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Aqua Arts & Antiques LTD - +972522635836 - Email

24 Hametzuda 5800168 Azor, Israel
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Lot 160 - 19th century antique Chinese painting, hand-painted in water colors on a pith surface, bordered by strips of silk fabric, attached to paper Paper dimensions: 24x35 cm, Frame dimensions: 26x37 cm. (* Pith is often mistakenly described, by those unfamiliar with the material, as rice paper. However, this surface on which they painted in China has nothing to do with paper in its structure and behavior. It is actually a sheet of inner bark derived from the pith plant, the Tetrapanax Papyrifer The unusual structure of the core of this plant, which creates a 'leaf' or such a thin surface, gives the transparent nature and soft surface with its velvety inner texture on which Chinese artists paint in watercolor. The colors were applied in diverse ways and created wonderful effects between transparency and opacity. Some of the strokes are light strokes - the colors stick to the edges of the cell and maintain the quality of the transparent support. Thicker applications of color on the peat tend to fill the cell of the plant, creating a more compressed effect as body paint. Additional colors, mainly red and white, were painted when they are raised from the surface and provide a three-dimensional effect. These may have been created by mixing shellac with watercolor. And these have a higher tendency to crack. Although peat seems similar to paper, it is actually a very thin sheet of wood that can easily break. The spongy and soft surface is easily damaged. Even the slightest pressure can change its structure and create all kinds of marks and changes on the surface. In addition, it is extremely sensitive to moisture, and moisture causes expansion and contraction that cause serious damage. Also, the colors themselves are sensitive to water, so any exposure to direct moisture should be avoided. Chinese peet paintings usually suffer from deficiencies, tears or cracks in their support for the painting itself, caused by the natural fragility of the peet during its aging as a raw material, many times the cracks and tears are caused by the stress caused by the traditional assembly method in China, which used a drip of glue and strips silk that framed the edges of the paintings. - from the Aguspedia). ** Attached for illustration is a screenshot from a sales house abroad with similar items and their price. Period: 19th century (1800-1900)

Estim. 550 - 600 USD

Lot 161 - 19th century Chinese painting from the Qing dynasty, hand-painted in water colors on a pith surface, bordered by strips of silk fabric, attached to paper (defects to the paper / photographed), Paper dimensions: 24x35 cm, Frame dimensions: 26x37 cm. (* Pith is often mistakenly described, by those unfamiliar with the material, as rice paper. However, this surface on which they painted in China has nothing to do with paper in its structure and behavior. It is actually a sheet of inner bark derived from the pith plant, the Tetrapanax Papyrifer The unusual structure of the core of this plant, which creates a 'leaf' or such a thin surface, gives the transparent nature and soft surface with its velvety inner texture on which Chinese artists paint in watercolor. The colors were applied in diverse ways and created wonderful effects between transparency and opacity. Some of the strokes are light strokes - the colors stick to the edges of the cell and maintain the quality of the transparent support. Thicker applications of color on the peat tend to fill the cell of the plant, creating a more compressed effect as body paint. Additional colors, mainly red and white, were painted when they are raised from the surface and provide a three-dimensional effect. These may have been created by mixing shellac with watercolor. And these have a higher tendency to crack. Although peat seems similar to paper, it is actually a very thin sheet of wood that can easily break. The spongy and soft surface is easily damaged. Even the slightest pressure can change its structure and create all kinds of marks and changes on the surface. In addition, it is extremely sensitive to moisture, and moisture causes expansion and contraction that cause serious damage. Also, the colors themselves are sensitive to water, so any exposure to direct moisture should be avoided. Chinese peet paintings usually suffer from deficiencies, tears or cracks in their support for the painting itself, caused by the natural fragility of the peet during its aging as a raw material, many times the cracks and tears are caused by the stress caused by the traditional assembly method in China, which used a drip of glue and strips silk that framed the edges of the paintings. - from the Aguspedia). ** Attached for illustration is a screenshot from a sales house abroad with similar items and their price. Period: 19th century (1800-1900)

