843 results for "chinese calligraphy"

A very nicely decorated polychrome vase with an unusual pattern, circa 21st century. Condition Overall condition; Perfect. Size: approx. 325mm Period 21st century PRo...

Striking antique Chinese panel with an aged black background and large red calligraphic characters. The inscription is a traditional good fortune...

Lovely plaque. Dimensions: plaque 35.5cm x 24.3M. Frame Total 47.7 x 36.5cm The plaque will be sent with track and trace, safely packed and insured. 7-5-19-24-9 C...

This 14-karat yellow gold brooch is part of the Bamboo triptych, which can be worn in a traditional Chinese calligraphy style. It has been featured in Vogue UA and Elle UA magazines as a new and trendy accessory with multiple ways to embellish clothing...

A Qing dynasty period shop sign from the 19th century with carved and gilded calligraphy, made into a coffee table. This Qing dynasty shop sign from the 19th century, originally a re...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extraordinary dimensionality. By printing it on Mulberry paper, which mimics the swirl of water, the artist achieves a beautiful aesthetic. The artwork is unframed. Please contact the gallery for framing options. Jeff Conroy Blue Blood...

Original color composition by Dolorès Ling. Subject: Birds in flight. Dolorès LING (1932-1999) Untitled, signed lower right. Color composition painted on Xuan paper which is very ...

Description Lovely and large Porcelain plaque with wooden frame. In very good condition. Condition Overall condition; 1 chip close to...

This 14-karat rose gold brooch is part of the Bamboo triptych, which can be worn in a traditional Chinese calligraphy style. It has been featured in Vogue UA and Elle UA magazines as a new and trendy accessory with multiple ways to embellish clothing...

Melanie Sherman Fifty Gestures, No. 1 - Miniature Edition 2026 China Ink on premium Strathmore, 120gsm Paper Size: 5 x 7 inches (12.7 x 17.78 cm) Framed Size: 8.6 x 10.7 x 1.25 inche...

Lovely bowl, 1 japanese and 1 chinese gaiwain. Both with lovely bird scene. Additional information: Material: Porcelain & Pottery Type: Plates Region of Origin: China Period: 19th century Qing (1661 - 1912) Age: 19th century Condition: Chinese lidded bowl...

A Chinese antique rattan three-tiered nested food basket from the early 20th century, with calligraphy and iron accents. Created in China during the early ...

A charming embroidery piece depicting a young lady spinning thread before a riverside farm. The artist has embroidered 'Jenny' to the lower border. Well presented in a gilt frame wit...

This contemporary 14K yellow gold brooch belongs to the Bamboo collection and is a part of the Bamboo Garden triptych, designed to be worn together following the Chinese calligraphy ...

This is a strong calligraphy artwork with delicate and rich details and textures. I'm inspired by prayer, Chinese calligraphy, music, nature and bible verses... Sending prayer in the...

The 1975 promotional poster "China bij Vroom & Dreesmann" exemplifies the cultural curiosity and global outreach of mid-20th century European commercial art. Created for the Dutch department store Vroom & Dreesmann, the poster likely accompanied an event or retail promotion focused on Chinese culture, reflecting the era's fascination with the Far East. The poster’s design is dominated by a large, vividly red Chinese lantern...

This contemporary triptyque brooch is a unique piece from the Bamboo collection, designed by Polya Medvedeva, an oil painter from Berlin. It is made of Sterling Silver and was create...

"Prayer like confetti". This is a joyful artwork! We could pray at any moment and anywhere! With music in Paris, when we take metro... I imagine that all our prayer like confetti in ...

Watercolour on paper of a Cornish beach scene by Oliver Bedford. Signed bottom right. Titled and located on a trade label for The Rowley Gallery, Kensington, London. Presented in cus...

Antique Chinese decorative welcome panel made of wood with raised gold calligraphic characters on a reddish background. The vertical composition and script style suggest a traditiona...

