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CHINESE SCHOOL (18TH/19TH CENTURY)Various SubjectsComprising: a gouache of four figures, one holding a candle; three pith paper paintings of animals in rocky landscapes; a study of a junk and a seated gentleman; a drawing of a luohan; a study of butterflies and peonies; a gouache of a lady and gentleman seated at a table at leisure; and a gouache of an elegant lady holding a pipe, all framed and glazed.The largest: 35cm (13 3/4in) high x 46cm (18 1/8in) wide (10).Footnotes:The Property of a Lady and GentlemanFor further information on this lot please visit Bonhams.com

Print on glass heightened with oils and various framed pictures and prints to include colour print after David Shepherd of hippopotamuses by a water hole, signed in pencil 'David Shepherd' lower right in the margin, pencil drawing by Geldart, a shire horse pulling a dray, signed in pencil 137/600, a watercolour on silk of Chinese gentleman smoking a pipe, framed prints (11)

Mixed Orientals to include a Chinese pewter teapot, a small Cloisonne vase and a framed watercolour and pencil drawing of Emperor Qin ShiHuang, framed, together with Indian brass ornaments and silver plated traysLocation:

A LACQUERED WOOD GIGAKU MASK NETSUKE OF CHIDOBy Kano Tessai (1845-1925), signed Tessai 銕哉 to 刀 and kakihan Japan, Nara, late 19th to early 20th centuryFinely carved, the smiling face with pierced narrowed eyes and mouth, centered by a long hook nose, his facial features, ears, and wrinkles neatly incised and elegant brows neatly incised, the wood lacquered in brown, black, and red with skillfully executed simulated wear to depict an ancient mask, the himotoshi bar to the reverse signed TESSAI to with a kakihan.HEIGHT 3.8 cmCondition: Very good condition with minor and simulated wear. Provenance: Marsha Vargas, San Francisco, USA. Dutch private collection, acquired from the above.Chido represents a man of impressive and dignified bearing who may have been the herald of the Gigaku pageant. See Bushell, Raymond (1985), Netsuke Masks, p. 68.Kano Tessai (1845-1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example. Tessai in particular made mask netsuke copied from the Gigaku masks within the Shoso-in repository, where around 225 examples are preserved representing 15 different roles.The Shoso-in is the treasure house of the Toda-ji temple in Nara, Japan. From the very beginning, the Shoso-in has been sealed by the Imperial family. One was permitted to enter only with explicit permission from the Imperial family. Ninety-five percent of the fine arts and crafts in the Shoso-in were produced in Japan around the 8th century, with the remainder imported from the Tang Dynasty, Central Asia, India, Iran, etc. during the same period. Although these collections are not open to the public, selections are shown at Nara National Museum once a year in autumn.

TESSAI: A RARE LACQUERED WOOD GIGAKU MASK NETSUKEBy Kano Tessai (1845-1925), signed signed Tessai 銕哉 to 刀 with kakihan Japan, Nara, late 19th to early 20th centuryPublished: Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 174, no. 723.Sachi Wagner (December 1983) Okimono. Origins and Links to Netsuke, Journal of the International Netsuke Collector's Society, Vol. 11, No. 3, p. 37, no. 25.Finely carved as a man with a grim expression marked by furrowed brows, intense eyes, neatly incised deep wrinkles above the nose and around the mouth, which is pierced and slightly agape revealing teeth, wearing a tall cap surmounted by a very unusual winged feline creature. The mask lacquered black with accents in red and brown to simulate an ancient mask. The back with a waisted himotoshi bar signed TESSAI and kakihan.HEIGHT 4.2 cmCondition: Very good condition with minor and simulated wear.Provenance: Ex-collection Victor Topper. Michael Bernstein, New York, October 1997. European collection P. Jacquesson, acquired from the above.Kano Tessai (1845-1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example. Tessai in particular made mask netsuke copied from the Gigaku masks within the Shoso-in repository, where around 225 examples are preserved representing 15 different roles.The Shoso-in is the treasure house of the Toda-ji temple in Nara, Japan. From the very beginning, the Shoso-in has been sealed by the Imperial family. One was permitted to enter only with explicit permission from the Imperial family. Ninety-five percent of the fine arts and crafts in the Shoso-in were produced in Japan around the 8th century, with the remainder imported from the Tang Dynasty, Central Asia, India, Iran, etc. during the same period. Although these collections are not open to the public, selections are shown at Nara National Museum once a year in autumn.Literature comparison:The present mask is difficult to determine and shares some characteristics with the Ranryo-o Bugaku masks, as it shows a similar winged creature on the helmet, however this mask usually has a hinged jaw. A Gigaku mask netsuke illustrated in Bushell, Raymond (1985), Netsuke Masks, p. 70, fig. 8, provides a favorable comparison and is defined as 'Goko'.

Small Chinese ink and watercolour study of a figure with an elephant, 16cms x 10cms, gilt framed, signed etching study of female heads, signed Fischer and an ink drawing, study of a seated female nude, indistinctly signedPart of a miscellaneous collection of items from a deceased's estate

*Item to be collected from Friargate, Derby*  An early 20th Century Chinese export silver mug, chased and engraved with bamboo, bamboo handle, raised on three ball feet, stamped WH, for Wang Hing, Hong Kong, character mark and 90, approx 8.5cm high, gross weight approx 4ozt/126gCondition - wear and tear commensurate with age, engraved monogram and slight dent to frontObject location - Drawing Room

*Item to be collected from Friargate, Derby* A late 19th century Chinese bronze silk pan iron, with wooden handle, approx 35cm long, total gross weight 1355gCondition - wear and tear commensurate with age Object location - Drawing Room

*Item to be collected from Friargate, Derby* A quantity of plated wear including EPNS, Elkington & Co; Chinese ink stand, trophies, entrée dishes, butter dish, Art Deco dressing table set, trays, mugs, napkin rings, teapots, jugs, hip flask etc, together with assorted flatware including fish knives, forks, table forks and tablespoons Condition - wear and tear commensurate with age Object location - Drawing Room

*Item to be collected from Friargate, Derby* A late 19th century Chinese copper hand warmer, with swing handle, the pierced cover with vase of flowers and a bowl of fruit, seal mark to base, approx 11cm high without handle x 18cm; together with a pair of Persian brass potpourri vases and covers, chased with figures and animals, approx 21cm high; and a pair of Far Eastern brass chimes, approx 5.5cm diam (4)Condition - Chinese jar - wear and tear commensurate with age; Persian vases heavily dented, one missing its finial (see images)Object location - Drawing Room

