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Description

CHINA, 19th century - The Tiger. Important ink painting on silk depicting a seated tiger in profile, its head facing the front, its coat depicted in great detail. An inscription to the left reads: Suici bingyin heyue Yuchang Sushen Guan Ning xie yu Luwengxuan "In the sixth month of the bingyin year, Guan Ning, whose pseudonym is Yuchuang, from Jilin province, painted this in Luwengxuan". In this inscription, Sushen is an archaic term for the province of Jilin; Heyue (month of the lotus) is a rare term for the 6th month; Luwengxuan can literally be translated as "the pavilion of the old man Lu"; finally, the cyclic date Bingyin refers to the dates 1806 or 1866 for the 19th century. In addition, there are three stamps: two read Jin Jianjie and Guang Huo respectively, and appear to be collectors' or appreciation stamps. The third, Haoshanshi, could be an artist's pseudonym. (Restored in 1990-1991 by the British Museum; framed under glass) Dimensions at sight: Height: 100 cm, Width: 97 cm. Dimensions with frame: Height: 123 cm, Width: 118 cm. Note: This painting was brought back from China in the early 20th century by the current owner's great-uncle, Georges Johnston, son of Nathaniel Johnston, owner of Château Beaucaillou in St Julien en Médoc. In 1973, Rigby Lee, the current owner's father, inherited the painting and decided to have it restored. We have correspondence with Professor William WATSON, then Director of the Percival David Foundation in London, whom he knew and approached. In letters dated November 1973, the latter first informed the painting's owner that the only restorers he knew of were at the British Museum, but he wasn't sure whether the British Museum would agree to a private restoration. In a second letter, he enclosed a letter sent to him by Prof. Roderick WHITFIELD, Curator of Oriental Antiquities at the British Museum, in response to his request. In it, Prof. WHITFIELD writes that it is not possible to have the painting restored by the British Museum. by the British Museum and gave the contact details of a restorer in Hong Kong. It was not until 18 years later that the painting was finally restored and reassembled by the British Museum. This is attested by two letters from Andrew THOMPSON, then Curator of Oriental Paintings, dated October 1, 1990 and May 13, 1991 respectively. In the second, he mentions the cyclical date Bingyin, and suggests, as a translation of the inscription, that it was "carefully painted by Guan Ying on a rainy day in the studio of the old sage Lu". The cost of the restoration cost £630. Expert: Cabinet ANSAS PAPILLON et de LERY

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CHINA, 19th century - The Tiger. Important ink painting on silk depicting a seated tiger in profile, its head facing the front, its coat depicted in great detail. An inscription to the left reads: Suici bingyin heyue Yuchang Sushen Guan Ning xie yu Luwengxuan "In the sixth month of the bingyin year, Guan Ning, whose pseudonym is Yuchuang, from Jilin province, painted this in Luwengxuan". In this inscription, Sushen is an archaic term for the province of Jilin; Heyue (month of the lotus) is a rare term for the 6th month; Luwengxuan can literally be translated as "the pavilion of the old man Lu"; finally, the cyclic date Bingyin refers to the dates 1806 or 1866 for the 19th century. In addition, there are three stamps: two read Jin Jianjie and Guang Huo respectively, and appear to be collectors' or appreciation stamps. The third, Haoshanshi, could be an artist's pseudonym. (Restored in 1990-1991 by the British Museum; framed under glass) Dimensions at sight: Height: 100 cm, Width: 97 cm. Dimensions with frame: Height: 123 cm, Width: 118 cm. Note: This painting was brought back from China in the early 20th century by the current owner's great-uncle, Georges Johnston, son of Nathaniel Johnston, owner of Château Beaucaillou in St Julien en Médoc. In 1973, Rigby Lee, the current owner's father, inherited the painting and decided to have it restored. We have correspondence with Professor William WATSON, then Director of the Percival David Foundation in London, whom he knew and approached. In letters dated November 1973, the latter first informed the painting's owner that the only restorers he knew of were at the British Museum, but he wasn't sure whether the British Museum would agree to a private restoration. In a second letter, he enclosed a letter sent to him by Prof. Roderick WHITFIELD, Curator of Oriental Antiquities at the British Museum, in response to his request. In it, Prof. WHITFIELD writes that it is not possible to have the painting restored by the British Museum. by the British Museum and gave the contact details of a restorer in Hong Kong. It was not until 18 years later that the painting was finally restored and reassembled by the British Museum. This is attested by two letters from Andrew THOMPSON, then Curator of Oriental Paintings, dated October 1, 1990 and May 13, 1991 respectively. In the second, he mentions the cyclical date Bingyin, and suggests, as a translation of the inscription, that it was "carefully painted by Guan Ying on a rainy day in the studio of the old sage Lu". The cost of the restoration cost £630. Expert: Cabinet ANSAS PAPILLON et de LERY

Estimate 3 000 - 5 000 EUR

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For sale on Sunday 23 Jun : 14:30 (CEST)
bordeaux, France
Emmanuel Layan & Associés
+33557993976

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