The 1975 promotional poster "China bij Vroom & Dreesmann" exemplifies the cultural curiosity and global outreach of mid-20th century European commercial art. Created for the Dutch department store Vroom & Dreesmann, the poster likely accompanied an event or retail promotion focused on Chinese culture, reflecting the era's fascination with the Far East. The poster’s design is dominated by a large, vividly red Chinese lantern...

Blue and white baluster form porcelain vase with Zhongfeng mark on base, c. 1960s. Beautiful vase with a sweeping mountainous scene and unique calligraphy script. A unique Chinese p...

A pair of six-fold Japanese screens depicting numerous karako (Chinese children) at play in a luxurious palace garden, also known as the theme ‘One Hundred Boys’. Kano School, Japan...

Porcelain plaque in nice wooden frame, depicting the family rules of Zhuzi. Bought in Hong Kong in 1995 11-10-19-16-4 The plaque will be sent with track and trace, safely packe...

Ink on Chinese paper Xiong Long-Deng is Chinese artist born in 1966 who lives & works in Qingzhen & Beijing, China. He is graduated from the Department of Oil Painting, College of ...

A pair of Chinese yoke-back Ming chairs (Qing Dynasty), made of hardwood and finely carved throughout. An arched crest rail surmounts a pierced back splat, carved with the traditiona...

This contemporary triptych sculptural brooch, made of sterling silver, is part of the Bamboo collection designed to be worn together in the Chinese calligraphy way. The brooch has b...

An antique late Qing Dynasty period rattan two-tiered nested lunch box from the early 20th century, with calligraphy and carved handle. Born during the early years of the 20th centur...

Bao Xiang is a beautiful artistic calligraphy in China ink on Xuan paper realized by a Chinese artist commonly called Ya Chun in the early 1900. The signature of the artist appears ...

A refined pair of Chinese porcelain hat stands dating to the early 20th century, featuring beautifully painted calligraphy inscriptions. These elegant stands reflect the artistry and...

A Chinese antique grain basket from the early 20th century, with red calligraphy. Created in China during the early years of the 20th century, this grain basket features a square tapering body accented with braces in the corners and red calligraphy on two sides. Showcasing a central handle, this early 20th century Chinese grain basket...

This calligraphic abstract drawing is made with Chinese ink and pastel on heavy white paper. Looking at it you can feel the freshness of instant impulse and the charge of cheerful en...

Rare pair of ‘Kaïdo’ lounge chairs by by Kwok Hoï Chan for Steiner, 1968. Fantastic sensual and soft design. Kwok Hoï Chan Kwok Hoï Chan was born in Hong...

Such a happy artwork! The artwork looks even more vibrant in person, as I used metallic and neon colors. Inspired by prayer, Chinese calligraphy and graffiti art, this artwork is ric...

This 18-karat yellow gold contemporary brooch, N2, is part of the Bamboo triptych, and can be worn in multiple ways to create a Chinese calligraphy effect. It has been featured in Vogue UA and Elle UA magazines. The brooch is a contemporary jewelry piece designed by artist Polya Medvedeva, who drew inspiration from the principles of Asian ink calligraphy, specifically the "lines and spots" play. Bamboo is a traditional symbol of wisdom and flexibility, and the natural texture and lines of the brooch create a pleasing contrast against the shining beauty of the gold. Unlike silver, gold does not lose its shine over time. While silver can also be attractive in some design cases because of its darkness, or the contrast between its shining and dark aspects, this gold brooch is an excellent choice for those seeking a timeless and elegant piece of jewelry. The Bamboo brooch...

This calligraphy brush is distinguished by its faux turquoise handle. Hand cut and polished, exhibiting a beautiful turquoise color with naturalistic black veining, very much approxi...

Selections from the Paintings and Calligraphy Donated to the Shanghai Museum from the Ching Banlee Liangtuxuan Collection. Published by Shanghai Museum, Shangahai, China, 2002. 1st E...

This contemporary triptyque brooch is a unique piece from the Bamboo collection, designed by Polya Medvedeva, an ink calligraphist and oil painter from Berlin. It is made of 18 karat...