A LUDUAN-FORM BRONZE CENSER, MING DYNASTYChina, 1368-1644. Finely cast standing foursquare, the chest of the hollow body with a long strip of scaling, the sides with swirls and stylized ruyi-heads, flanking a short tail. The hinged cover rendered in the form of a single-horned head with bulging eyes, scrolling mane, and funnel-shaped ears, the mouth wide open revealing tongue and teeth.Provenance: Galerie Gross, Wiesbaden, Germany, 12 December 1980. An old German private collection, according to the family acquired from the above, and thence by descent. Condition: Very good condition with expected old wear and casting irregularities. The hinge original and remarkably well-preserved, thus functioning properly. A few minuscule nicks and small dents. Naturally grown, rich and very dark patina overall.Weight: 4,612 g Dimensions: Height 30 cm (excl. base, incl. pegs) and 33.5 cm (incl. base)With an old wood base. (2)The throne of the Emperor of China in the Hall of Supreme Harmony in the Forbidden City in Beijing has two incense burners shaped as luduan, the legendary auspicious creatures who can travel 18,000 li (9,000 km) in a single day and speak all world languages. A legend says that a luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India.Luduan are mythical creatures with strong lion bodies, a single horn and the paws of a bear. They are believed to have the ability to foretell the future, give life to the good, and kill the evil. According to legend, they were originally known as 'jiaoduan', and their name changed to 'luduan' because the character for 'lu' matched their appearance better. Known as guardians of enlightened rulers, luduan were said to appear in areas where a wise and virtuous leader was present.The auspicious nature of luduan was particularly appropriate for the purpose of these censers. Cast with hinged or removable heads, they were made for burning incense and smoke would emerge from the beast's mouth, animating and empowering the sculpture. As Chuimei Ho and Bennet Bronson note in their discussion of a pair of Qianlong cloisonne enamel examples from the Palace Museum, Beijing, included in the exhibition 'Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong' by The Field Museum, Chicago, 2004, these burners were traditionally valued at the Imperial Court, as with their open mouths and smoke billowing forth, they were a reminder to the emperor that he should always be receptive to honest advice (see page 37).The origin of incense burners of this form is difficult to determine. An example attributed to the Song dynasty was recovered from the Ming dynasty tomb of the scholar-official Zhang Shupei (1552-1615) in Tonglian, Sichuan (Wenwu, 1989, no. 7, pp 45-46, figs 14-16). Mythical beast incense burners, however, became a popular model only from the Xuande period onwards. A censer in the form of a mythological animal was included in the painting 'Enjoying Antiquities' by Du Jin (ca. 1467-1505), where two scholars are depicted scrutinizing a selection of antiquities (illustrated in Through the Prism of the Past, Antiquarian Trends in Chinese Art of the 16th to 18th Century, National Palace Museum, Taipei, 2003, catalog no. I-44). A drawing of a similar beast is also published in the Shizu zhai jian pu (Ten Bamboo Studio Catalogue of Letter Paper Designs), a woodblock printed book of stationery papers from 1645, compiled by Hu Zhengyan and illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, volume 1, Hong Kong, 1978, page 179, figure 15. Its popularity continued well into the Kangxi reign, when censers of this form were made in a variety of media, including porcelain, cloisonne enamel, and bronze.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 4 April 2017, lot 60 Price: HKD 350,000 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A Rare Bronze Luduan-Form Censer, Yuan-Ming Dynasty (1279-1644)Expert remark: Note the similar size (35.2 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 3 June 2015, lot 2870 Price: HKD 275,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A Bronze Luduan-Form Censer and Cover, Late Ming Dynasty, 17th CenturyExpert remark: Note the smaller size (23 cm)明代甪端銅香薰中國，1368-1644年。銅香薰，作獨角甪端形象，昂首傲立，蹲伏狀。雙目圓瞪，發須如火焰紋，前胸配以纓絡鈴鐺，身體兩側有如意狀紋飾，頭部與身體相分開。腹部中空，設計巧妙。體態飽滿圓潤。 來源：德國威斯巴登Galerie Gross藝廊，1980年12月12日；一個德國私人收藏，在同一家族保存至今。 品相：狀況極好，有磨損和鑄造不規則現象。原始鉸鏈且保存完好，因此可以正常使用。一些微小的刻痕和小凹痕。自然包漿細膩。 重量：4,612 克 尺寸：高 30 厘米 (不含底座，含釘子)，33.5 厘米 (不含底座) 木底座。(2)

A RARE HORNBILL 'COURT LADIES' SNUFF BOTTLE, EARLY 19TH CENTURYOpinion: The superb color and excellent polish of the present bottle suggest that it was created by using the ancient and today lost method of treating hornbill (see detailed note below), giving the material a rich translucency and protecting it from cracking over time. The carved decoration is well rendered and rare to find in such an elaborate manner on hornbill snuff bottles. Finally, the ovoid form, quite different from the rectangular forms commonly found, indicates that this is an early yet fine example from this rare group.China. Well hollowed, the ovoid body supported on a short oval foot and rising to a cylindrical neck with everted rim. Finely carved in relief to one side with a lady drawing curtains to the side and looking out an oval window, framed by a prunus tree. The reverse with another lady resting in a pavilion, a willow tree to her right. The short sides with trees and rockwork, retaining the characteristic deep red color of the outer sheath layer of the hornbill, creating a unique contrast to the inner layer of translucent honey-yellow to pale cream tone.Provenance: Collection particuliere, Eure-et-Loir, France. Condition: Good condition with significant old wear, natural imperfections to the material, few microscopic age cracks, minuscule nibbling to the foot ring. Magnificent natural patina overall.Stopper: Hornbill with black platelet, fine hornbill spoon. The present stopper is most likely original to this bottle.Weight: 23.3 gDimensions: Height including stopper 64 mm, Diameter neck 16 mm and mouth 5 mmHornbill was a highly valued material in China well before snuff bottles came into fashion in the Qing dynasty, after tobacco was introduced from the West in the early 18th century. The precise value is listed in the official regulations of the Ming dynasty, which set it for a single piece of 'ho-ting' (the term given to the material by Ming scholars, writing it with the characters for 'crane' and for 'head') at a thousand cash, the same amount given for half an ounce of precious coral beads, or a fifth of an ounce of rare seed pearls. This also shows that hornbill was worth far more than elephant ivory at that time, for the latter was valued at five hundred cash per pound, while it would have taken a great many pieces of ho-ting to make a pound, especially since the term was sometimes applied to the red sheathing alone.It is thought that there were once two distinct methods of treating hornbill, the solid casque with the tough red sheath that sits atop the upper beak, protecting the brain of the bird. The secret of the first method appears to have been lost but may have involved heating and perhaps permeating the material with some preservative. All known early pieces seem to have been handled this way, including snuff bottles. This treatment preserves the material very well, giving it a rich translucency and strength. We can only infer this preliminary manipulation from the finished product since no direct information about the techniques of treating hornbill ivory has been recorded. Any special methods used by Chinese craftsmen were always kept as closely guarded secrets by the guilds involved to forestall outside competition. The second method involved carving the material directly, which left the surface prone to cracking.Auction result comparison:Type: RelatedAuction: Christie's New York, 10 September 2007, lot 707Price: USD 67,000 or approx. EUR 82,700 converted and adjusted for inflation at the time of writingDescription: A Very Rare and Superbly Carved Hornbill Snuff Bottle, 1820-1840Expert remark: Compare the material, carving and treatment technique, as well as the characteristic deep red color of the outer sheath layer, creating a unique contrast to the inner layer of translucent honey-yellow to pale cream tone.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.十九世紀初罕見鶴頂紅雕“美人圖”鼻煙壺 中國。壺口外翻，圓柱形頸部，橢圓形壺體，橢圓形圈足。一側精美浮雕樹下窗内美人拉開窗簾；另一側涼亭中美人休憩圖。巧妙利用犀鳥角層特有的深紅色與半透明的蜜黃色至米色，形成獨特的對比。專家注釋：本瓶的絕妙的顏色運用和極佳的拋光，説明它是使用古老但如今已失傳的處理鶴頂紅的方法製成的，賦予材料豐富的半透明性並防止其隨著時間的推移而開裂。鶴頂紅鼻煙壺上的雕工精細，實屬罕見。橢圓形壺身與常見的方形截然不同，更佳體現其稀有。 來源：法國 Eure-et-Loir省私人收藏。 品相：狀況良好，有明顯磨損，材料的天然瑕疵，極少的細微老化裂縫，圈足有微小的磕損。整體包漿自然。 壺蓋：鶴頂紅，黑蓋片，精美小勺。壺蓋應為原裝。 重量：23.3 克 尺寸：含蓋高64 毫米，頸部直徑16 毫米，壺口5 毫米

A BRONZE TRIPOD POURING VESSEL, HE, WARRING STATES TO HAN DYNASTYChina, 5th century BC to 2nd century AD. Of globular form, the body cast in two parts joined at the waist with a notable rib. Supported on three bear-form feet, rising to an upright rim, the shoulder set with a bird-head spout with hinged cover, and a square sectioned dragon-head handle hollowed to receive an insert. The bronze with a rich, naturally grown, solid patina with distinct areas of malachite and cuprite encrustation. The scattered gold splashes on the body are what is left of the original gilding below the patina.Provenance: A French private collection built between ca. 1980 and 2012. Thence by descent. Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and corrosion, encrustations, corrosion, old fills, nicks, and scratches. The hinge of the spout cover has corroded off. The lid is missing.Weight: 1,132 g Dimensions: Height 13.2 cmLiterature comparison: Compare a related bronze vessel, he, with elaborate spout, illustrated in Eleanor von Erdberg, Chinese Bronzes from the Collection of Chester Dale and Dolly Carter, Switzerland, 1978, no. 41, p. 64. Compare a related bronze vessel, referred to as jiaohu, excavated from a tomb of the mid to late Western Han dynasty at Dongyang, Xuyi county, Jiangsu province, illustrated in a line drawing in Kaogu, 1979, no. 5, p. 422, fig. 10; 6. Compare a related bronze wine kettle, he, 12.3 cm, Warring states period, 3rd century BC, in the Nara National Museum, accession number 1317-89.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 21 September 2005, lot 154Price: USD 5,400 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: A Bronze Tripod Kettle, (He), Warring States / Han DynastyExpert remark: Compare the closely related form, handle, spout, feet, and size (14 cm). Note the cover.戰國至漢代青銅三足盉中國，公元前五世紀至公元二世紀。短直頸，球形器，身體分為兩部分，腰部有一道明顯的弦紋，三獸足，肩部有一個帶鉸鏈蓋的鳥頭流，以及一個空心的方形龍頭手柄。銅器有自然堅固的銅鏽，帶有明顯的紅綠銅結殼區域。身體上散落的金色飛濺是銅鏽下方原始鎏金的殘留物。 來源：法國私人收藏，建立於1980年至 2012年間，保存至今。 品相：品相良好，大量磨損、缺損、風化和腐蝕跡象、結殼、舊填充物、刻痕、劃痕。流的鉸鏈已腐蝕。蓋子遺失。 重量：1,132 克 尺寸：高13.2 厘米 文獻比較： 比較一件相近青銅三足盉，見Eleanor von Erdberg，《Chinese Bronzes from the Collection of Chester Dale and Dolly Carter》，瑞士，1978年，編號41，頁64。比較一件相近的青銅澆壺，出土於江蘇盱眙縣東陽鄉西漢中期至晚期的墓，見《Kaogu》，1979年，編號5，頁422，圖10; 6。比較一件相近的公元前三世紀戰國時代青銅盉，12.3 厘米，收藏於Nara National Museum，館藏編號 1317-89。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2005年9月21日，lot 154 價格：USD 5,400（相當於今日EUR 6,700） 描述：戰國至漢代青銅三足盉 專家評論：比較非常相近的外形、手柄、流、三足和尺寸 (14 厘米)。請注意有蓋。

