feature iconoclastic compositions and surreal spaces, reflecting the mentality of Chinese society and idealist art of the 1980s, when huge social changes took place. By combining different character components, Gu has invented unreadable characters to investigate the power of the written word. In most of these works, he places these powerfully symbolic pseudo-characters in vast surreal spaces. See for example, The Mythos of Lost Dynasties, C Series No.6: Cloud and Water, 1996-1997, illustrated in Chinese Ink Painting Today, New York, 2010, pp.152-153. For more details about Gu Wenda, see also W.Hung, Contemporary Chinese Art: A History, 1970s>2000s, Singapore, 2014, pp.314-315. The present lot is titled and inscribed with a line from a Tang dynasty poem by Chang Jian 常建 (708-765) which may be literally translated as 'the winding path leading to the dark and secluded place' (曲徑通幽處).The painting thus encapsulated Gu's understanding of traditional art and literature, with his innovative spirit. Gu Wenda's works are in numerous prestigious collections and museums globally, including the Guggenheim Museum, New York; The British Museum, London; the Museum of Fine Arts, Boston; the Uli Sigg Collection, Switzerland; Shanghai Art Museum; China National Art Museum, Beijing; and the San Francisco Museum of Modern Art. Compare with a related painting by Gu Wenda, which was sold at Sotheby's Hong Kong, 5 October 2015, lot 2803.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

CHUN-YI LEE (b.1965)Painting in Poetry, 2012Ink on paper, hanging scroll. 152.4cm long x 68.6cm wide (60in long x 27in wide). Footnotes:李君毅（1965年生）詩中有畫 水墨紙本 鏡框 2012年作Born in Taiwan in 1965, Chun-Yi Lee moved to Hong Kong in 1970 and graduated from the Chinese University of Hong Kong, where he was deeply influenced by his teacher Liu Kuo-sung. Lee obtained his MFA from the Graduate Program of Fine Arts of Tunghai University in Taiwan. Inspired by the ancient technique of Chinese ink-rubbing, at a distance, his landscapes appear to be timeless archetypal landscapes reminiscent of traditional Chinese paintings that symbolise harmony with the cosmos. Upon closer inspection, however, one realises that the landscape is not created by brushstrokes but a stunningly meticulous grid-like structure. Eschewing the brush, Lee Chun-yi creates monumental yet intricately pixelated ink paintings produced by repeatedly imprinting small cubic stamps made of soft wood or cork. Lee's process is inspired by engraved stone steles from the Northern Wei period (386-535) and the seals affixed to Chinese paintings or carved woodblocks used in traditional printmaking. This creates apparently ordinary yet deconstructed landscapes. Literally building up a visual composition through words, his paintings function as symbolic poems, with the strength of the stamp indicating the intended tone of expression.As a native of Taiwan and student in Hong Kong following the years of cultural unrest in mainland China, Lee positions his works between history and the current situation between the straits. By depicting the landscape as a fragmented whole, Lee illustrates an interpretation of nationalism. While the landscape acts as a symbol of history and cultural identity, Lee breaks down the whole into a fragmented puzzle and a state of confusion. Lee's art, masterfully executed and thoughtfully conceived, is thus both nostalgic and revolutionary, forging an entirely unique and contemporary visual language even while evoking the past.The title of the present lot, 'Painting in poetry' is taken from the Northern Song dynasty literatus Su Shi (1037-1101) who commented on a the work of Tang dynasty poet and painter Wang Wei: 'in poetry there is painting, in painting there is poetry' (詩中有畫，畫中有詩). Lee takes this to a new level however, as his paintings are literally made of characters.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

CHUN-YI LEE (b.1965)Unyielding Mountains, 2009Ink on paper, framed. 66.3cm high x 78.5cm wide (26 1/8in high x 30 7/8in wide).Footnotes:李君毅（1965年生）不屈的山 水墨紙本 鏡框 2009年作Born in Taiwan in 1965, Chun-Yi Lee moved to Hong Kong in 1970 and graduated from the Chinese University of Hong Kong, where he was deeply influenced by his teacher Liu Kuo-sung. Lee obtained his MFA from the Graduate Program of Fine Arts of Tunghai University in Taiwan. Inspired by the ancient technique of Chinese ink-rubbing, at a distance his landscapes appear to be timeless archetypal landscapes reminiscent of traditional Chinese paintings that symbolise harmony with the cosmos. Upon closer inspection, however, one realises that the landscape is not created by brushstrokes but a stunningly meticulous grid-like structure. Eschewing the brush, Lee Chun-yi creates monumental yet intricately pixelated ink paintings produced by repeatedly imprinting small cubic stamps made of soft wood or cork. Lee's process is inspired by engraved stone steles from the Northern Wei period and the seals affixed to Chinese paintings or carved woodblocks used in traditional printmaking. This creates apparently ordinary yet