Estim. 1 100 - 1 200 USD

Lot 162 - 19th century Chinese painting from the Qing dynasty, hand-painted in water colors on a pith surface, bordered by strips of silk fabric, attached to paper (defects to the paper / photographed), Paper dimensions: 24x35 cm, Frame dimensions: 26x37 cm. (* Pith is often mistakenly described, by those unfamiliar with the material, as rice paper. However, this surface on which they painted in China has nothing to do with paper in its structure and behavior. It is actually a sheet of inner bark derived from the pith plant, the Tetrapanax Papyrifer The unusual structure of the core of this plant, which creates a 'leaf' or such a thin surface, gives the transparent nature and soft surface with its velvety inner texture on which Chinese artists paint in watercolor. The colors were applied in diverse ways and created wonderful effects between transparency and opacity. Some of the strokes are light strokes - the colors stick to the edges of the cell and maintain the quality of the transparent support. Thicker applications of color on the peat tend to fill the cell of the plant, creating a more compressed effect as body paint. Additional colors, mainly red and white, were painted when they are raised from the surface and provide a three-dimensional effect. These may have been created by mixing shellac with watercolor. And these have a higher tendency to crack. Although peat seems similar to paper, it is actually a very thin sheet of wood that can easily break. The spongy and soft surface is easily damaged. Even the slightest pressure can change its structure and create all kinds of marks and changes on the surface. In addition, it is extremely sensitive to moisture, and moisture causes expansion and contraction that cause serious damage. Also, the colors themselves are sensitive to water, so any exposure to direct moisture should be avoided. Chinese peet paintings usually suffer from deficiencies, tears or cracks in their support for the painting itself, caused by the natural fragility of the peet during its aging as a raw material, many times the cracks and tears are caused by the stress caused by the traditional assembly method in China, which used a drip of glue and strips silk that framed the edges of the paintings. - from the Aguspedia). ** Attached for illustration is a screenshot from a sales house abroad with similar items and their price. Period: 19th century (1800-1900)

Estim. 1 100 - 1 200 USD

Lot 163 - 19th century Chinese painting from the Qing dynasty, hand-painted in water colors on a pith surface, bordered by strips of silk fabric, attached to paper (defects to the paper / photographed), Paper dimensions: 24x35 cm, Frame dimensions: 26x37 cm. (* Pith is often mistakenly described, by those unfamiliar with the material, as rice paper. However, this surface on which they painted in China has nothing to do with paper in its structure and behavior. It is actually a sheet of inner bark derived from the pith plant, the Tetrapanax Papyrifer The unusual structure of the core of this plant, which creates a 'leaf' or such a thin surface, gives the transparent nature and soft surface with its velvety inner texture on which Chinese artists paint in watercolor. The colors were applied in diverse ways and created wonderful effects between transparency and opacity. Some of the strokes are light strokes - the colors stick to the edges of the cell and maintain the quality of the transparent support. Thicker applications of color on the peat tend to fill the cell of the plant, creating a more compressed effect as body paint. Additional colors, mainly red and white, were painted when they are raised from the surface and provide a three-dimensional effect. These may have been created by mixing shellac with watercolor. And these have a higher tendency to crack. Although peat seems similar to paper, it is actually a very thin sheet of wood that can easily break. The spongy and soft surface is easily damaged. Even the slightest pressure can change its structure and create all kinds of marks and changes on the surface. In addition, it is extremely sensitive to moisture, and moisture causes expansion and contraction that cause serious damage. Also, the colors themselves are sensitive to water, so any exposure to direct moisture should be avoided. Chinese peet paintings usually suffer from deficiencies, tears or cracks in their support for the painting itself, caused by the natural fragility of the peet during its aging as a raw material, many times the cracks and tears are caused by the stress caused by the traditional assembly method in China, which used a drip of glue and strips silk that framed the edges of the paintings. - from the Aguspedia). ** Attached for illustration is a screenshot from a sales house abroad with similar items and their price. Period: 19th century (1800-1900)

