845 results for "chinese calligraphy"

This artwork "The Gazebo" 1989 is a watercolor by noted Chinese/American artist Jake Lee, 1915-1991 It is signed and dated at the middle right corner by the artist. The image size is 14 x 17 inches, framed is 22.75 x 25.5 inches. It is custom framed in a wooden gold frame, with gold color spacer and fabric matting. it is in excellent condition. About the artist. Jake Lee is emerging as the visual chronicler of the Chinese American past, especially the daily life in San Francisco Chinatown. No other artist, of any background, has presented that history as richly and as evocatively as Lee did in his many, striking compositions. Completed over a lifetime of work, Lee's paintings of historical sites, moments, and experiences give us an artistic vision. For much of his life, Lee was known primarily as a commercial artist who completed arresting illustrations for travel magazines, greeting cards, and book jackets. He was an art teacher, with many students who learned the use of water-soluble pigments to depict the many landscapes of mid-20th century California. Less well-known were his representations of the many places historically linked to the Chinese of the state and the West. To this day, few in America know about Chinese work in the fisheries, in the early wine industry, in 19th century urban industry, and in the colorful cultural life of San Francisco in the years before the Great Earthquake. At a time when most Americans thought Chinese Americans had just been laundrymen, houseboys, or Charlie Chan, characters they saw on television. As a visual historian, he connected us with the past, but foremost he was an artist. He presented appealing scenes for the visitor to San Francisco who wanted a visual memento. He mastered Western...

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...

Rare screen/room divider. Set of 10 (8 wide + 2 smaller) panels with original thick red lacquer with calligraphy in gold leaf. Later frames in black lacquer with profiled leaf-gild...

Bird is an artwork realized by the English artist Martin Bradley in 1971. Watercolor on Japanese paper, titled "Bird" on the left corner, hand-signed and dated on the lower right c...

This 25" long calligraphy brush features a beautiful handle made from Buddha's Belly Bamboo, a prized variety known as Bamboo Ventricosa. Revered for its unique bulging form, this ba...

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

This artwork "The Duck Hunter" 1989 is a watercolor by noted Chinese/American artist Jake Lee, 1915-1991 It is inscribed Jake Lee and dated 89 on the back....

Loy Luo is a Chinese artist based in New York. She received a Master’s Degree from the Beijing Institute of Fashion Technology in 2010 and taught art at the Be...

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...

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...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten countries as a part of the cultural exchange programs, Up with People and The Ship for World Youth. When her time with those groups ended she moved to the United States, where she discovered photography and started incorporating it with calligraphy. Chaco has led demonstrations and has taught calligraphy workshops at the Dallas Museum of Art, The Crow Asian Art Museum, Greenhill School, and Saint Mark’s School of Texas among others. Chaco’s artwork has been exhibited in Dallas, Santa Fe, New York and Los Angeles and Paris. Process Statement My work uses the Japanese and Chinese calligraphic characters that I have practiced since childhood. I take a line from one character, and when that brushstroke is made it tells me where the next one should be placed. This method of working is untraditional. I have found that the details and individual lines of a character are beautiful by themselves. I may use the individual brushstrokes that form a written word, Japanese letters...

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...

Walter Spies was one of the first Europeans to settle in Bali after a stay in Java. He greatly contributed to the discovery and popularization of Balinese...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten countries as a part of the cultural exchange programs, Up with People and The Ship for World Youth. When her time with those groups ended she moved to the United States, where she discovered photography and started incorporating it with calligraphy. Chaco has led demonstrations and has taught calligraphy workshops at the Dallas Museum of Art, The Crow Asian Art Museum, Greenhill School, and Saint Mark’s School of Texas among others. Chaco’s artwork has been exhibited in Dallas, Santa Fe, New York and Los Angeles and Paris. Process Statement My work uses the Japanese and Chinese calligraphic characters that I have practiced since childhood. I take a line...

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...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chinese porcelain guardian lion vase with calligraphy, polychrome enameling, and applied gilt bat-form handles, dating to the first half of the 20th century. The baluster-form vase ...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Le Soleil Rouge, color Lithograph on Arches paper 1950 by Zao Wou-ki Printed by E. and J. Desjobert Paris signed and numbered image 48 x 34 cm; sheet 56 x 38 cm image 18 ⁵⁷/₆₄ x 13 ²⁵/₆₄cm; sheet 22 ³/₆₄ x 14 ⁶¹/₆₄ cm Edition 48/200 Another copy of the same edition is in the MoMA collection (New York). Framed Provenance Redfern Gallery. Purchased on 20 December 1952 at Redfern Gallery's Zao Wou-ki Exhibition (label at the back) Literature: Catalogue Raisonné of Zao Wou-ki's graphic works (AGERUP) plate 41 About the Artist: Born in 1920 in Beijing, Zao Wou-Ki attended the National School of Arts, Hangzhou for six years under the supervision of Lin Fengmian...

