Finely executed Chinese ancestral portrait painting on paper, possibly depicting Empress Dowager Cixi, one of the most influential figures of the late Qing dynasty. The sitter is portrayed in a regal frontal pose, seated on an ornate wooden chair, wearing an opulent red robe richly adorned with five-clawed imperial dragons, stylized clouds, and auspicious Buddhist symbols. The robe's elaborate embroidery in gold, blue, and green pigments signifies high status, as such motifs were reserved for members of the imperial court. She wears an elaborate headdress featuring phoenix motifs, pearls, and floral embellishments, further reinforcing her noble standing. Ancestral portraits of this nature were traditionally commissioned for veneration and held deep significance in Confucian practices, serving as a means to honor lineage and preserve historical memory. Red seal on lower right. Framed in a simple yet elegant gilt frame.Issued: Late Qing Dynasty. 19th centuryDimensions: 21.50"L x 39.25"HCountry of Origin: ChinaCondition: Age related wear.
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Finely crafted Chinese inside-painted glass snuff bottle depicting a bustling market scene with detailed architecture, bridges, and colorful figures. This intricately painted design showcases remarkable artistry, achieved through reverse painting on the interior surface of the bottle. The bottle features side relief carvings and is topped with a rounded green stone stopper with a fitted spoon. The artwork includes Chinese calligraphy at the top.Issued: c. 20th centuryDimensions: 3"HCondition: Age related wear.
![[Chinese Propaganda] A group of items including five colour posters comprising a poster for The Revolution Propaganda of Mao](https://cdn.globalauctionplatform.com/d55b1a70-b7d4-4843-88b5-b29100eda30e/98b8e348-0150-43c0-b0db-b2b200f3bf09/468x382.jpg)
[Chinese Propaganda] A group of items including five colour posters comprising a poster for The Revolution Propaganda of Mao Zedong Thought, The Proletarian Revolutionaries Hold Great Power! (1968), another from 1970 Unite To Defeat The American Invaders, a poster of Ouyang Hai (member of the Communist youth league, killed whilst preventing a rail disaster) and a framed colour print of Chairman Mao declaring the establishment of the People's Republic, taken from a 1953 painting, the text of all in Chinese. Brochure of a Revolutionary Modern Dance Drama 'Red Detachment of Women' (text in Chinese) Adapted by the Chinese Dance Drama Troupe May 1970 with illustrations from the performance, in colour wrappers. China Reconstructs, two illustrated Magazines for August & Oct. 1967. Book of Quotations from Chairman Mao Tse-Tung published Peking 1966. Colour paper tags for the 50th Anniversary of the Communist Party 1921-1971 and six Chinese pin badges
A collection of Continental porcelain, comprising, a Vienna coffee pot and cover, 18/19th century, painted mark, 21cm high, a large tankard, 19th century, in the Chinese taste, 14.5cm high, a Kakeimon style bottle vase, 19th century, 20cm high, a pair of Meissen style cups and saucers, 19th century, decorated with fruit on a turquiose ground, crossed swords mark, saucers 12.5cm diameter, a Berlin cup and saucer, 19th century, outside decorated, baton mark, saucer 11cm and four further pieces (14)Provenance: The David and Sarah Battie Collection.Condition ReportPot, knob to cover broken and missingTankard, broken and gluedKakeimon, painting a little rubbedCups and saucers, goodBerlin, chip and crack to cup, chip to saucerFurther, jug repaired spoutPlease see additional images.
TA 5% Vat. KANŌ SOSEN (1814 — 1897)Poet Libai at the Lushan WaterfallEdo period, circa 1870sA pair of Japanese hanging scroll paintings, kakejiku, ink and colour on silk, the left showing the Chinese poet Libai (Rihaku) (701 — 762) on a cliff edge accompanied by a pot of wine, admiring the Lushan (Rozan) waterfall depicted on the right scroll, with mist and spray rising up from the water to envelope the rock on which the poet is perched, each signed Kanō Sosen hitsu and sealed.Image each 122cm x 31cm; total 202cm x 44.5cm (2) Provenance: the Claudio Perino Collection, Turin, acquired mostly in Japan in early 2000s.Exhibited: MAO Museo d'Arte Orientale, Turin, and Mueo delle Culture, Lugano, March - June 2021.Literature: featured in the exhibition catalogue Kakemono, Five centiuries of Japanese painting. The Perino Collection, p. 189, no 175. Kanō Sosen can be associated with the later days of Kanō school, when a range of forms, styles and subject matter had been developed away from its earlier characteristic gold leaf and bold outlines. This pair of scrolls harks back to founder Kanō Masanobu’s (1434-1530) interest in Chinese idealist traditions and subject matter. Libai (701 – 762) was one of the most prolific and important literary figures of the Tang dynasty, known to enjoy his wine as much as composing poetry. This lot has been imported from outside the UK for sale and placed under the Temporary Admission (TA) regime. Import VAT is payable at 5% on the hammer price. Standard VAT at 20% will be added to the buyer’s premium. Buyers are invited to familiarise themselves with these rules prior to bidding.