Estim. 1 100 - 1 200 USD

Lot 164 - 'Man in white kimono' - antique Japanese painting, gouache and watercolor on paper, in the style of Shun Uemura's work, signed, Dimensions: 41X33 cm Frame dimensions: 45x35 cm. )* Japanese art - Uemura Shoen artist Uemura Shoen (1875–1949) was a pseudonym for an artist in the Japanese painting of Meiji, Taisho and the beginning of the Showa period. Her real name was Uemura Tsune. Shuan was best known for the genre she developed in Japanese art called her 'bijin-ga' which was mainly paintings of beautiful women, in the nihonga style, although she produced many works on historical and traditional themes. Shuan is considered a major innovator of the bijin-ga genre despite the fact that she still often used it to describe traditional beauty standards for women. Bijin-ga was criticized during the Taisho period for not reflecting the more modern status of women in Japan and preferring to paint women in a traditional style. During the birth of the bijin-ga genre in the Tokugawa, or Edo, period, women were considered lower-class citizens and the genre often reflected this projection on its female subjects. During the Taisho period, women took several steps to advance their status in the Japanese workforce, and specifically female art became more popular than the passing of elite leisure, paving the way for Shuan's success. Shuan received many awards and forms of recognition during her life in Japan, being the first recipient of the Order of Culture Award, and was also hired as the official artist of the Imperial Household, which previously employed only one other official woman in the position. In 1949, she died of cancer just one year after receiving the Order of Culture Award of Japan - from the agospedia) Period: 20th century

Estim. 240 - 280 USD

Lot 165 - 'Geisha in black kimono' - antique Japanese painting, gouache and watercolor on paper, in the style of Shun Uemura's work, signed, Dimensions: 59X19 cm Frame dimensions: 61.5X22 cm. )* Japanese art - Uemura Shoen artist Uemura Shoen (1875–1949) was a pseudonym for an artist in the Japanese painting of Meiji, Taisho and the beginning of the Showa period. Her real name was Uemura Tsune. Shuan was best known for the genre she developed in Japanese art called her 'bijin-ga' which was mainly paintings of beautiful women, in the nihonga style, although she produced many works on historical and traditional themes. Shuan is considered a major innovator of the bijin-ga genre despite the fact that she still often used it to describe traditional beauty standards for women. Bijin-ga was criticized during the Taisho period for not reflecting the more modern status of women in Japan and preferring to paint women in a traditional style. During the birth of the bijin-ga genre in the Tokugawa, or Edo, period, women were considered lower-class citizens and the genre often reflected this projection on its female subjects. During the Taisho period, women took several steps to advance their status in the Japanese workforce, and specifically female art became more popular than the passing of elite leisure, paving the way for Shuan's success. Shuan received many awards and forms of recognition during her life in Japan, being the first recipient of the Order of Culture Award, and was also hired as the official artist of the Imperial Household, which previously employed only one other official woman in the position. In 1949, she died of cancer just one year after receiving the Order of Culture Award of Japan - from the agospedia) Period: 20th century

Estim. 180 - 220 USD

Lot 166 - 'Geisha in blue kimono' - antique Japanese painting, gouache and watercolor on paper, in the style of Shun Uemura's work, signed, Dimensions: 32x41 cm Frame dimensions: 45x35 cm. )* Japanese art - Uemura Shoen artist Uemura Shoen (1875–1949) was a pseudonym for an artist in the Japanese painting of Meiji, Taisho and the beginning of the Showa period. Her real name was Uemura Tsune. Shuan was best known for the genre she developed in Japanese art called her 'bijin-ga' which was mainly paintings of beautiful women, in the nihonga style, although she produced many works on historical and traditional themes. Shuan is considered a major innovator of the bijin-ga genre despite the fact that she still often used it to describe traditional beauty standards for women. Bijin-ga was criticized during the Taisho period for not reflecting the more modern status of women in Japan and preferring to paint women in a traditional style. During the birth of the bijin-ga genre in the Tokugawa, or Edo, period, women were considered lower-class citizens and the genre often reflected this projection on its female subjects. During the Taisho period, women took several steps to advance their status in the Japanese workforce, and specifically female art became more popular than the passing of elite leisure, paving the way for Shuan's success. Shuan received many awards and forms of recognition during her life in Japan, being the first recipient of the Order of Culture Award, and was also hired as the official artist of the Imperial Household, which previously employed only one other official woman in the position. In 1949, she died of cancer just one year after receiving the Order of Culture Award of Japan - from the agospedia) Period: 20th century

Estim. 180 - 200 USD
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