deconstructed landscapes. Literally building up a visual composition through words, his paintings function as symbolic poems, with the strength of the stamp indicating the intended tone of expression.As a native of Taiwan and student in Hong Kong following the years of cultural unrest in mainland China, Lee positions his works between history and the current situation between the straits. The present lot is stamped with both the Communist hammer and sickle, as well as the Republican sun used in the Taiwanese flag. By depicting the landscape as a fragmented whole, Lee illustrates an interpretation of nationalism. While the landscape acts as a symbol of history and cultural identity, Lee breaks down the whole into a fragmented puzzle and a state of confusion. Lee's art, masterfully executed and thoughtfully conceived, is thus both nostalgic and revolutionary, forging an entirely unique and contemporary visual language even while evoking the past. Lee has participated in over 30 group and solo exhibitions internationally. His works have been collected by the Ashmolean Museum, Oxford; the Arthur M. Sackler Museum, Harvard University; the Asian Art Museum, San Francisco; the Phoenix Art Museum, USA; the Jiangsu Art Museum; the Qingdao Art Museum, China; the National Arts Education Institute, Taipei; the Hong Kong Museum of Art, and other public and private collections.Compare with a related painting by Chun-Yi Lee, which was sold at Sotheby's Hong Kong, 5 October 2015, lot 2835.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LIU KUO-SUNG (b.1932)Autumn Landscape, 1965Ink on paper, signature and seal of the artist, framed. 92.3cm long x 59.8cm wide (36 1/3in long x 23 1/2in wide).Footnotes:劉國松（1932年生） 秋景 水墨紙本 鏡框 1965年作Born in Bangbu, Anhui Province, in 1932, Liu Kuo-sung (also Liu Guosong) is sometimes known as the 'Father of Modern Chinese Ink Painting'. He is recognised as one of the earliest and most important advocates and practitioners of modernist Chinese art. He moved to Taiwan in 1949. In 1956, Liu graduated from the Fine Arts Department of the National Taiwan Normal University, where he studied both traditional brush-and-ink and Western-style painting techniques. As one of the co-founders of Taiwan's Fifth Moon Painting Society (Wuyue huahui 五月畫會) in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting especially the style of the late Tang period (618-907) and the monumental landscape painting style of the 10th to 11th centuries - as well as modern styles and techniques, such as abstract expressionism. Before turning to ink painting in 1961, Liu experimented with abstract oils. By the mid-1960s, Liu had gradually developed his own personal pictorial formulae, in which he combines ink painting with collage and applies ink and colour on special paper. The present lot is an example of his fusion of landscape and abstraction and represents the mature style that has earned him a place in many prestigious international exhibitions. His works have been collected by almost seventy prestigious museums and galleries, including the Palace Museum in Beijing, the British Museum in London and the Asian Art Museum of San Francisco; the Chicago Art Institute; Cleveland Museum of Art, The Nelson Gallery of Art and Catkins Museum; Hong Kong Museum of Art; The City Art Gallery, Bristol; and the National Gallery of Art and Museum of History, Taipei. See Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.196. See also a related painting by Liu Kuo-sung, 1964, illustrated by Chu-tsing Li, Liu Kuo-Sung: The Growth of a Modern Chinese Artist, Taipei, 1969, p.35.Compare also with a similar painting by Liu Kuo-sung, 'Windswept', which was sold at Christie's Hong Kong, 28 May 2018, lot 867.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

ZENG XIAOJUN (b.1954)Ancient Wood from Horyu Temple in Nara, Japan No. 2, 2004Ink on xuan paper, framed. 182cm long x 126cm wide (71 3/4in long × 49 1/2in wide). Footnotes:曾小俊（1954年生）奈良法隆寺古木，日本No.2 水墨紙本 鏡框 2004年作 Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.62.Michael Goedhuis, The Ink Art of China, London, 2019, pp.10-11.展覽著錄：《當代中國水墨畫》，紐約，2010年，第62頁Michael Goedhuis著，《水墨中国》，伦敦，2019年，第10-11頁Zeng Xiaojun was born in Beijing in 1954. He graduated from the Central Academy of Fine Arts, Beijing, in 1981, specialising in mural painting. He moved to the United States in 1983 and lived for the next fourteen years in Boston, where he exhibited and taught until 1997. Drawing inspiration from the literati landscape painting tradition, especially works by Shen Zhou (1427–1509) and Wen Zhengming (1470–1559) of the Ming dynasty, Zeng extracts rocks and trees from the context of landscape and depicts them as isolated objects. Zeng Xiaojun collects antique furniture, scholar's rocks and grotesque roots which the Chinese literati have long held the tradition of depicting.Employing a delicate balance between dry and wet, lines and dots, his meticulously executed paintings remind us of the Chinese scholars' fascination with these subjects as embodiments of their own spiritual perseverance in times of difficulty and turbulence. Together with the work of Liu Dan, Zeng Xiaojun's ink paintings are a powerful example of how the high culture of traditional China can be reinvigorated for contemporary society.See a related painting by Zeng Xiaojun, 'Wild Spirit Screen No.2', 2013, which was sold at Christie's Hong Kong, 28 May 2018, lot 858.