TA 5% Vat. SHUGETSU (1440? — 1529)Daruma on a ReedAshikaga period, 15th/16th centuryA Japanese hanging scroll painting, kakejiku, ink on paper, depicting the Bodhidharma Daruma crossing the Yangtze River in China on a reed as he proceeds to the capital city of Luoyang, signed Nyūtō Shugetsu and sealed, together with certificate of authenticity signed Kanō Einō (1631-1697) and a tomobako.Image 87cm x 23cm; total 173cm x 35.5cm Provenance: the Claudio Perino Collection, Turin, acquired mostly in Japan in early 2000s.Exhibited: MAO Museo d'Arte Orientale, Turin, and MUSEC Museo delle Culture, Lugano, 2020 - 2022.Literature: the exhibition catalogue Kakemono, Five centiuries of Japanese painting. The Perino Collection, p. 86, no 66. In his depiction of the founder of the Zen sect of Buddhism, Shugetsu focussed on the arhat’s face, painted with a few simple lines, but full of expression: his eye, wide open and looking skyward is present and piercing. This contrasts the minimalist outline of his cape and only the suggestion of a foot poking from underneath, reminiscent of the traditional depictions of Daruma as a round doll. According to legend, following an unsuccessful encounter with the Chinese Liang Dynasty Emperor Wu, Daruma is said to have sailed up the Yangtze River on a single reed to continue his journey to promote Zen. This lot has been imported from outside the UK for sale and placed under the Temporary Admission (TA) regime. Import VAT is payable at 5% on the hammer price. Standard VAT at 20% will be added to the buyer’s premium. Buyers are invited to familiarise themselves with these rules prior to bidding.
AFTER LIU SONGIAN ( 1155-1218). A LARGE CHINESE PAINTING20th century Opaque pigments on paper, painted with a monk and young attendant standing beneath a peach tree with two monkeys in its branches and two deer standing below, red seal mark, image 119cm by 57cm, mounted, framed and glazedThe painting is in overall good condition.Some markings to the green mount along the top
ELEVEN CHINESE BLUE AND WHITE TEABOWLS AND ELEVEN BLUE AND WHITE SAUCERS (22)18th/19th century The teabowls painted with flower panels, the saucers painted in the centre with flowers and rocks inside a flower panelled border, saucers approx. 14cm diameterTeabowls. One restored. Five with rim chips and/or haircracks.Five with some glaze fritting around the rim. Some variance in the painting and tone of blueSaucers- two with haircracks to the rim. Two with restoration to the rims. One of these also with a haircrack across the centre. The remaining saucers in overall good condition with some fritting around the rims. Some variance in the designs and tone of blue
Yang Yang (Chinese, b. 1953). Acrylic on canvas painting depicting a nude figure astride a horse with a crowd. Signed along the lower right.Unframed; height: 30 in x width: 30 in. Unframed; height: 32 3/4 in x width: 32 3/4 in x depth: 1 in.Condition: The colors are bold and bright and the surface is stable. There are no major losses or apparent restorations to the recto of the work. There is a patch to the verso in the lower left quadrant which appears to be original to the artistic process. The canvas is not attached to the frame. Light wear to the frame.
Hunt Slonem (American, b. 1951). Oil on canvas painting titled "Peace Plan 7" depicting a neo-expressionist depiction of birds and butterflies in black and white on a highly textured canvas, 2013. Signed, titled, and dated along the verso. Additionally inscribed "Hunt Slonem Studio AT0356" along the verso.Provenance: Harmon-Meek Gallery, Naples, Florida; Private Minnesota Collection.Hunt Slonem is a multi-talented artist best known for his Neo-Expressionist paintings of butterflies, bunnies, and his tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species. His designs often feature repetitive motifs based on this extensive collection.Slonem's artistic journey began in New York City in the late 1970s, following an unexpected opportunity to use artist Janet Fish’s studio and a grant from the Elizabeth Greenshields Foundation. His first solo show in 1977 at Harold Reed Gallery marked the start of a distinguished career, including high-profile exhibitions and connections with cultural icons like Andy Warhol and Truman Capote.His work is characterized by his love for the "exotica," particularly birds and butterflies, influenced by his early experiences in Hawaii and Nicaragua. His paintings are notable for their rich textures, bold colors, and repetitive motifs, reflecting both a fascination with the natural world and a commitment to the artistic process. His famous "Rabbit" series, inspired by the Chinese zodiac in the year he was born, and a large mural at Bryant Park Grill, exemplify his unique style.In addition to painting, Slonem has explored sculpture, interior design, and has collaborated with international and fashion brands, integrating his art into diverse media. His work continues to be celebrated for its playful and evocative qualities, bridging the gap between the natural and the fantastical.Unframed; height: 36 in x width: 48 in. Framed; height: 37 in x width: 49 in x depth: 2 in.Condition: Due to the richly textured impasto nature of the artwork, it is difficult to discern whether the painting has sustained any damage or not. However, there are no visible losses or signs of restoration when viewed under UV light. The colors are bold and deep and the surface appears stable. Housed within a wooden frame; light wear to the frame including a small scuff and chip to the lower left edge. Not inspected out of frame.