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...

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...

John von Wicht (American, 1888-1970) Oil on Japanese Rice Paper. Hand signed and dated in pencil lower right. Sheet Size: 21 x 29.25 in. Johannes Von Wicht was born in Holstein, ...

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...

Round Ink Stone with Qianlong Mark A round Chinese ink stone with a dark, textured exterior and smooth central basin for grinding ink. The rim is de...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten countries as a part of the cultural exchange programs, Up with People and The Ship for World Youth. When her time with those groups ended she moved to the United States, where she discovered photography and started incorporating it with calligraphy. Chaco has led demonstrations and has taught calligraphy workshops at the Dallas Museum of Art, The Crow Asian Art Museum, Greenhill School, and Saint Mark’s School of Texas among others. Chaco’s artwork has been exhibited in Dallas, Santa Fe, New York and Los Angeles and Paris. Process Statement My work uses the Japanese and Chinese calligraphic characters that I have practiced since childhood. I take a line...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

A carved Chinese soapstone water dropper, boat shaped receptacle with spout and handle, carved with trailing floral stems and a domed cover with a bird f...

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...

A vintage hand painted blue metal vase from the mid-20th century with calligraphy and floral décor. Crafted during the midcentury period, this charming hand-painted blue metal vase c...

Each intuitive drawing has its own character, its own energy. If you tune in with it, it will give you a charge of vivacity and a bright mood! This work is made in the style of abstr...

A dark brown late Qing Dynasty ceramic wine jug with hand-painted calligraphy and a timeworn patina. This antique vessel features a rich, dark glaze that highlights its organic, slig...

Green Apples is an original oil painting realized by Zhang Wei Guang (Mirror) in 2000s. Includes frame. Hand signed on the lower right margin. Signature and various signs in Chin...

Nu Debout, Etching on Rives paper 1951 by Zao Wou-ki Printed in 2 colors and 2 plates by G. Leblanc, Paris signed and numbered image 29.7 x 23.7 cm, sheet 29.7 x 23.7 cm Edition 5/50 Provenance: Private Collection United States Literature: Catalogue Raisonné of Zao Wou-ki's graphic works (AGERUP) plate 71 About the Artist: Born in 1920 in Beijing, Zao Wou-Ki attended the National School of Arts, Hangzhou for six years under the supervision of Lin Fengmian...

Lekkere Zomer Nice Summer Impressionism Oil Painting on Canvas In Stock Juane Xue (1962, Kaifeng, China) Juane Xue was born in Kaifeng, China, in 1962 and showed artistic talent fr...

A fine antique Chinese inside-painted glass snuff bottle dating to 1920, during the Republic period, combining finely executed interior painting with carved red overlay glass decora...

Beautifully painted in varying shades and tones of underglaze blue and white showing figures in an imperial courtyard scene and a famous poem from the Tang Dynasty from Circa 690.  

"Prayer", a work of calligraphy art with delicate and rich details and textures... I am inspired by prayer, Chinese calligraphy and verses from the Bible. Original sold, private coll...

This exquisite Oriental ceramic vase is a true work of art, boasting a rich history and unique features that are sure to captivate any collector or lover of fine art. While the exa...

“100 Selected Kosometsuke Plates, Part 1” with commentary Yamanaka Shokai Sadajiro Yamanaka 1930 This is an absolute must for all collectors of Chinese Ming porcelain. Additional in...

Seasonal autumn Chinese hanging scroll featuring a painting of delicate flowers with a calligraphy signature and date. Crafted on hand-made mulberry paper...

Japanese two-panel screen: Temples Through Misty Forest. Chinese School landscape ink painting on gilded silk by Yukimatsu Shunpo, signed and dated 1924. Yukimatsu Shunpo was born in...

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 matted and framed in a simple white wooden frame measuring 18.25h x 24.25w x 1d inches. Jeff Conroy Lemon Meringue sumi ink and colored pencil on mulberry paper 12.50h x 18.25w in 31.75h x 46.35w cm JEC118 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression and is believed to get its inspiration from Chinese stone rubbings...

This piece is in a custom frame is UV protective plexiglass. Lithograph in color Signed in Pencil Number 137 from an edition of 150 Image Size: 6 ½” x 9 1/8”, Sheet Size 9 7/8” ...

A Japanese Imari porcelain plate from the 19th century, with hand-painted blue and white mountain, tree, architecture and bridge décor. Created in Japan during the 19th century, this...

Chinese Leader's Portrait Charles F. Ellis passed on October 1st, 2004 at the age of 82. Mr. Ellis was hired to teach illustration in 1971 at the newly opened Art Institute of P...