A framed antique ink line drawing, depicting a tropical colonial estate with named street, buildings and palm tree - sold with other original works including Veronica Maxwell: a pastel with details verso, Kay Turton Hart: oil on board of a rural outbuilding and a late Chinese embroidery panel, depicting perching birds

Four Chinese portrait drawing books. Circa 1920 / 1930s, each book contains approximately 10-12 drawings per book. One book contains a study on birds, the others are different character portraiture. Approximately 14cm x 11cm.   

A 20th century Chinese ink drawing painting having script aside a depiction of two pandas eating bamboo. Framed and glazed. Measures 71cm x 54cm. 

Rik SLABBINCK (1914-1991) 'Interior'A drawing, pencil and Chinese ink on paperSigned and dated 1950, lower right. (W:35 x H:25 cm)

S Lee (Chinese, b.1944)  'The Drawing Room' Oil on board Signed 38cm x 31cm  Provenance: Property from a Hampstead apartment

A Victorian brass bound book slide, with Chinese mother of pearl inlaid tray, the rosewood case containing drawing implements and assorted treen.

A "Dame au Parasol" plateChinese export porcelainImari decoration after drawing by Cornelis Prouk. ChinaQianlong reign, ca. 1740(hairline)Literature:David Howard; John Ayers "China for the West" vol. I, p. 299, il. 292Diam.: 23,5 cm

Chinese ink drawing on silk - signed || Chinese inkttekening op zijde : "Kois in water" - 109 x 41 getekend

China - - Bildrolle mit 3 chinesischen Seidenmalereien. Wohl 18. Jahrhundert. Tusche, Feder, Aquarell und Gouache auf Seide. Lokalisiert (Su, heutiges Guangzhou) datiert ("Zehn Tage nach dem Chóngyáng-Fest im Jahr Renyin (=Jahr des Tigers)") und bezeichnet. Eingefasst in dekorativer Seidenbordüre, diese unterlegt, mit Holzstab und einfachem Schließband. Die Darstellungen wohl von drei unterschiedlichen Künstlern, welche je in dem die Zeichnung begleitenden Text genannt sind. Die zwei flankierenden Darstellungen von Shouwén Liáng und Wénkun Hu zeigen in vegetabiler Rahmung florale Szenen: blühende Zweige und üppige Blüten bevölkert von Insekten wie Käfern und Bienen. Mittig befindet sich die Darstellung zwei lesender Schönheiten, ebenfalls in einer vegetabilen Umgebung platziert. Diese Darstellung bezieht sich wohl auf den im linken Bildrand aufgeführten Textausschnitt eines antiken Gedichtes des Ming-Dichters Gao Qi (1336-1374), welcher in drei Passagen über zwei historisch berühmte Schönheiten zitiert. Der Künstler dieser Darstellung bennennt sich selbst nur mit Qngcong. Aus den Inschriften geht hervor, dass die drei Maler ihre Übungen auf Anforderungen eines älteren Bruders namens Sheng ausführten. Möglicherweise handelt es sich hierbei um jüngere Gelehrte, welche unter "Sheng" die Malerei studierten. - Mit materialbedingten kleinen Fehlstellen, ingesamt etw. fleckig, tls. mit etw. Farbabrieb, insgesamt gut erhaltene, feingliedrige Zeichnungen in zartem Kolorit. China - Scroll with 3 Chinese silk paintings. Probably 18th century. Ink, pen, watercolor and gouache on silk. Localized (Su, today's Guangzhou) dated ("Ten days after the Chóngyáng festival in the year Renyin (= Year of the Tiger)") and inscribed. Surrounded in decorative silk border, this underlaid, with wooden stick and simple closing band. - The depictions are probably by three different artists, each of whom is named in the text accompanying the drawing. The two flanking depictions by Shouwén Liáng and Wénkun Hu show floral scenes in vegetal framing: flowering branches and lush blossoms populated by insects such as beetles and bees. In the center of the painting we find the depiction of two reading beauties, also placed in a vegetal setting. This depiction probably refers to the text excerpt of an ancient poem by the Ming poet Gao Qi (1336-1374) listed in the left margin of the picture, which quotes in three passages about two historically famous beauties. The artist of this representation names himself only as Qngcong. From the inscriptions it appears that the three painters performed their exercises at the request of an elder brother named Sheng. Possibly these were younger scholars who studied painting under "Sheng". - With small missing parts due to the material, overall somewhat stained, sometimes with some paint abrasion, overall well preserved, delicate drawings in tender colouring.

Lot of 4 caricature drawings on life in Shanghai: (1) Dancing scene with a blonde sailor and Chinese lady. Aquarel. Signed in pencil r.b. 20 x 15.5 cm. In passe-partout under glass (2) Chinese dinner scene. Pencil drawing 24.5 x 19 cm. (3) Two modern Chinese ladies sitting band smoking at a table. Ink on paper. Signed in pencil r.b. 20 x 13.5 cm. (4) "My no worry, my no care! My go Marry Millionaire! If he die-my no cry! My go marry other guy! Ink and water colour on paper. 20.5 x 13 cm. Added: Gerd Kaminski. China Gemalt. Chinesische Zeitgeschichte in Bildern Friedrich Schiffs. Europa Verlag, 1983. (total 4)

KANO TESSAI: A RARE WOOD NYOI SCEPTER WITH ONI HEADBy Kano Tessai (1845-1925), signed Tessai followed by the artist's idiosyncratic kakihanJapan, Nara, early 20th centuryFinely carved, the elegantly curved shaft with a plain scroll terminal and a fierce oni head detailed with bulging eyes, bushy brows, a wide mouth revealing tongue and teeth flanked by sharp fangs, and a broad nose, the sides and back of the shaft and some details lacquered red, the wood of attractive grain and color, purposely worn to simulated old age. The front of the scepter is inscribed Seija ('right and wrong'), referencing a moral precept known as Seija zen'aku ('right and wrong & good and evil'), while the back shows the signature TESSAI followed by the artist's characteristic kakihan.LENGTH 39.3 cmCondition: Excellent condition with attractive simulated wear, possibly few minuscule nicks.Provenance: French private collection.Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example. Although only few scepters by Tessai are known, he clearly greatly enjoyed and found inspiration in this type of object, as evidenced by a Chinese Ming-dynasty bamboo scepter once owned by him, see Bonhams, The Zuiun Collection, 15 March 2017, New York, lot 5004.Auction comparison:Compare a bamboo scepter by Kano Tessai at Bonhams, 11 September 2019, New York, lot 546 (sold for 2,040 USD). Compare a dried-lacquer scepter by Ito Tesseki, a student of Kano Tessai, at Bonhams, 15 March 2017, New York, lot 5030 (sold for 10,000 USD).