George Chann (Chinese/American, 1913-1995). Mixed media on canvas abstract painting in blue, yellow, and red. Signed along the lower right.Provenance: Private Texas Collection, 2023; Private Minnesota Collection.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 16 3/4 in x width: 21 1/4 in. Framed; height: 20 3/4 in x width: 25 in x depth: 1 in.Condition: The painting is in good condition overall. The surface is stable with no visible cracks or losses. When viewed under UV light, there are no visible areas of restoration. There is some soiling to the verso that does not affect the recto. The frame has some wear.
Chinese School (circa 1830) The Praya Grande, Macaooil on canvas21 x 28.5cmThe painting is executed in oil on a canvas support and attached to its original, wooden strainer. The canvas tension is slightly slack with undulations around the edges. Minor deformations have formed along the lower edge where debris has collected between the canvas and lower strainer bar. The paint layers are in a very good condition. A network of age cracks has formed across the surface, a few slightly lifted but generally stable overall. The varnish has yellowed with age and become dull. A thick dirt layer is present with spots and staining.27.5 x 35.5cm framed
A reverse glass painting, 18th/19th century, Chinese export, in the manner of François Boucher (French, 1703-1770), depicting Leda and the Swan seated by a lake,34.5 x 44cm, framedCondition ReportFrame 43cm x 53cm. Frame damaged to the outside with splits, chips and losses. Did not examine outside of the frame.
A Chinese ancestor portrait - probably first half 20th century, finely painted in ink and colours on paper with an elderly nobleman in his court robes in an interior, a screen with panels of calligraphy behind him and a clock and vase at his side, with various attendants to the foreground, 122.5 x 65cm, on a hanging scroll, overall size 165 x 73.5cm.The watercolour does appear to be considerably earlier than the scroll backing and is in good condition overall, with some evidence of old restorations and retouching. There are several patches which have been retouched in the past - these include two thumbnail sized patches of repainting to the blank panel to the left of the seated figure's head. Another two larger patches to the top left hand panel with gold on black calligraphy. A retouched tear to the top edge at the centre and two small retouched spots to just to the right of the screen behind the seated figure. Two small retouched areas above the outstretched hand and head of the child figure at the lower left and a few small retouched restored tears to the right hand margin and the lower right corner. There is also evidence of some retouching / overpainting around the seated figure's headdress. There are horizontal creases across the paper throughout the painting and the paper shows some time staining across the surface.
LANSDOWNE, J. FENWICKRare Birds of China. London: Kennedy Fine Arts, (1992). Copy 37 of 100, with each plate signed and numbered in pencil, and the same numeration in the companion text volume. Loose sheets in the elephant folio blue fabric case of publication, the text in a companion volume in wrappers laid-in, the prospectus included; the whole protected in the canvas sleeve of issue. 32 x 25 inches (81 x 63 cm); 32 superb color collotypes after the original watercolor paintings, printed on Fabriano paper; each plate is laid into a special printed Japanese paper sleeve with the plate name. Fine; Offered with the original watercolor for the plate of the Taiwan Magpie (urocissa caerulea), plate 10 in the set. Watercolor over pencil outline on paper, approximately 28 x 19 5/8 inches (71.5 x 50 cm) sight, signed J. F. Lansdowne (l.l.) and dated 1991; framed. In immaculate condition.The watercolors by J. Fenwick Lansdowne for this work are among the highest achievements of ornithological art. The Taiwan Magpie, depicted here, is represented by a male and female specimen in their natural habitat.This elephant-folio-sized set of ornithological plates, a triumph in their artistry, follows in the tradition of the great illustrated natural history monographs of the past centuries, such as Audubon's masterpiece, The Birds of America. The artist, J. Fenwick Lansdowne, was born in 1937 in Hong Kong to British parents and grew up in British Columbia, Canada. Stricken with polio as a baby, he developed both his love of birds and his talent as a painter from a young age, holding his first museum exhibition in 1952 at the Royal British Columbia Museum when he was just fourteen years old. As one of the world's foremost wildlife painters, often referred to as Audubon's successor, he is the artist who best maintained the tradition of bird painting and publishing into the late 20th century. Similar to Audubon, he would both study his subjects in the field and use museum collections of preserved specimens to paint his highly detailed and accurate watercolors. He died in Canada in 2008.The magnificent collotype plates include