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WANG DONGLING (b.1945)Confrontation of Yin and Yang, 2005Ink on xuan paper, signed on the lower right, dated 2005.4. 216cm high x 144.8cm wide (85in high x 57in wide). Footnotes:王冬齡（1945年生）陰陽際會 水墨紙本 鏡框 2005年作Published, Illustrated and Exhibited: Louisiana Museum of Modern Art, China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006, Humlebaek, 2007, pp.275-276.Chinese Ink Painting Now, New York, 2010, p.111. Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.86-87.Michael Goedhuis, The Ink Art of China, London, 2019, pp.6-7. 展覽著錄：路易斯安納現代藝術博物館, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第275-276頁《當代中國水墨畫》，紐約，2010年，第111頁Michael Goedhuis著，《Ink: the Art of China》， 薩奇美術館，倫敦，2012年，第55頁。pp.86-87Michael Goedhuis著，《水墨中國》，倫敦，2019年，第6-7頁Wang Dongling was born in Jiangsu Province in 1945. When he was 17, he was admitted into the Department of Fine Arts at Nanjing Normal University and studied calligraphy. The classes were interrupted, however, by the Cultural Revolution during the 1960s, but Wang survived the turmoil by writing big-character posters featuring a revolutionary slogan for posting in a public place, a job that ironically provided him with an artistic freedom not available at the university. After the Cultural Revolution, Wang attended the Zhejiang Academy of Fine Arts in Hangzhou and received his MFA degree in 1981; he has taught there (now the China Academy of Art) ever since, and he is currently Vice-Chair of the Calligraphy Department. Wang Dongling's works were influenced by his experience in the United States from 1989 to 1992, when he served as a visiting professor at the University of Minnesota and at the University of California, Santa Cruz. His solid and structural forms are reminiscent in particular of the abstract expressionist painter Franz Kline; for a comparison of Franz Kline's work and Wang Dongling's work, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.108-109.Wang began developing a new form of composition that synthesises traditional Chinese aesthetics such as the use of negative space and flying white (feibai; drybrush technique) with abstract expressionist art. Wang's calligraphy pushes it to extreme as they are no longer decipherable Chinese characters, but become purely abstract paintings rather than calligraphy. Wang Dongling has been enormously influential on the whole development of contemporary calligraphy and ink painting. His works have been prominently exhibited at the Metropolitan Museum of Art, Guggenheim Museum, New York; Yale University Art Gallery, and the Palace Museum, Beijing.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

ZHENG CHONGBIN (b.1961)The Propositions of Alignment (D), 2014Ink and acrylic on xuan paper, framed. 84cm high x 83cm wide (33in high x 32 5/8in wide). Footnotes:鄭重賓（1961年生）對齊的命題(D) 水墨丙烯紙本 鏡框 2014年作Published, Illustrated and Exhibited: Michael Goedhuis, The Ink Art of China, London, 2015, pp.16-17. 展覽著錄：Michael Goedhuis著，《水墨中国》，伦敦，2015年，第16-17頁Zheng Chongbin was born in Shanghai in 1961 and attended the Zhejiang Academy of Fine Arts (now the China Academy of Art) in 1980, specialising in figure painting in the Chinese historical style. After graduating in 1984, he taught painting at his alma mater for four years and began to create abstract works, highlighting the interplay between black and white and the spatial aspects of ink painting as a material. His experimental ink paintings were exhibited in a solo show in 1988 at the Shanghai Museum of Art. Later, he travelled to the United States as a student and received his MFA from the San Francisco Art Institute in 1991. He currently lives near San Francisco Art Institute and maintains a studio in Shanghai. Zheng has developed a unique hybrid visual language as a result of his bi-cultural background, as well as an effort to explore and deconstruct the Classical Chinese ink canons and Western pictorial abstraction conventions. His richly textured ink surface, emerging from the interplay of ink, acrylic, water, paper and light, confronts issues of form and loftier metaphysical dimensions. One of the core notions in Zheng's art is that the world is always in flux, made up of flows of matter and energy that constantly cohere and dissipate.Zheng's works have been collected by many internationally renowned institutions including the British Museum, London; the Metropolitan Museum of Art and Brooklyn Museum, New York; M+ Museum, Hong Kong and others; see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.201-202.Compare with a related painting by Zheng Chongbin, 'Linear Amplification', 2014, which was sold at Christie's Hong Kong, 26 November 2018, lot 872.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com