Y A REGENCY GONCALO ALVES AND PARCEL GILT SIDE CABINETIN THE MANNER OF HENRY HOLLAND, CIRCA 1800ALMOST CERTAINLY BY MARSH & TATHAMapproximately 84cm high, 204cm wide, 53cm deepThis fine bookcase is characteristic of the work of Henry Holland, architect to the Prince of Wales, later George IV, having particularly marked affinities with a pair of chiffoniers in the Whitbread collection at Southill Park, Bedfordshire. These were originally supplied under Holland's direction to the great 18th century brewer Samuel Whitbread, circa 1796-1800, illustrated in M. Jourdain and R. Edwards, Regency Furniture 1795-1830, rev. ed., 1965, p. 17, fig. 5 and F. Watson, Southill: A Regency House,1951, fig. 36.Henry Holland was the Prince Regent's architect from the late 1780s, and worked at both the Brighton Pavilion and Carlton House. He was an authority on contemporary French design and decoration, an influence which he employed with great success in the interiors of Carlton House, integrating colours and styles to form complete interiors such as the Flesh Coloured Room or Rose Satin Drawing Room.In association with the marchand-mercier Dominique Daguerre, Holland purchased French Neoclassical furniture for the Prince Regent by makers such as Weisweiler, Jacob and Hervé, and it is from these sources, rather than his British contemporaries, that Holland's own furniture designs derive. Comparable furniture from Southhill, Bedfordshire, Holland's most complete surviving interior, is illustrated in Frances Collard, Regency Furniture, 1985, pp. 38-43.Holland employed most of the major cabinet-making firms of the day in one or another of his projects - notably Morel, Marsh, Tatham, Mayhew and Ince, and Bailey and Saunders - and exerted considerable influence on a whole generation of British designers. Thomas Sheraton's pattern book The Cabinet-Maker and Upholsterer's Drawing Book,1793 includes two illustrations of the Chinese Drawing Room at Carlton House. Related cabinets attributed to Holland were sold, Sotheby's New York, The Arthingworth Collection, Dec 12th 1996 lot 230 ($65,000) and another, Sotheby's New York 18th October 2014, The Kentshire Collection, Lot 87 ($81,250).  Please note, in the printed catalogue, the attribution, estimate and footnote for this lot has been transposed with that of lot 231. The full description, estimate and measurement should read as listed online. Condition Report: Please note: In the printed catalogue, the attribution, estimate and footnote for this lot has been transposed with that of lot 231Please note: The size of this lot should read: 84cm high, 204cm wide, 53cm deep and not as originally printed in the catalogue  The full description and estimate should read as listed online. There are scuffs, knocks, cracks and scratches consistent with age and use. There are losses, restorations and observations including: Cleaned finish with some use of filler; some pitted marks to the top, chips and replacement veneers; there is some evidence of worm; veneer splits to the sides; one door with a circular patch above the keyhole;  The gilding later with some cracks and rubbing. The back of panelled construction. The drawer linings are cedar, pleasingly high quality. The handles and locks appear to be original, the two keys are later replacements. The raw silk to the doors is a later replacement. Please see the additional photographs as a visual reference of condition.  Condition Report Disclaimer

A Worcester finger bowl, circa 1754-55Printed in outline and hand-coloured with the 'Red Bull' pattern, Chinese figures in conversation beside cattle, the reverse with a full version of 'La Terre' a finely dressed lady arranging flowers with her attendant, the landscape washed in a distinctive palette of turquoise and pink, a black line border below the interior rim, 7.4cm highFootnotes:ProvenanceSir Anthony Tuke CollectionUltimately derived from a Boucher drawing engraved by Pierre Aveline, this is the second version of La Terre used as an onglaze transfer print at Worcester. Joseph Handley illustrates an early Worcester teabowl and saucer with a similar version, see 18th Century English Transfer-Printed Porcelain and Enamels (1991), p.128, no.4.1. On this rare finger bowl, the chinoiserie print of 'La Terre' has been used in conjunction with The Red Bull which was copied directly from Chinese porcelain.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 MID 19TH CENTURY CHINESE INK DRAWING ON RICE PAPER depicting a mountainous landscape134cm high 60cm wide

Four Chinese silk and painted pictures - boating scenes, a watercolour drawing in a wood photo frame and a Victorian picture of a bird, created with real feathers in a painted woodland scene, within a circular brass mount (6)

Biswajit Goswami (Bangladeshi, B.1981)Traveling with mother signed 'Biswajit 2022' lower rightchinese ink on fabriano paper, framed128 x 132cm (50 3/8 x 51 15/16in).Footnotes:'MA-a sound, a concept – there is no expectation, only omnibenevolence. When Bishwajit visited China for a third time, for an art project in 2015, his wife was pregnant; distance made him contemplate about his wife and baby. He started to ruminate, 'is my mother also missing me in the same way? How I'm missing...' the beautiful universal thought insisted him and provided energy to make a journey with an art project named 'Travelling with Mother'.He used an iconography 'MA' for this art project that was made by a traditional rickshaw painter from Bangladesh. In this project, he performed with general people in different cultures and geographical areas publicly. In the same way, he introduced Bengali sound 'MA' as an Art form to the different parts of the world. The people who have the same feeling about their mother or motherhood, they were the part of this work. 'Traveling with Mother', conveyed universal emotions of the global citizens.'Born in Netrakona, Bangladesh, Goswami is an artist and educator based in Bangladesh. He obtained his B.F.A in Drawing & Painting from the University of Dhaka, where he is now a lecturer, and subsequently obtained his M.F.A in Painting from Bharti University, Santiniketan, India. His works focus on revealing aspects of his surroundings which have a profound impact on contemporary culture. He employs photography, printmaking, painting to illustrate this. His works have been exhibited at the Dhaka Art Summit (2012,2014 and 2016), the Asian Art Biennale of Bangladesh (2008, 2010, 2012 and 2014), the Beijing International Art Biennale (2012 and 2015) and the Setouchi Triennial in Japan (2013). Recently in September 2022, his works were presented at the Victoria and Albert Museum, London as part of the Bureau 555 exhibit at the annual Digital Design weekend.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 small quantity of silver and white metal scrap. Also including a Chinese napkin ring, an unused 1895 velvet bound diary and a set of drawing instruments etc (box).

LIU BOLIN (Shandong, 1973)."Camouflage nº03", 2007, from the series "Hide in the city".C-Print on aluminium, edition 8/8.Size: 97 x 120 cm.This photograph belongs to the most emblematic series of the Chinese artist Liu Bolin. "Hide in the city" consisted of a series of photographed actions in which he mimicked urban environments, as a form of rebellion against the system. The project was conceived after the demolition by the Chinese authorities in 2005 of his and other artists' studios in Suo Jia Cun. This centre was considered the largest congregation of artists in Asia. As an act of silent rebellion, he began this project of physical invisibilisation in the urban context, aimed at drawing attention to the Chinese government's lack of protection for its own artists. Using his own body to paint himself on the landscape of various locations in Beijing, Liu provided a space for the Chinese artist, preserving his social status and highlighting his problematic relationship with the physical environment. In June 2011 Liu created the series "Hidden in New York", in which he incorporated cultural icons of New York.Liu Bolin is a Chinese artist, sculptor and photographer. He received a Bachelor of Fine Arts degree from Shandong University School of Arts, and a Master of Fine Arts degree from the Central Academy of Fine Arts in Beijing in 2001. He has also held numerous exhibitions in various countries. Liu belongs to the generation that came of age in the early 1990s, when China was recovering from the Cultural Revolution and beginning to enjoy rapid economic growth and a relatively stable political scene. Since his first solo shows in 1998, Liu's work has received international recognition. His photographs and sculptures have been exhibited at the Les Rencontres d'Arles photography festival, Dashanzi Art Zone in Beijing (2007), Bertin-Toublanc Galleries in Paris (2007), Klein Sun Gallery in New York (2008), Galerie Paris-Beijing in Paris and Brussels (2013), Boxart in Verona (2008), and the Forma Foundation for Photography in Milan (2010), among others. In 2009, he created the sculpture "Burning Man Obama" in honour of Barack Obama, to celebrate the US President's visit to China. In 2013, Liu designed the visual art for Bon Jovi's What About Now album.