the following: Impeyan Monal Lophophorus impejanus; Temminck's Tragopan Tragopan temminckii; Satyr Tragopan Tragopan satyra; Swinhoe's Pheasant Lophura swinhoei; Elliot's Pheasant Syrmaticus ellioti; Mikado Pheasant Syrmaticus mikado; Blood Pheasant Ithaginis cruentus; Brown Eared Pheasant Crossoptilon mantchuricum; Himalayan Snowcock Tetraogallus himalayensis; Taiwan Magpie Urocissa caerulea; Chinese Parrotbill Paradoxornis heudei; Siberian Crane Grus leucogeranus; Rufous-necked Hornbill Aceros nipalensis; White Stork Iconia ciconia; Crested Ibis Nipponia nippon; White Eared Pheasant Crossoptilon crossoptilon; Japanese Crane Grus japonensis; Cabot's Tragopan Tragopan caboti; Mrs. Hume's Pheasant Syrmaticus humiae; Steller's Sea Eagle Haliarrtus pelagicus; Oriental Hobby Falco severus; Chinese Monal Lophophorus ihuysii; Omei Shan liocichla Liocichla omeiensis; Silver Oriole Oriolus mellianus; Blyth's Tragopan Tragopan blythii; Firethroat Erithacus pectardens; Scaly-sided Merganser Mergus squamatus; White-necked Crane Grus vipio; Fulien Slaty Bunting Latoucheornis siemsseni; Sclater's Monal Lophophorus sclateri; Black-necked Crane Grus nigricollis; Brown Wood Owl Strix leptogrammica.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
H W P (20th Century School) 'Still life of flowers', oil on canvas, initialled lower right, 24.5cm x 21cm with an accompanying Chinese ginger jar with turquoise glaze, unmarked, 12.5cm high, which is featured in the painting (2) Gold frame with extensive wear and in need of a gentle clean. The canvas itself seems ok. The jar with overall wear, some glaze faults and some minor glaze losses.
A CHINESE PORCELAIN VASE of inverted baluster form, painted in underglaze blue and over painted in famille rose enamels and gilded with two panels of figures on verandahs, unmarked, 7" high, together with a late 19th century oil on canvas laid onto board of the same vase as part of a still life with a covered porringer, fruit and a tortoiseshell album, 16" x 19 1/2" (2) (Est. plus 24% premium inc. VAT)Condition Report: Gilding is likely to be a London atelier, no damage per se but quite tired. Oil painting has quite heavy losses but is interesting together with the vase.
A CHINESE EXPORT PITH PAINTING OF A TIENTSIN BOAT Ink and colour on paper, circa late 19th century, framed 16 x 11cm and 28.5 x 25cm framed Ownership Statement: This item is offered for sale without disclosing the identity of the owner. Condition Report This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A Chinese Porcelain Ginger Jar and Cover, Kangxi reign mark but not of the period, of baluster form, painted in underglaze blue with birds and insects amongst foliage and rockwork38cm highon later hardwood standThe collar has been broken into three large pieces and very cleanly re glied, left honest with no over painting. No further chips, cracks or repair. Some glaze pitting and fritting.
Gabriela Max Dawn Bull, 2025 Pigment on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born and raised on a farm in a small countryside town in Brazil, Gabriela holds a Master's in Painting from Wimbledon College of Arts. Her mixed heritage-Spanish, Italian, Lebanese, Lithuanian, British, and Chinese-gives her a sense of enormity that she belongs to the world, but as her choice, the Natural World. Her work entwines a relationship between humans, animals and the environment, expressing her belief in the foundation of nature. Only Painting can depict what she wants to say. Her visual language encapsulates the chaos, energy, passion, and hostility of the wild animal she relates to. Travelling outside the studio on solo trips in different countries and connecting with natives allows her to build her own way of interpreting life and land into paint, aiming to create a unique structure and palette for her art. Being raised without connection to museums and art schools, the artist found her passion in painting through the earth. Inside nature, Gabriela has fallen for colour, texture, pigments, composition, and light. She once lived in a car in New Zealand for months, studying colour in nature through photography. The artist explains that being a solo traveller in remote nature gave her the material and philosophy while experiencing serenity towards immensity and aloneness. That energy is present through her work. Gabriela believes that to be an artist is to be transparent while uncovering the deep. Like the natural world, she describes her practice laying on changes, allowing the painting to guide her. Observing and living inside nature gave Gabriela's art a unique colour palette, compositions and essence for her art. After her Master's in Painting, Gabriela was selected for Clifford Chance with four of her prints and etchings, showing strength in the area. In March 2024, she participated in the exhibition "We Do Not Sleep" in Margate with five other successful woman artists. Later in May, she participated in a two-month Artist Residency in Morocco, Al Maqam, founded by Mohamed Mourabiti. Gabriela has also been selected as one of the artists for "The Lido Open 2024". In Gabriela's words, "The Nature Change, I change". The symbolism in her art becomes a live presence of her vision, preserving her belief that we are part of The Natural World. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Gabriela Max Dusk Bull, 2025 Pigment on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born and raised on a farm in a small countryside town in Brazil, Gabriela holds a Master's in Painting from Wimbledon College of Arts. Her mixed heritage-Spanish, Italian, Lebanese, Lithuanian, British, and Chinese-gives her a sense of enormity that she belongs to the world, but as her choice, the Natural World. Her work entwines a relationship between humans, animals and the environment, expressing her belief in the foundation of nature. Only Painting can depict what she wants to say. Her visual language encapsulates the chaos, energy, passion, and hostility of the wild animal she relates to. Travelling outside the studio on solo trips in different countries and connecting with natives allows her to build her own way of interpreting life and land into paint, aiming to create a unique structure and palette for her art. Being raised without connection to museums and art schools, the artist found her passion in painting through the earth. Inside nature, Gabriela has fallen for colour, texture, pigments, composition, and light. She once lived in a car in New Zealand for months, studying colour in nature through photography. The artist explains that being a solo traveller in remote nature gave her the material and philosophy while experiencing serenity towards immensity and aloneness. That energy is present through her work. Gabriela believes that to be an artist is to be transparent while uncovering the deep. Like the natural world, she describes her practice laying on changes, allowing the painting to guide her. Observing and living inside nature gave Gabriela's art a unique colour palette, compositions and essence for her art. After her Master's in Painting, Gabriela was selected for Clifford Chance with four of her prints and etchings, showing strength in the area. In March 2024, she participated in the exhibition "We Do Not Sleep" in Margate with five other successful woman artists. Later in May, she participated in a two-month Artist Residency in Morocco, Al Maqam, founded by Mohamed Mourabiti. Gabriela has also been selected as one of the artists for "The Lido Open 2024". In Gabriela's words, "The Nature Change, I change". The symbolism in her art becomes a live presence of her vision, preserving her belief that we are part of The Natural World. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
* JAMES TWEEDIE RGI (BRITISH b. 1951), CHINESE WHISPERS oil on board, signed, titled verso framed image size 60cm x 75cm, overall size 77cm x 92cm Note: A mostly self-taught artist, James Tweedie depicts the real world with a stroke of the surreal, to fill each painting with a sense of mystery, like that of a dream. He began his art career in 1972 and since then his work has been exhibited widely across the UK and Europe. His work can be found in many collections across the UK and North America. While born in Manchester, Tweedie moved when he was young to Glasgow, where he currently lives and works. He exhibits regularly in London, Glasgow, and Edinburgh. Tweedie has received a number of awards, including the Maude Gemmell Hutchison Prize and Scottish Arts Club Award from the Royal Scottish Academy, as well as the William Bowie Award from the Paisley Art Institute. He was elected as a member of the Royal Glasgow Institute of the Fine Arts (RGI) in 2016.
* Chinese. A painting on silk depicting ladies in an interior, early 20th century, watercolour and gouache on a cream silk ground, depicting 6 ladies in an interior furnished with a large screen painted with birds in a tree within a star and swastika border, and a number of pots and vases containing flowering plants and sprays on tables and jardinières, 4 x 1 mm worm hole, 36.5 x 40.5 cm (14.5 x 15.75 ins), framed and glazed (40.5 x 44 cm), backboard with worm holes and old manuscript label 'Right of Top Fireplace', together with:A hand-embroidered long banner, worked in blue, green, white, and black silks, on a gold silk ground (beginning to perish, with several tears, and lower edge frayed), depicting a motif with two fish at the top, and 2 large roundels below, each with a crane in the centre surrounded by floral motifs, and cornerpieces of flowers, bats, butterflies, and swastikas, lined with bright green silk (some marks and mottling), black plastic mount and hanging cord to upper edge, 150.5 x 47.5 cm (59.25 x 18.75 ins)QTY: (2)
JIA JUAN LI (CHINESE 20TH/21ST CENTURY) LA ROBE VERTE Oil on canvas Signed (lower right); further signed, titled and inscribed in Hanzi (verso) 65 x 54cm (25½ x 21¼ in.)Provenance: MacLean Fine Art, London Exhibited: London, Art London, 6-10 October, 2006 Condition Report: Examined under ultra violet light there is no evidence of restoration. The painting appears to be in very good condition. Condition Report Disclaimer