This contemporary triptyque brooch is a unique piece from the Bamboo collection, designed by Polya Medvedeva, an oil painter from Berlin. It is made of 14 karat white gold and was cr...

"Ohlala" is a work of art that speaks of the lightness and charm of life. The beautiful season is approaching, light and sun open hearts, desire for music, colors, to travel... we wa...

An antique Qing dynasty period bronze oversized planter from the 19th century, with mythical animal handles. Crafted during the 19th century Qing Dyn...

This vivid artwork portrays a performer from the traditional Beijing Opera, showcasing remarkable attention to detail and color. The central figure is adorned in an ornate costume fe...

Covered pot in Chinese porcelain from the 19th century on a base measuring 47 cm high and 27 cm in diameter. note some graininess Additional information: ...

Ink on paper Kui Shui is a Chinese artist born in 1970 who lives and works in Shenzhen, China. Over the years, he researched the combination of animal spirit and image spirit to fin...

A vintage Chinese Qing Dynasty desk or calligraphy set . Made of cloisonne. A scholarly and unique collector's item. Provenance: From the estate of F...

A very nicely decorated Vase with a scene of roosters in a garden. The is a special vase, The vase is 'loose' from the green standard. Not really loose but has a little room to move...

Up for offer here is an Exceptionally rare, groundbreaking Original 1975 Vintage Early edition “Fungo” Suspension Hanging lamp by Gabriella Crespi (ca. 1970, Italy), crafted in brass...

Laurent Martin Lo, Bamboo "Kinetic" sculpture, bamboo in balance, lightness and flexibility, Bamboo, rope and counterweight, France, circa 2000. M...

Chinese Carved Dragon Calligraphy Brush Pen Holder Rosewood Stands - a Pair. Circa Late 20th Century. Measurements: 21.5" H x 20.5" W x 7" D.

John von Wicht (German American, 1888-1970) Hand signed lower right Oil and media painting on Japan paper Dimensions: 17 X 24 inches Johannes Von Wicht was born in Holstein, Germa...

A small octopus is inked in the Japanese style of Gyo-Taku print making over a playful background of black and white images of Frida Kahlo. Using sumi ink to "print" the octopus, th...

Plum Branches and Flowers watercolor on wove paper, 1985 Signed and dated in pencil lower right corner From the artist's 1985 sketchbook Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy. Provenance: Estate of the artist Condition: Excellent Image/Sheet size: 13 5/8 x 17 inches Joseph B. O’Sickey, Painter 1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows. O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.” Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.” “The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.” When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.” O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.” Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes. As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...

This is a beautiful 19th century Chinese brush pot made from a hardwood root. The root brush pot has natural gnarled surface with many knots and indents, the top edge is softly rou...

Handemade object #3 by Henry D'ath Dimensions: D 15 x H 60 cm Materials: wood, calligraphy Ink Piece is handmade by artist. Henry d’ath is a new zealand born, hong kong based...

A large Qing Dynasty period black signboard from the 19th century, with red calligraphy. Crafted during the 19th century Qing Dynasty, this large signboard once adorned a temple, gui...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extra...

San Francisco’s elegant Nob Hill caught the eye of Japanese-born, Californian painter Jean Kalisch ((1912-1995). In this atmospheric cityscape, the artist has rendered the famously e...

A black and white porcelain dish, decorated with three poems. Dated 1985. Signed LiuQing and Wang Zhuo Ru (1955), member of the China Arts and Crafts Association, member of China Ancient Ceramics Association, first member of the Jiangxi Calligraphers Association. Marked with seal mark. China, Jingdezhen, 20th century. Diam. 23 cm. Provenance: bought in Hong Kong, 1991. The works of Wang Zhuo Ru (1955) are collected by the National Museum of China, Jingdezhen Chinese...

This 18 karat rose gold brooch N3 is part of the Bamboo triptych and can be worn in the traditional Chinese calligraphy way. It has been featured in Vogue UA and Elle UA magazines, m...

This 14 karat yellow gold brooch, N1, is part of the Bamboo triptych which can be worn in the Chinese calligraphy style. It is a versatile piece that can be attached to your clothing...