HSIAO CHIN5 acqueforti 3 litografie, NUMBER VIII OF 10 COPIES WITH AN ORIGINAL GOUACHE, from an overall edition of 90 copies, INSCRIBED BY THE ARTIST TO HARRY KARNAC in 1966, the gouache signed and dated in ink, the aquatints and lithographs numbered, signed and dated in pencil, all with the artist's stamp, text and illustrations loose as issued in cloth-backed portfolio with wooden frame and Chinese-style fastener, large folio, Milano, Giorgio Upiglio, Edizioni d'arte Grafica Uno, 1964Footnotes:One of only ten copies embellished with an original gouache by the artist. A further forty of the remaining eighty copies came with an ink drawing.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

19th century Chinese School, ink and colour on silk, mountain landscape, with two red seals and artist's colophon to upper right, 24x31cm, with wood frame, a 20th century Chinese crayon drawing of a temple, 30x49cm, glazed wood frame, and a painting on silk (3)十九世紀 繪畫一組三件設色絹本，玻璃鏡框Please refer to department for condition report

A RARE POLYCHROME LACQUER RECTANGULAR TABLE17th/18th centuryThe large rectangular top painted with a central cartouche featuring a garden landscape scene with Court figures engaging in leisurely pursuits besides an elegant pavilion and various plants and flowers, flanked by two further cartouches depicting respectively a cockerel amidst a flowering branch of peonies and a long-tailed bird amidst bamboo and prunus, all reserved on a leiwen ground, the recessed waist with reticulated narrow panels and lotus scrolls, the shaped apron with a continuous frieze of further lotus and sinuous chilong, the same designs continuing onto the legs terminating with hoof feet. 82cm (32 1/4in) high x 125cm (49 1/4in) wide x 45cm (17 3/4in) deep.Footnotes:十七/十八世紀 填漆花鳥螭龍紋長方桌The present lot is unusual in combining differently-shaped cartouches depicting figures in landscape and flower and bird designs, as well as archaistic designs of chilong instead of the more typical dragon with foliate scrolls. The archaistic design reflects the academic trend known as the 'search for evidence' (kaozheng 考證) movement which began in the early 17th century. Although this movement originated in a renewed scholarly interest in ancient texts and inscriptions on archaic bronzes, as literati sought a more empirical approach to understanding their ancient heritage, it led to a greater fascination for decorative designs adopted from ancient bronzes too, such as chilong, which then found their way to lacquer furniture.The shape of the present table appears to have been inspired by an earlier prototype dating the to Mind dynasty, which usually held ritual implements such as incense burner, flower vases and candlesticks in domestic shrines. See a line drawing of a woodblock print dating to the Ming dynasty, illustrating a scene from 'Linchuan's Four Dreams', depicting a similarly-shaped table positioned against the side wall in a domestic shrine; see S.Handler, The Austere Luminosity of Chinese Classical Furniture, Hong Kong, 2001, p.231, pl.14.7.The subjects depicted on the table top invoke auspicious symbolism conveyed through the use of birds and flower designs. The flowering plum, the first flower to bloom in the snow, symbolises transient feminine beauty and youth; it is also associated with coldness, solitude and loss. The famous Song dynasty scholar Su Dongpo (1037-1101) wrote in one poem that: 'The flowering plums' bones are of jade and snow, and their souls of ice', as the plum blossom was endowed with the Confucian virtues of resilience and perseverance for blossoming in deep winter. Peonies mudan were also known in China as fugui hua ('Flower of Rank and Nobility'), presumably following the popularity enjoyed by flowers among members of the Imperial families during the Tang dynasty. By their character and pronunciation, they convey blessings for happiness, (fu), and noble/rich/high rank, (gui). In conjunction with rocks (symbolic of endurance), magnolias (representing beauty and fertility), and magpies (homophones with xi, meaning 'joy'), peonies represent a visual rebus for the multiple blessings of wealth, longevity, progeny and advancement in career.Compare with a related qiangjin and tianqi lacquer table, mid Qing dynasty, illustrated in Imperial Furniture of Ming and Qing Dynasties: Classics of the Forbidden City, Beijing, 2008, pp.154-155, no.176.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot 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

A MINTON MAJOLICA DRAGON JARDINIEREDATE CODE FOR 1863Shape 1073, the design by Dr. Christopher DresserIn cream and green colourway, decorated with a band of dragons on an ozier groundImpressed marks35cm high, 31cm diameter at the topSee W. Halén, Christopher Dresser, Oxford, 1990, p. 121 for a drawing of this 'Chinese Dragon' motif from Dresser's 1862 Art of Decorative Design and an illustration of the present form.Condition Report: One foot off and glued, other cracks, the interior with dirt and deposits from use as a jardiniereCondition Report Disclaimer

Chinese School, watercolour, 2 geese, signed with seals, 27cm x 27cm, and ink drawing, bird and bamboo, 28cm x 35cm, framed (2)Good condition

A Chinese pen and ink drawing, with poetic script. The man standing on a cliff with a staff in right hand and overlooking a river, frame size 62 x 43.5cm.

19th century Chinese vase - A Chinese famille rose vase, the central yellow ground band decorated with vases of flowers and scribe's drawing implements, bands of repeated decoration to the foot and neck, height 34cm.

THOMAS FRYE (c.1710-1762)Portrait of Thomas Fane, 8th Earl of Westmorland, of Brympton D’Evercy in Somerset (1701-1771), three-quarter lengthOil on unlined canvas, and contained in its fine original carved and gilded frame, 127 x 102cm (50 x 40¼”)Provenance: By descent at Brympton D’Evercy, Somerset, to Lady Georgiana Fane (1801-1874); her nephew the Hon. Spencer Ponsonby-Fane (d. 1915), younger son of the 4th Earl of Bessborough, and thence in the Clive-Ponsonby-Fane collection until the contents were largely dispersed in 1956; Private CollectionThomas Frye, from Edenderry, County Offaly, was the most extraordinarily inventive of Irish Georgian artists, and arguably the most underappreciated – at home at least. His achievements are better appreciated internationally, indeed Martin Postle argues that he is one of the ‘most intriguing and original artists to have emerged in Britain during the eighteenth century’. His activities straddled the dividing lines between the fine, graphic and applied arts – just at the moment when specialisation was becoming the norm. As his epitaph noted he was the ‘inventor and first manufacturer of porcelain in England’ at his factory in Bow, east of London, while, as Josiah Wedgwood put it, in 1769 he was ‘famous for doing heads in mezzotinto’, and his prints (‘dazzlingly innovative’, in Toby Barnard’s phrase) are among the most sought-after of all mezzotints. However, he was first and foremost a portrait painter, and he had enjoyed great success in the profession since winning a commission to paint a full-length state portrait of Fredrick, Prince of Wales for the Saddlers’s Company in the City of London in November 1736. As his epitaph noted: ‘No one was more happy in delineating the human countenance, He had the correctness of Van Dyke, & the colouring of Rubens’. Even Ellis Waterhouse who is generally grudging in his praise of Irish artists noted that Frye was ‘one of the most original and least standardised portrait painters of his generation’.Frye’s career in London exemplifies the period’s incipient globalization – of materials and motifs. He attempted to emulate Chinese porcelain technology with, it seems, clay imported from North America, while his pioneering production of mezzotint scraping imitated, quite openly, the work of the Venetian painter and printmaker Giovanni Battista Piazzetta. Reciprocally, Frye was directly influential on artists of rather greater reputation than his own. John Singleton Copley, as a young man in Boston (where Bow porcelain was advertised as being for sale), copied Frye’s mezzotint heads, while some of Wright of Derby’s most famous – and paradoxically innovative – works have been shown to quote almost verbatim from the same series.The portrait depicts Thomas Fane (1701-1771), the second son of Henry Fane of Brympton d'Evercy in Somerset (fig. 1), a manor house often described as the prettiest in England. In 1757 Fane succeeded his unmarried elder brother Francis to their father's Brympton estate and in 1762 inherited the title of Earl of Westmoreland, and the seat at Apethorpe Hall, in Northamptonshire from John Fane, 7th Earl of Westmorland, his father's childless second-cousin – and one of Marlborough’s most distinguished officers.It was for the sitter’s grandson, John, the 10th Earl, Lord Lieutenant of Ireland between 1789 and 1794, that Westmorland Street in Dublin was named. In another historical twist, in 1762 Thomas’s daughter Mary, married Charles Blair, a wealthy owner of plantations in Jamaica, who was the great-great grandfather of Eric Arthur Blair, better known to history as George Orwell, making Frye’s sitter here Orwell’s great-great-great grandfather.An instructive comparison can be made between the present portrait, which dates from about 1740 and a later portrait of the same sitter by Sir Joshua Reynolds (fig. 2), especially interesting as we know that Frye was on very cordial terms with the younger artist. Reynolds’s full length dates from 1761 and hence shows the sitter as noticeably older but recognisably the same, genial and rather bluff individual. Perhaps helping to date the work, and certainly indicative of Frye’s studio practice, the hands, particularly that resting on his hip, are almost identically positioned in his 1739 portrait of Sir Charles Kemeys-Tynte (fig. 3) (National Gallery of Ireland). No doubt a shared preparatory drawing was reused, rather than the artist trying his sitters’ patience by depicting their hands individually.Condition Report: Good overall conditionCleaned and restoredSpots of overpainting, nothing too concerning Presentable, carved wood frameReady to hangWith three repair patches verso, please see image on our website showing the back of the painting

CHUANG CHE (CHINESE B. 1934)Mountainous Abstract,oil and acrylic on canvas97 x 122 cm (38 1/4 x 48 in.)framed dimensions: 111 x 137 cm (43 3/4 x 54 in.)signed lower right; inventory number on versoPROVENANCEPerlman Gallery, Princeton, NJAcquired from the above by the present ownerLOT NOTESChuang Che is a contemporary Chinese artist whose body of work largely consists of abstract paintings often combining the influence of his Chinese heritage with abstract expressionism. Che’s father introduced him to the art of calligraphy, a medium in which is still present in his work. Che studied Eastern painting traditions, alongside several other artists including Liu Guosong, Fong Chung-Ray and Sun Duoci together forming the Fifth Moon Group with the goal to modernize Chinese art. In 1966, Che was awarded the John D. Rockefeller III Foundation travel grant, allowing him to study in the United States. In the late 1990’s Che found himself living and creating work in New York City, which is where he still resides today. This lot is a prime example of Che’s abstract expressionism drawing on his heritage and influence of calligraphy.