* Strickland Family Archive. A collection of approximately 200 drawings, late 18th-early 19th century, by various members of the family, comprising 25 finely executed botanical preparatory studies, in partial watercolour and pencil (believed to be by Juliana Strickland), and approximately 175 pencil sketches and studies, mostly of historical buildings and landscape scenes, the majority on loose sheets, some in sketchbooks (one disbound), or in portfolios (one titled in ink manuscript 'Mrs Freeman's Sketches'), many captioned, some dated, together with: several ink manuscript letters, lists etc. by the Strickland family (especially Strickland Freeman and his wife Elizabeth), one dated 1798, unsigned and describing a tour of the country, visiting various estates including Woburn, another similar, dated 1817 and describing a tour around Devonshire, with accompanying itinerary; empty envelope addressed to 'Mr Freeman, Fawley Court'; a paper bi-fold roughly titled 'Monsters', containing numerous ink blot insects and animals; ink manuscript notes regarding oil painting, the materials used and their preparation; a pencil manuscript list of people met with notes about them (eg. 'good humour & honor' [sic], 'mate of the Perseverance East Indiaman', etc.), a small folder of leaf skeletons together with ink manuscript notes on how to make them, and a few silhouettes, also a folder containing 24 Chinese Export? watercolour drawings of a red plant (seaweed?) and 26 watercolour drawings of oysters?, some with Chinese annotations in ink manuscript, most with English ink manuscript annotations, apparently regarding prices, quality of the materials, and possible use of the red seaweed for making buttons, plus: a single folio sheet advertisement for 'John Holl, Bookseller, Printer and Stationer, High-Street, Worcester', circa 1790, printed on both sides with details of publications, pocket-books and almanacks, sealing-wax and wafers, musical instruments, colours and materials for drawing, painting &c., playing and printing cards, etc., also advertising a large selection from 'Holl's Genuine Patent Medicine Warehouse', including items for coughs, nervous disorders, for the stomach, for weaknesses, Dr. Hill's Herbal Medicines, etc., ornate woodcut printer's device to recto, both sides with outer typographical border, with some unrelated artworks and prints, comprising: an album of 14 sketches by Harry J. Johnson, some watercolour, some pencil; and another 17 items, sketches and prints, various conditions and sizesQTY: (A carton)NOTE:This collection of drawings and manuscripts comes from the archive of Apperley Court, Gloucestershire, the home of Henry Eustachius Strickland (1777-1865), his sisters Juliana and Charlotte, and his daughter Frances. The family members involved in this collection are believed to include Juliana Sabina Strickland (1765-1849), Elizabeth Freeman née Strickland (died 1821), and Frances Strickland (1803-1888). Possibly also Charlotte Strickland (died 1833) and John Henry Strickland (1818- ).The places drawn include: Bristol, Aysgarth Force, Fountains Abbey, Windermere, Richmond, Matlock, Warwick Castle, Battle Abbey, Valle Crucis Abbey, Cambridge, etc.Three female members of the Strickland family, Julia (also called Juliana), Charlotte, and their niece Frances were good watercolourists. Charlotte and Juliana were sisters who provided the 'exquisite' botanical illustrations for the work Select Specimens of British Plants, edited by their cousin and brother-in-law Strickland Freeman. Many of the pencil drawings are by their sister Elizabeth, who married Strickland Freeman of Fawley Court near Henley, in 1781.
CHINESE INK SCROLL 'LANDSCAPE' PAINTING SIGNED WANG LANRUO (1911-2015) 王蘭若款 山水圖 紙本設淡色 立軸款識: 水墨淋漓意著空、何須點照染學南宮、胸中自有龍蛇在、萬壑千山倏雨風、▢午昌▢並錄原句、陶唐鈐印: 陶唐、見笑於大方ink and slight colour on paper, inscribed upper left with a poem, mentioned ‘in the manner of Zheng Wuchang’, signed ‘Tao Tang’, sealed ‘Tao Tang’ and ‘Jianxiao yu dafang’ 67cm x 33cm Private Scottish collection, Perthshire 蘇格蘭私人收藏，伯斯郡
CHINESE FAMILLE VERTE ‘LADIES’ DISH 五彩仕女圖盤painted with three seated ladies admiring a shanshui scroll painting which one of the ladies has executed, to her side with a bundle of scrolls, in the distance green and blue mountain peaks issuing from swirling clouds, the base with a motif leaf mark in a double circle within a grooved foot rim 28.7cm diameter Please note this lot will be offered with no reserve. 本拍品不設底價
