Indian Floral Still-Life from the Midcentury Period with Flowers and Birds

An Indian vintage framed still-life of vertical format from the mid-20th century, with white, orange and blue flowers topped with calligraphy. We have four frames available, priced a...

A Japanese framed painting from the 19th century depicting two walking Buddhist monks holding a lotus flower and a wicker box, in custom frame. Created in Japan during the 19th century, this vertical linen canvas painting depicts two Buddhist monks walking together, one of them holding a partially bloomed lotus flower, symbol of enlightenment, while the other one is opening a wicker box, the content of which seems to be bringing them great joy. They are both wearing a golden bracelet...

A framed Indian ceremonial Hindu deity from the mid 20th century, hand-painted on canvas. Created in India during the midcentury period, this scene, hand-p...

An antique Indian painting from the 19th century depicting Guanyin the Bodhisattva of Compassion sitting on a dragon. Created in India during the 19th century, this large painting features Guanyin the Bodhisattva of Compassion, sitting on the head of a dragon, fluffy clouds adorning the painting's lower section. Her right foot on a lotus flower, Guanyin wears an ornate headdress and elegant clothes. The painting itself measures 30.5"W x 53.5" H and has been set inside a custom frame. Its peaceful subject will make this 19th century Indian painting...

An antique Indian painting from the 19th century depicting Guanyin the Bodhisattva of Compassion sitting on a dragon. Created in India during the 19th century, this large painting features Guanyin the Bodhisattva of Compassion, sitting on the head of a dragon. Her right foot on a lotus flower, Guanyin wears an ornate headdress and elegant clothes. The painting itself measures 27.5"W x 53.5" H and has been set inside a custom frame. With its vivid colors and elegant subject, this 19th century Indian painting...

A Chinese Qing Dynasty period painting from the 19th century of an ancestor group portrait in custom frame. Created in China during the Qing Dynasty, this vertical painting features ...

This is one of the artist best painting with heavy impasto execution giving a vibrant and colourful impactact to the beauty of the work William Drummon...

The pair of original paintings inspired by the 19th century Chinese export trade chinoiserie paintings of tree, flower & bird motif on wallp...

Birds and flowers of the four seasons Early to mid-19th century Ink, pigment and gofun on silk Unidentified artist Signature: S...

Flowers & Birds of the Four Seasons Pair of six-fold Japanese Screens. Ink, color, gofun and gold on paper. Second half of the 19th Centur...

A set of four Chinese silk paintings, beautifully presented in matching gilt and burl wood frames with brocade borders. The subject of this lovely ...

One hundred birds Hasegawa Gyokujun (1863-1921) Meiji period, circa 1900. Ink, color and gofun on silk. Dimensions of each screen: H. 170 cm x W. 190 cm (67’’ x 75”) Despite the title, well over 100 birds are represented in this pair of two-fold Japanese screens (the title functions figuratively to convey the idea of a large number). The monumental work is rendered with a comprehensive and highly complex composition which is exquisitely executed and meticulously colored. More a celebration of naturalism than the traditional “One Hundred Birds” paintings which originated in China. This was a subject matter known for its auspicious meaning as much as its actual depiction of nature. These paintings generally had a phoenix (occasionally peacocks) placed in the center, and the other birds paying homage to it. In this quintessentially Japanese scene painted by Gyokujun, a couple of long-tailed birds modeled after paradise flycatchers are included; these are traditional auspicious motifs in Oriental bird and flower painting and denote themes such as celebration and enduring generations. In addition there is the playful inclusion of single exotic parrot. Even so, the vast majority of the birds and flowers are native to Japan. Reading the scene from right to left, from spring through to autumn, the overwhelming sense is one of movement and haste. It is almost as if the birds are in a race, with the fleetest leading the way forward. Although these native birds were commonly drawn amongst artists of the Shijo school, rarely were they painted with such drama and dynamism. It is not strictly a depiction of sketched birds whose manner was faithfully handed down through the traditions of the Shijo school. Rather we see Gyokujun seeking and achieving new expressions in the heart of the turbulent Meiji period. Hasegawa Gyokujun (1863-1921) was born in Kyoto. He was the eldest son of Hasegawa Gyokuho, a Shijo school painter who studied under Matsumura Keibun. Gyokujun studied painting under his father and became a prominent member of the Kyoto painti ng world from a young age. In 1891 he established the ‘Young Painters Social Club’ along with Takeuchi Seiho, Miyake Gogyo and Taniguchi Kokyo. Also in 1891 he was selected as a judge of the Great Private Paintings Exhibition along with Takeuchi Seiho, Yamamoto Shunkyo...