Two pieces of Chinese porcelain. 1x Drawing pot with dragon decor + six characters bottom mark. 1x Cup with floral/medallion decor + six characters bottom mark. Dimensions: 9 - 15 cm. In good condition.

19th century Chinese porcelain Cantonese Family Rose drawing pot with figures/floral/bird and gold decor. Dimensions: 10 x 14 cm. In good condition.

TANGKA REPRÉSENTANT VAJRADHARA ET LES QUATRE-VINGT-QUATRE MAHASIDDHASTIBET, XVIE SIÈCLEDistemper on cloth; verso with an ink drawing of a stupa and a Tibetan, 'om, ah, hum' incantation behind the central figure.Himalayan Art Resources item no. 89904 Image: 76 x 59.5 cm (29 7/8 x 23 3/8 in.);With silks: 117 x 75 cm (46 x 29 1/2 in.)Footnotes:A THANGKA OF VAJRADHARA AND THE EIGHTY-FOUR MAHASIDDHASTIBET, 16TH CENTURY西藏 十六世紀 金剛總持與八十四大成就者唐卡Provenance:With Claude de Marteau, Brussels, by 1970'sThe thangka depicts the Primordial Buddha, Vajradhara, seated on an elaborate throne defended by roaring snow lions and surrounded by registers of individualized portraits of the Eighty-Four Mahasiddhas. The linear arrangement of these canonical Tantric masters, the bold, opaque aureoles behind most, and the overall predominance of red betray a Newari style of painting adopted throughout Tibet up to and including the 16th century (c.f. Jackson, The Nepalese Legacy in Tibetan Painting, 2010, p. XX, fig. 0.3). Meanwhile, the inclusion of mountains and rivers staging a few mahasiddhas speaks to the Tibetan thangka painter's growing affinity with the Chinese landscape painting tradition.For further information on this lot please visit Bonhams.com

Chinese Qing Dynasty Lacquerware with Four Treasures Drawing Gold Four） W：96cmH：92cm

A BLUE AND WHITE 'BIRDS' PLAQUE, WORKSHOP OR FOLLOWER OF WANG BU (1896-1968)Opinion: The present lot is near identical to a blue and white plaque sold by Oakridge Auction Gallery in 2019. While the Oakridge plaque seems to be slightly superior in quality overall, the differences are still quite minor. The present plaque was therefore made either in Wang Bu's workshop or by a close follower. Due to the subtly graded shadings of blue and the flawless quality of the drawing, both hallmarks of Wang Bu, it seems possible that the master himself has supervised or maybe even taken part personally in the genesis of this work. China, 20th century. Vividly painted in well-controlled shades of cobalt blue with three birds in flight above grasses and flowers, the sky filled with thick yet soft clouds. The left side of the plaque with a seal.Inscriptions: Lower left, one seal, 'Wang Bu'. Provenance: British trade. Condition: Excellent condition with minor wear and firing flaws. Weight: 2,689 g (incl. frame) Dimensions: Size 23.5 x 35 cm (the plaque) and 32.3 x 44 cm (the frame)With a solid Chinese hardwood frame and brass hook. (2)Wang Bu's father Wang Xiuqing was a blue and white porcelain painter during the reigns of Tongzhi and Guangxu of the Qing dynasty. It was common for children to follow in their father's footsteps, and at the age of 9, Wang Bu was apprenticed to Xu Yousheng, an artisan in blue and white porcelain painting at Jingdezhen. He completed his apprenticeship in 1912. After the closure of the Imperial workshops during the fall of the Qing empire, Wang Bu made a living painting bird feeders, before he was hired by the famous ceramic artist Wu Aisheng to make reproductions of Ming and Qing porcelains. This laid the foundation for his later innovation.Wang Bu arrived at Jingdezhen in 1907, and until his death in 1968, he created numerous ceramic artworks with underglaze and overglaze enamels, paste-on-paste carving, and incised decoration. However, it was his work in underglaze blue and white decoration, that earned him, in his later years, the title of Qinghua Dawang, The King of Blue and White.Auction result comparison: Type: Near identical Auction: Oakridge Auction Gallery, Virginia, USA, 6 September 2019, lot 193Price: USD 260,000 or approx. EUR 282,000 converted and adjusted for inflation at the time of writing Description: Blue & white porcelain plaque of 3 birds, Wang BuExpert remark: See Opinion above. Note that the lot is attributed to Wang Bu himself.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 23 June 2015, lot 7258 Price: USD 533,000 or approx. EUR 624,000 converted and adjusted for inflation at the time of writing Description: A blue and white porcelain meiping with birds on branchExpert remark: Compare the closely related painting of birds with similarly well-controlled shades of cobalt blue. Note that the lot is attributed to Wang Bu himself. Auction result comparison: Type: Related Auction: Sotheby's New York, 12 September 2018, lot 119Price: USD 325,000 or approx. EUR 359,000 converted and adjusted for inflation at the time of writing Description: Two blue and white 'bird' seal paste boxes and covers, Republic period, by Wang BuExpert remark: Compare the closely related painting of birds with similarly well-controlled shades of cobalt blue. Note that the lot is attributed to Wang Bu himself.王步(1896-1968)或其後人青花飛鳥瓷板掛屏中國，二十世紀。青花描繪三隻小鳥展翅高飛，身下花草清新。畫意生動，色澤鮮潤發光，畫面格外活潑而自然流暢。。 專家注釋：此拍品與 Oakridge Auction Gallery 於 2019年 年出售的青花瓷板屏幾乎相同。雖然 Oakridge 的瓷板屏整體質量似乎略勝一籌，但差異仍然很小。因此，現在的瓷板可能是在王步的工作室中製作的，或是由其學生製作。青花的微妙漸變和完美無瑕的繪畫品質，都體現了王步作品的特徵，因此，大師本人似乎有可能監督甚至親自參與了這幅作品的創作。 款識：畫屏左側可見青花款“王步“ 來源：英國古玩交易市場。 品相：品相極佳，輕微磨損及燒製瑕疵。 重量：總2,689 克 尺寸：23.5 x 35 厘米 (瓷板) ；總32.3 x 44 厘米 硬木框。 拍賣結果比較： 形制：幾乎相同 拍賣：Oakridge Auction Gallery，美國維吉尼亞，2019年9月6日，lot 193 價格：USD 260,000（相當於今日EUR 282,000） 描述：王步青花飛鳥瓷板掛屏 專家評論：見上述專家註釋。請注意此掛屛為王步親自製作。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2015年6月23日，lot 7258 價格：USD 533,000 描述：王步青花鳥上枝頭梅瓶 專家評論：比較非常相近的鳥繪畫，以及相似的鈷藍的色調也同樣控制得很好。請注意此瓶為王步親自製作。

EDUARDO NARANJO (Monesterio, Badajoz, 1944)."Portrait of a girl", 1981.Oil on canvas.Signed and dated in the lower right corner.Measurements: 64 x 49 cm; 65 x 50 cm (frame).The eighties was a period of maturity and establishment in Eduardo Naranjo's career. It was at this time that the Círculo de Bellas Artes of Madrid awarded him the medal for his merits as a member of its board of directors for painting and a first monograph of the author was published. This portrait of a lady is a great example of this period, as we can appreciate the author's characteristic technical quality and his unmistakable aesthetic language, in which he treats realism from a dreamlike point of view. He shows before the spectator an image taken from everyday life, but distorting certain elements, thus enriching the image, an example of which is the background with a lake in the piece, and the large drawing on the stomach of a girl.Eduardo Naranjo began his artistic training in 1957 with his teacher Eduardo Acosta, and that same year he entered the Escuela de Artes y Oficios (School of Arts and Crafts). In 1960 he continued his studies at the Santa Isabel de Hungría School of Fine Arts in Seville, and a year later he moved to the San Fernando School of Fine Arts in Madrid, where he completed his studies. After his academic period, Naranjo decided to move to Paris, where he became deeply acquainted with the work of Picasso and artists such as Matisse. His work is defined by the technical exploration of painting, although he has also worked with sculpture and in the field of scenography. In addition, between 1986 and 1991 he made a series of engravings for the book "Poeta en Nueva York" by Federico García Lorca. Eduardo Naranjo's artistic career includes important prizes and awards, such as the Luis de Morales de Badajoz prize (1974), the Medal of Extremadura (1991), the María de Salamanca National Engraving Prize of the Museum of Contemporary Spanish Engraving (1994) and the Cross of Military Merit for his contribution to the Arts and the Army (1995). Throughout his career he has held solo exhibitions all over the world, and today he is one of the most sought-after living Spanish painters. In fact, his fame is international, being admired in countries as far away as China, where he has exhibited numerous times and has been invited to give master classes in Chinese universities. Today his work is divided between private international collections and numerous public museums, including the Museo Nacional Centro de Arte Reina Sofía in Madrid and the Nagasaki Museum in Japan, as well as countless private collections, including the Masaveu Collection in Oviedo.