HAN MEILIN (CHINESE, BORN 1936) INK PAINTING OF TWO FISH, DATED TO 1978 韓美林（1936- ） 雙鱖魚圖 水墨紙本設色識文: 鱖／戊午年二月／學新(月/日)志正文？鈐印: 美林ink and colour on paper, painted with two mandarin fish (Siniperca chuatsi) in ink and brown shades, dated to the cyclical Wu Wu year (1978), signed and one seal of the artist, unframed 60.5cm x 56cm Private collection, London; the artist gave the painting to his friend, who was a professor in an Art Academy in Anhui, when he was teaching in Anhui Academy of Painting (1979-1985), thence by descent (by repute)倫敦私人收藏；韓美林於1979-85年間在安徽畫院任教時，贈送給藝校教授的好友，後由家族遞藏（據傳） Han Meilin (b. 1936) is a celebrated Chinese painter, known for his ink paintings of charming and loveable animals, and most recognised today for his creation of the Fuwa dolls for the 2008 Summer Olympics in Beijing. Siniperca chuatsi, the mandarin fish (Chinese: 鱖魚), is a species of freshwater ray-finned fish from the family Sinipercidae, and found in lowland freshwater habitats throughout continental East Asia. Like his other animal paintings, this fish painting seeks to visualize the essence of its subject using simple forms and a minimal colour palette. 韓美林，1936年生於中國山東濟南。創作涉及廣泛，包括繪畫、書法、雕塑、陶瓷、設計以及寫作等方面。藝術風格獨到，致力於從中國文化傳統和大眾藝術中汲取精髓，並轉化為體現當代審美理念的藝術作品。2008申奧會徽、2008北京奧運吉祥物福娃出其妙筆，深得民心。韓美林筆下的鱖魚像他其他動物畫，試圖以簡易的輪廓及形式和極簡的色調來形象化其主題的本質。
ONE CHINESE 'DOUBLE-GOURD' WOODBLOCK PRINT AND ONE 'LOTUS' PAINTING BY QI BAISHI (CHINESE, 1864-1957); AND ATTRIBUTED TO QI LINGGGEN (CHINESE, 1945-2011) 齊白石 葫蘆圖 木版水印 及 齊靈根款 荷塘圖 紙本設色 立軸（共兩幅） 葫蘆圖款識: 白石老人鈐印: 大齊荷塘圖款識: 白石孫齊靈根 鈐印: 齊靈根、祖父白石、白石家法the woodblock print possibly produced by Rongbao Zhai, signed ‘Baishi Laoren’, sealed ‘Da Qi’; the painting signed ‘Baishi sun Qi Linggen’ (grandson of Qi Baishi), seals of the artists, both mounted as scrolls (2) 84.7cm x 26cm; 99cm x 34cm Private collection, Edinburgh; the painting attributed to Qi Linggen was acquired in Canton in the 1990s (by repute).愛丁堡私人收藏；據傳1990年代於廣東購入齊靈根（傳）之畫。 Please note this lot will be offered with no reserve. 本拍品不設底價
LARGE CHINESE ANCESTOR PORTRAIT PAINTING QING DYNASTY, 19TH CENTURY 清 祖先座像 紙本設色 立軸ink and colour on paper, painted with a seated male, possibly fourth-ranked, court official holding a folded fan in his right hand, an European pocket watch in the left, wearing a black robe with a white bird badge, the painting cut out and mounted on paper 149cm x 89.5cm Private English collection; formerly in a private Scottish collection, Edinburgh, acquired about thirty years ago in Macau (by repute).英格蘭私人收藏；前蘇格蘭私人收藏，愛丁堡，據傳約三十年前購自澳門
CHINESE IRON 'PRUNUS AND WATER BUFFALO WITH HERDBOY' PAINTING QING DYNASTY, 18TH-19TH CENTURY 清 鐵畫童子牧牛及梅樹紋掛屏depicting a herdboy riding a water buffalo with flowering plum blossoms afar, all against a yellow cloth-wrapped board, with wooden frame 109cm x 42cm Please note this lot will be offered with no reserve. 本拍品不設底價
Miniature Chinese Folding Tabletop Screen A decorative four-panel folding tabletop screen, likely of Chinese origin. Each panel features a hand-painted ceramic or porcelain tile set within a light-toned wooden frame, connected by brass hinges. The frames include pierced fretwork designs at the top and bottom, with darker-toned openwork detailing at the base adding to its craftsmanship. The painted porcelain tiles depict traditional Chinese scenes, carefully rendered with delicate brushstrokes. These include landscapes showcasing mountains, trees, rivers, bridges, and pavilions in soft tones alongside female figures in vibrant traditional attire engaging in cultural activities such as playing a pipa (lute), painting, or holding decorative objects. The paintings use a naturalistic palette with occasional bright accents. Each tile contains vertical Chinese calligraphy inscriptions and red seal stamps, likely artist markings or poetic verses related to the imagery. One panel includes a date, "1988.6.7," suggesting a late 20th-century creation, possibly drawing on traditional artistic styles. Approximate dimensions estimate the height of the panels to be 25–40 cm. This screen served as a decorative display item, highlighting traditional Chinese artistry and cultural themes. It is an intact example of craftsmanship, reflecting both aesthetic and collectible value.
Early 20th Century Framed Chinese Watercolour Painting Was Depicting Riverside SceneThis piece is a framed watercolour painting featuring a serene riverside scene comprising of a wooden bridge. The bridge stretches across a tranquil river supported by sturdy wooden pillars. On the sandy, pebble-laden riverbank, two individuals sit near bundles or baskets, seemingly engrossed in conversation or perhaps work. A small boat rests quite idyllically on the shoreline. A person leads a horse or mule across the bridge, contributing a sense of dynamism to the scene.In the distant background, the soft contours of hills or mountains are rendered in light, muted tones, thereby enhancing the calm and quiet atmosphere of the scene. The sky is a clear, cloudless expanse with a hint of a light haze that seamlessly blends with the far-off landscape. The painting utilises a soothing palette of blues, greens, and browns.Also in the scene is a makeshift tent or shelter near the seated figures, suggesting a could be a temporary arrangement. The painting is signed "Shanzi" or something similar in the lower left corner. It is beautifully encapsulated by a clean black frame, though the matting of the frame shows signs of aging and discolouration. The overall composition beautifully captures a peaceful snapshot of everyday life by the riverside.