Pair of two vintage Chinese chinoiserie brass barrel / drum shaped garden stools / ottomans featuring embossed calligraphy characters, nailhead trim, and a removable cushioned seat a...

Beautiful pair of antique Chinese wooden couplet wall plaques dating to the late Qing Dynasty. Hand-carved with traditional Chinese gold calligraphy and red lacquer, these panels wer...

This exquisite antique Chinese hat stand, also used as a lantern, is a fine example of Famille Rose porcelain, possibly Republican Period. Th...

Exquisitely painted with delicate line work and a subdued color palette, this Chinese scroll painting is an Late 20th-century reproduction of a...

Zhang Zenglou (penname Xiaoxuan, ??) was born in Hebei Province in 1956. He is a master of contemporary Chinese inside painting in Ji school. He is currently a researcher at the China Academy of Art, chairman of the Hebei Provincial Institute of Inside Painting, and a visiting professor of Yanshan University and Hebei Normal University. In 1987, Mr Zenglou was engaged in creating inside paintings under the direct teaching of Wang Xisan...

Sotheby's: Important Chinese Ceramics from the J. M. Hu Family Collection, June 4, 1985. 1st Ed hardcover with dust jacket. Important and catalog feat...

Original composition or painting by Dolorès Ling. Dolorès LING (1932-1999) Untitled, signed lower right. Color composition painted on Xuan paper which is very ancient and was used ...

Antique Chinese Hongmu (Blackwood) Scholar’s Tray. A simple rectangular tray with a frame of straight and short gallery sides that have cutouts within. The dovetailed corners are ro...

'Untitled' (Chinese Classical) - 2002, 26 cm x 32cm. Edition of 10 plus 2 Artist Proofs. Archival Print, POLAROID 809 Emulsion Transfer. Signed, embossed stamp and artist certificate. Not mounted. Xulong Zhang Short Bio: He has been engaged in fashion portrait photography for 30 years and loves Polaroid photography. In 2000, he began to develop Polaroid photography and traveled to 34 countries for photography. Vita: 1999 Has won the title “Ten Elites” in the 3rd China Portrait Photography. 2000 Named the World Chinese Artist, known as “The Prince of Album” 2001 September, CCTV special report on “Zhang Xulong’s Body Art Photography” gained strong feedback from the community. 2002 January, published “Strategies for Commercial Portrait Photograph” by Zhejiang Photography Publishing. 2002 February, launched the concept of “Tang Yun” and greatly accepted by the market. His idea has spread across whole China’s photography industry. 2002 July, launched the concept of “Picasso’s scene backdrop” for kids photography and shocking the whole industry. 2002 August, published “Ms.Tang’s Body Art Portrait Album”, the first female body photography in China, by People’s Arts Publishing 2002 September, a personal exhibition entitled “seeing memory” in the ancient city of Shanxi Province, the 2nd session of the Pingyao International Photography Festival. In December of 2002, he was invited to give lectures in Malaysia and auction off the “Fruitful Achievements” exhibition in Kuala Lumpur, donating all money to the Kuala Lumpur Charitable aid for nursing homes and orphanages, won the "goodwill ambassador" title of honor in Kuala Lumpur. 2003 February-March, held the exhibition of “White Valentines” at Beijing International Trade and Exhibition Centre. December 2003, pioneered the new concept of "Royal Wedding", and completed the album of “Invasion 2004” wedding photography books published by Jilin art press. In December 2003 was awarded the 2003 annual contribution of the Chinese human body photography. 2003 Published “China Portrait Culture”. 2004 January, published Body Art & Portrait album “Chun Hua Qiu Shi”. 2004 March, held the exhibition of “Body Art & Portrait photography” in Chengdu. 2004 May, featured on a special report of “Match En China” in Paris. 2004 September, Pingyao international photography festival held entitled "the ambiguity of ancient legacy" xu-long Zhang body art exhibition 2005 August. 2005 August, accept the German star weekly "Der Stern" special report of “China nude” photography...

A pair of Chinese Qing Dynasty period shop signs with inlaid blue and white porcelain calligraphy and black/dark brown lacquered ground. Presenting a unique pair of Chinese Qing Dyna...

Set alongside the four treasures of the study - the calligraphy brush, ink, paper, and inkstone - a brush rest was an essential fixture of the Chinese scholars' desk. This 19th-centu...

Elegant antique Chinese welcome panel in carved wood with the central character "Spring" surrounded by decorative calligraphy. It retains traces of original polychromy in reddish ton...

Qin Mian is a beautiful artistic calligraphy in China ink on Xuan paper realized by the Chinese artist Li Zhen in 1938. The year and place of creation "1938, Tea Field" in black ink...