Asien - - Sammlung von 9 Original-Graphiken und einer Original-Zeichnung. Überwiegend 19. Jh. Meist Holzschnitt auf Japan. Meist auf Unterlage und unter Passepartout montiert. Enthält: 1 Blatt von Hiroshige, Fujikawa, 1855. Mit Hinterlegungen und Anschmutzungen. - 1 Blatt von Nishikawa Sukenobu. - 1 Blatt wohl von Katsukawa Shunzan. - 1 Blatt von Toyohara Chikanobu. - 1 Blatt von Sugakudo Nakayama. - 1 Blatt wohl von Watanabe Shotei. - Eine anonym. Tuschezeichnungen mit buddhistischem Priester. - 3 Blätter wohl anonyme chinesische Künstler. - Teils gebräunt und mit kl. Randläsuren sowie etwas knitterig. Asia - Collection of 9 original prints and one original drawing. Mostly 19th century. Mostly woodcut on Japan. Mostly mounted on backing and under passepartout. - Contains 1 print by Hiroshige, Fujikawa, 1855. With backings and soiling. - 1 print by Nishikawa Sukenobu. - 1 print probably by Katsukawa Shunzan. - 1 print by Toyohara Chikanobu. - 1 print by Sugakudo Nakayama. - 1 print probably by Watanabe Shotei. - One anonymous ink drawings with Buddhist priest. - 3 sheets probably by anonymous Chinese artists. - Partly browned and with small marginal defects and a little bit creased.

Stammbücher - - Bedeutendes Album Amicorum der Adelsfamilie Borchgrave d'Altena. Mit über 60 Original-Zeichnungen. Um 1850. Quer-Folio. Prachtvoller dunkelroter Samteinband mit einer unter Glas und in goldenem Rahmen eingefasster Malerei sowie einer aufgelegten reich verzierten Bordüre mit 4 Miniatur-Hinterglas-Malereien. Dreis. Goldschnitt, goldene Schließe und Vorsätze aus Moiré-Seide. In einer mit Moiré-Seide ausstaffierten Ldr.-Kiste d. Zt. (Diese berieben und mit Defekten. Einband an den vorderen Gelenken etwas angeplatzt.) Das überaus prachtvolle Liber Amicorum ist auf dem Vorderdeckel mit künstlerisch hochinteressanten und feinen Malereien ausstaffiert: vier Hinterglas-Malereien mit Darstellungen von Schiffen und eine exquisite Scène galante im Stil des französischen Rokoko. Die erste Seite des Albums ist geziert von einer prächtigen in Gold und Silber gehöhten Original-Zeichnung mit dem Wappen der Familie Borchgrave d'Altena. Dabei handelt es sich um eine belgische Adelsfamilie aus Lüttich, die ursprünglich aus dem Herzogtum Brabant (Bois-le-Duc) stammt. Sie erhielt 1745 von Maximilian III. Joseph Kurfürst von Bayern und Vikar des Hl. Römischen Reiches den Titel des Reichsgrafen und wurde 1816 von König Wilhelm I. der Niederlande in den Adelsstand aufgenommen. Das Album vereint neben Zeichnungen verschiedener Familienmitglieder, u.a. Sophie und Gustave de Borchgrave d'Altena, auch bekanntere Künstler wie Francois Charette-Duval (1807-1895), Frans Keelhoff (1820-1891) oder Arthur du Passage (1838-1909). Weitere signierte Einträge stammen u.a. von Charles de Blanckart, L. Movignez, Pierre Pirgnet, Anatole d'Arschot, Gustave de Woelmont, Mathilde de Boch und Léon de Chasseval. Das Album deckt mit seinen Zeichnungen eine Vielzahl von Genres und Techniken ab, neben Aquarellen mit Blumen oder in Graphit, Kohle und Feder gezeichneten Landschaften finden sich auch Stadtansichten aus Brüssel sowie von Schlössern (u.a. Château de Leschy und de La Buissière) aber auch Schiffszeichnungen. Hervorzuheben sind jedoch vor allem fünf farbleuchentende Gouachen, die süditalienische Landschaften zeigen, insbesondere drei Ansichten des Vesuvs, darunter zwei bei Ausbruch des Vulkans. Ein weiterer Glanzpunkt des Albums stellt ein großformatiges Trompe-l'Oeil mit Zeichen- und Schreibinstrumenten dar, welches nicht signiert jedoch von hohem künstlerischen Interesse ist. Ferner beinhaltet sind zwei Gouachen auf chinesischem Markpapier. - Insbesondere die Graphiken teils etwas gebräunt bzw. braunfleckig. Die Scène galante auf dem VDeckel mit Braunfleck. Die Original-Zeichnungen größtenteils in sehr gutem Zustand. Important Album Amicorum of the noble family Borchgrave d'Altena. With over 60 original drawings. Circa 1850. Oblong-folio. Splendid dark red velvet binding with a painting set under glass and in a golden frame as well as an applied richly decorated border with 4 miniature reverse paintings on glass. Triple gilt edges, gilt clasp and endpapers of moiré silk. In a leather case decorated with moiré silk (The latter rubbed and with defects. Binding somewhat chipped at the front joints). - The extremely splendid Album Amicorum is decorated on the front cover with artistically highly interesting and fine paintings: four reverse glass paintings depicting ships and an exquisite scène galante in the style of the French rococo. The first page of the album is adorned with a magnificent original drawing heightened in gold and silver with the coat of arms of the Borchgrave d'Altena family. This is a Belgian noble family from Liège, originally from the Duchy of Brabant (Bois-le-Duc). The album contains drawings by various members of the family, including Sophie and Gustave de Borchgrave d'Altena, as well as more famous artists such as Francois Charette-Duval (1807-1895), Frans Keelhoff (1820-1891) and Arthur du Passage (1838-1909). Other signed entries are by Charles de Blanckart, L. Movignez, Pierre Pirgnet, Anatole d'Arschot, Gustave de Woelmont, Mathilde de Boch and Léon de Chasseval, among others. The album's drawings cover a wide range of genres and techniques; in addition to watercolours with flowers or landscapes drawn in graphite, charcoal and pen and ink, there are also city views of Brussels and of castles (including Château de Leschy and de La Buissière), but also ship drawings. Of particular note, however, are five colour-illuminated gouaches depicting southern Italian landscapes, especially three views of Mount Vesuvius, including two of the volcano erupting. Another highlight of the album is a large-format trompe-l'oeil with drawing and writing instruments, which is unsigned but of great artistic interest. Also included are two gouaches on Chinese plith paper. - Especially the prints partly somewhat browned and brown-stained. The scène galante on the front cover with brown stain. The original drawings mostly in very good condition.