**Hand-Painted Double-Gourd Chinese Snuff Bottle**Hand-painted porcelain snuff bottle in a double-gourd shape. Crafted from white-glazed porcelain, this small vessel features detailed depictions of swallows in flight. The birds are adorned with delicate black ink strokes and pink accents on their breasts, showcasing fine East Asian artistry reminiscent of traditional Chinese ink painting techniques.The decorative motifs, combined with the symbolic double-gourd form, suggest cultural themes of prosperity and protection. The bottle stands approximately 7cm high and lacks its original stopper. Despite this, the glazed surface remains in excellent condition with vibrant, intact artwork. A charming example of Chinese decorative and functional craftsmanship.
Intricately Decorated Chinese Famille Rose Ceramic Stick Stand with Elaborate Crane and Floral MotifsThis exquisite Chinese Famille Rose ceramic stick stand features intricate and colorful designs depicting cranes amongst vibrant flowers, set against a backdrop of meticulous and skillful hand-painting. Spanning 18 inches in height and 8 inches in diameter, the piece boasts detailed Chinese calligraphy alongside a patterned border with heart-like shapes in yellow, pink, and red hues.The decorative elements include an array of pastel-colored sections, with accents of turquoise, pink, purple, and red/brown dots, enhancing the stick stand's visual appeal. Noteworthy is the inclusion of a hairline crack, which has been filled internally. This artistic piece captures the essence of traditional Chinese artistry and would be a treasured addition to any collection.
A large collection of early English china; twelve setting tea set with cream and sugar and two bread and butter plates, 19th century, each item with hand painted scene of ruins, both sandwich plates stained, some others are a/f , a collection of 18th and 19th century cups and saucers including Worcester, Wedgwood, Longton, some a/f, a collection of 19th century plates and dishes, five circa 1850 Staffordshire pearlware plates with scenes of country life, these plates used for educational purposes, four other plates with similar decoration and seven others including a Chinese famille rose dish, some damaged, 19th century children's plates; one Pearlware plate with naive painting of peacocks in a tree with a border of animals and plants, the rest with transfer printed decoration, nursery rhymes, other literary subjects, all early/mid 19th century and three with repairs **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**
In the manner of Oliver Clare (1853 - 1927) Bustling fruit still life. Inclusions of an 18th century style Chinese porcelain on wooden table base. In mid-century painted white frame. Size incl frame, Height: 39cm Width: 40cmIncludes appraisal note dated 6th October 1970 from The Graves Gallery of Birmingham recommending this painting as a quality deemed worthy for professional restoration.
A Chinese export reverse glass painting of a court ladyChina, Qing Dynasty (1644 - 1912), Daoguang (1820 - 1850)Glass of oval shape, inspired by an engraving by Henry Moorland, delicately painted with a portrait of a lady with her left arm raised holding a mask, wearing an ornate dress embellished with jewels, her face half shielded by a translucent black veil, glazed with a gilt and lacquered frame.Provenance: French private collection - Galerie art asiatique, MarseilleAguttes, Lyon Brotteaux - tableaux anciens- mobilier et objets d'artsamedi 10 décembre 2011 lot 144 - collection privée lyonnaiseHeight: 30 cm, , Width: 24 cm€ 2 000 - € 3 000
Important silk painting mounted on a scroll after TANG Yin (1470-1523)China, Qing Dynasty (1644 - 1912)This remarkable silk painting, mounted on a traditional Chinese scroll, is a testament to the enduring legacy of Tang Yin, one of the most celebrated painters of the Ming Dynasty. Though executed in a later period, this work faithfully captures the essence of Tang Yin's style and subject matter, offering a glimpse into the artistic brilliance of this master.Tang Yin, also known as Tang Bohu, was a multi-talented artist, scholar, and calligrapher who lived during the Ming Dynasty (1368-1644). He is renowned for his landscape paintings, figure paintings, and bird-and-flower paintings, all characterized by their elegant brushwork, refined compositions, and poetic spirit. Tang Yin's works often reflect his deep appreciation for nature, his keen observation of human life, and his mastery of traditional Chinese painting techniques.This silk painting, executed in the style of Tang Yin, likely depicts a landscape scene, a popular subject in his oeuvre. Tang Yin's landscapes often feature towering mountains, cascading waterfalls, winding rivers, and secluded pavilions, creating a sense of tranquility and harmony. His figure paintings often portray elegant scholars, beautiful ladies, or historical figures, capturing their grace and inner spirit.The composition of this scroll painting is carefully balanced, with elements arranged to guide the viewer's eye through the scene. The use of negative space, or empty areas, is also a hallmark of Tang Yin's style, creating a sense of depth and atmosphere.Numerous collector's satmps and artist's signature.Provenance: French private collection - Galerie art asiatique, MarseilleHeight: 30 cm, Length: 305 cm€ 8 000 - € 10 000
A Chinese export plate, painted en grisaille in the European style, with a depiction of Lancret's painting Brother Philippe's Geese, within gilt bands, the border with alternating vignettes of landscapes and birds on branches, in ruyi scroll cartouches, 22cm diameterNote: see Howard and Ayers, 1977, China for the West; vol 1., pl.345, for an example of this design
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