TWO SMALL CHINESE WATERCOLOURS,depicting dancers, 10.5cm x 14cm, along with a pencil drawing of Potemkin Steps, Odessa, each mounted, framed and under glass (3)

* Scrap Album. An attractive folio scrap album of colour lithographs and other prints and watercolours, circa 1820-50, containing 50 various mostly full-page views and figure subjects, including 23 hand-coloured, 2 watercolours (a front elevation of a Regency house in parkland, and a fine silhouette with colour of a boy presenting a posy of flowers to a seated young lady at a table with books, with girl holding a wicker basket behind), 9 Baxter prints, the remainder mostly uncoloured lithographs, all mounted on 24 pink silk leaves, some plates trimmed with loss of publisher's imprint, without marks of ownership to endpapers or elsewhere, contemporary maroon half morocco, some wear with joints cracked or near-detached, loss to foot of spine, folio (37.5 x 28.5 cm)QTY: (1)NOTE:Contents include: [Currier & Ives, The Living Chinese Family, arrived in New York April 1850... exhibited under the auspices of P. T. Barnum, 1850], trimmed to image, 8 colour lithographs of animal and figure subjects (The Farm Yard, Hunting the Elephant, The Rabbit Fancier, The Water Cart, The Grandmother, The Last of the Coaches, The Sailing Match, and Meeting of Ship Owners), each trimmed to image, Dean & Co., The Royal Children feeding the foreign poultry at the Chinese Summer House, Buckingham Palace Gardens, The Royal Children in the Home Park, & The Little Royal Party in their Goat Chaise , four colour lithograph views of the Great Exhibition of 1851 (Grand Entrance to the Great Exhibition of All Nations, North View of the Great Exhibition from the Serpentine, The Great Exhibition of All Nations, & Interior of the Great Exhibition of All Nations), Terriers by J. Clark after Henry Alken, published by T. McLean, January 1, 1820, Vases et Croquis Chinois Number 3, by Frey after C. Lassalle, A Sissoo Tree in Barrackpore Parke looking towards Silaghur from an original watercolour drawing by George Chinery, drawn on stone by P. Savignhac for the Amateur's Repository Calcutta, 1827. Baxter prints include News from Australia, & Australia News from Home, Saint Ruth's Priory, Queen Victoria & Prince Albert, and four smaller views, plus uncoloured prints, mostly lithographs including Barley Wood, Mrs. Hannah More's, printed by Hullmandel, Ryde, Isle of White by George Brannon, Interior of the Large Vine House at Hampton Court by Augustus Turrell, 1840, C. de Lesteyrie, Polichinel pres le pont des Arts, & Vue de la Terrasse et Chateau de Nice, etc.

Chinese school, after models by WU GUANZHONG; 20th century."Portico view".Ink on handmade paper.Signature and apocryphal comments.Measurements: 40,5 x 30,5 cm.Ink drawing in which an architectural view is represented, which seems to show the door of a city of the East, which is deduced by the tops of the domes of bulbous appearance. In Eastern culture, painting is closely linked to calligraphy, and materials such as brush and ink are fused in both disciplines. The material thus becomes a highly valued artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese Republic School. Figure, rice paper drawing, 9cm x 5cm, various others, Indian, etc. (a quantity)

A Chinese framed rice paper drawing depicting figures at leisure and an unframed watercolour depicting two lions

MANUSCRIPT. [A hand-written 'Log of Proceedings' from six naval vessels written by William Chimmo R.N. during the Opium Wars. N.p.:] April 1841-November 1844. 74pp., manuscript, disbound (317 x 199mm.) 38 leaves of partly legible log-book entries relating to William Chimmo's service on H.M.S. Cornwallis, H.M.S. Rose, H.M.S. Modeste, H.M.S. Castor, and H.M.S. Agincourt during the years of the Opium Wars with China, including 14 ink drawings of vessels including Chinese Junks, 2 topographical views, 1 view of the 'Assault on the City of Chang Jiang', and 1 drawing of a crane ('Hoisting on board a mortar at Madras'), 1p. of coloured naval flags, and descriptions of weather, dates, duties and events on board. (Browning, some leaves damp-stained, chipping to margins.) Disbound. Note: Chimmo wrote these log entries as a teenage boy, aged 13-16. There are many entries relating his daily employment, the refitting of the steamers, the rigging, the gun carriages, lashes for desertion, references to Robert Peel. Chimmo served twice on H.M.S. Cornwallis but missed the signing of the Treaty of Nanking on that vessel, because he'd been put on a return journey to England on H.M.S. Modeste three days earlier. However, he gives an hourly account of the action at Chang Jiang: '4am: Daylight landed 4500 troops, by the steamers, from the troop ships. 7am: All troops landed and marched to the hill… 11.45am: Troops gained the rampart and gradually drove the enemy from their retreat. 12pm: Magazine blew up the city… 6pm: Departed this life- Major--- from a Coup au Soliel [sic]'.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

Collection of Eight Japanese / Chinese Unframed Pictures including Watercolour of Birds within Trees, Signed Pencil Drawing of Sailing Boats and Mount Fuji to background,

Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink and graphite on paper.There are tears on the outer perimeter without affecting the drawing.Apocryphal signature and inscription.Measurements: 31 x 41.8 cm.In the oriental culture, painting has a great link with calligraphy, materials such as brush and ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese school, modelled on WU GUANZHONG; 20th century."Floating water lilies".Ink on blue card.Slight lack in the upper left corner.Signed in the lower left corner.Measurements: 31,5 x 45 cm.In the oriental culture painting has a great link with calligraphy, the materials such as the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink on blue card.There are tears and faults in the corners.It has damp stains.Signed in the lower left corner.Measurements: 44,5 x 32 cm.In the oriental culture the painting has a great link with the calligraphy, the materials like the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

LIU BOLIN (Shandong, 1973)."#1". Hide in the city" series, n.82. 2008.C-print on aluminium, copy 3/4. Copy of 2009.Provenance: Tagomago Gallery, Barcelona.Size: 100 x 71 cm.This photograph belongs to the most emblematic series of the Chinese artist Liu Bolin. "Hidden in the City" consisted of a series of photographed actions in which he mimicked urban environments, as a form of rebellion against the system. The project was conceived after the demolition by the Chinese authorities in 2005 of his and other artists' studios in Suo Jia Cun. This centre was considered the largest congregation of artists in Asia. As an act of silent rebellion, he began this project of physical invisibilisation in the urban context, aimed at drawing attention to the Chinese government's lack of protection for its own artists. Using his own body to paint himself on the landscape of various locations in Beijing, Liu provided a space for the Chinese artist, preserving his social status and highlighting his problematic relationship with the physical environment. In June 2011 Liu created the series "Hidden in New York", in which he incorporated cultural icons of New York.Liu Bolin is a Chinese artist, sculptor and photographer. He received a Bachelor of Fine Arts degree from Shandong University School of Arts, and a Master of Fine Arts degree from the Central Academy of Fine Arts in Beijing in 2001. He has also held numerous exhibitions in various countries. Liu belongs to the generation that came of age in the early 1990s, when China was recovering from the Cultural Revolution and beginning to enjoy rapid economic growth and a relatively stable political scene. Since his first solo shows in 1998, Liu's work has received international recognition. His photographs and sculptures have been exhibited at the Les Rencontres d'Arles photography festival, Dashanzi Art Zone in Beijing (2007), Bertin-Toublanc Galleries in Paris (2007), Klein Sun Gallery in New York (2008), Galerie Paris-Beijing in Paris and Brussels (2013), Boxart in Verona (2008), and the Forma Foundation for Photography in Milan (2010), among others. In 2009, he created the sculpture "Burning Man Obama" in honour of Barack Obama, to celebrate the US President's visit to China. In 2013, Liu designed the visual art for Bon Jovi's What About Now album.

Mark Kaiser The Pond, Central Park, New York City, 2022 Oil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Mark Kaiser was born in Worcestershire and has been painting and drawing since the age of three. In the summer after graduation he was contacted by EMI Records who were particularly interested in an illustration he'd created out of burnt Chinese newspapers and this was subsequently seen by the then up-and-coming band Radiohead who wanted to entitle their EP 'Chinese Burn'. The band loved it and exhibited the finished painting in their house. Among his artistic inspirations are Vincent Van Gogh, Gustav Klimt, Frida Kahlo, Edward Hopper, Gustave Baumann, Simon Palmer and Paul Gauguin. Mark lives in Warwickshire and paints from a busy studio filled with travel books. He exhibited his work at Artistic License Gallery in Primrose Hill, London for many years and was represented by the gallery at the Affordable Art Fair in Battersea many times. The exhibitions were sell-outs and resulted in many private commissions. His work has inspired many musicians, actors, architects and poets. "I like to entertain people with my work, to educate, and to recall memories of favourite destinations that people have been to. My main focus is on architecture, travel and colour. There is a wealth of subject matter on offer and there is no end to that reference material - all one has to be is selective in the choice on offer. There is a story to each piece, in essence I am a storyteller, only working in colour and form instead of the written word.   Education   Hagley RC High School Stourbridge College of Art Suffolk University Putney School of Art   Select Exhibitions/Awards   Affordable Art Fair Battersea Artistic License Primrose Hill GX Gallery Denmark Hill Bohemia Galleries York Montpelier Gallery Stratford-upon-Avon   Gallery Representation   Montpelier Gallery Stratford-upon-Avon   Statement about AOAP Submitted Artwork   The Pond, Central Park, NYC The painting features a view of some of the great buildings on 5th Avenue and West 59th Street that form a backdrop to the view of Central Park. I love reflections and green spaces and deliberately didn't add any people in order to contain that serene atmosphere. It's a moment in time capturing the fleeting stillness of an ever-changing city. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action