Chinese Export (14 results)

Soft cover. Condition: Fine. 1st Edition. 120 pages : colour illustrations ; 25 cm. Summary:"This book treats export art and design from a new standpoint. It is discussed in the context of its production in the highly developed craft market within China. The mechanisms of trade, and of the transmission of design across cultural frontiers are here presented in an original and informative manner, richly illustrated in over eighty colour pages."--back cover.

Guest cloth badge of the 65th session of the Chinese Export Commodities Fair, showing official stamp and guest registration number, in good condition. Text in Chinese. 15.5 x 4.6cm. Chinese Export Commodities Fair, also known as Canton Fair, was found in 1957. It is China's biggest international import and export fair which has been held twice each year. It is now renamed as China Import and Export Fair.

Photographic illustrations in colour, 10pp, text in Chinese with English translation, oblong paperback in wrappers, very good copy. 17 x 24cm. This photographic brochure shows pictures of agricultural and political activities of Dazhai village, Shanxi Province, for the "Learn from Dazhai in agriculture" campaign during Chinese Culture Revolution.

Soft cover. Condition: New. Language:Chinese.Author:NEW YORK CHINESE EXPORT AR.Binding:SoftCover.Publisher:Christie's New York auction.

Album. Condition: Very Good. LATE 19TH CENTURY ALBUM OF 20 DRAWINGS OF CHINESE PUNISHMENT. c. 1900. Ink and watercolor, with handwritten inscriptions in Chinese. Unidentified Chinese artist. Within its original silk portfolio. Oblong quarto. Album, 11 x 13 ¾ inches (28 x 35 cm); drawings, 8 x 11 ¾ inches (20 x 30 cm). Some warping in the margins of a few plates. Drawings, laid in on stiff paper, in very good condition. In these drawings, various situations are depicted of an individual (offender) being punished by another person or a group of people (the Authorities); submission with a leash, sticks, chains and irons; hanging by a toe and a hand from the ceiling; slap in the face; blows on the fingers; beating with a stick; detainment in a locked wooden cage; bloody punctures with a pointed instrument; head chopping with a sword and presentation to the main Authority; inhalation of burning substances, etc.

Soft cover. Condition: Good. Important Chinese Export Porcelain from the Mottahedeh Collection, 375 Lots, Photos with Artifacts in it.

Twelve very bright colour gouache paintings on pith paper showing a series of Qing dynasty figures arranged by rank, blue paper border, red silk covered album with contrasting green ties. Images approximately 17.5 x 12cm. Album 22.5 x 15.5cm. All twelve paintings in very good condition. This finely painted gouache album opens with portraits of the Chinese Emperor and Empress, followed by the Prime Minister and his wife. The remaining eight leaves depict officials of various ranks with their spouses. A vivid and beautifully executed series, the colours standing out with exceptional clarity.

10 hand-painted watercolours on pith paper, edged in turquoise silk ribbon and laid on paper; framed and glazed, overall dimensions: 39.5 x 27 x 2cm. A fine group of Chinese export watercolours showing flowers and butterflies. Pith came into use for painting to satisfy the increasing demand for small, inexpensive and easily transported souvenirs, following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils, on board and canvas were costly and difficult to carry home. Earlier export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings (and later the little glass-fronted boxes) were inexpensive, light, easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light, they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera, native to south-west China. It has had a variety of uses, some going back many centuries. At the Imperial Court both men and women wore coloured flowers made from pith in their hair. For use in painting, it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Because of the nature of pith and its cellular structure, the gouache used by the Chinese sat on the surface allowing fine detail and vivid colour.

12 hand painted water-colours on pith paper, pale blue silk borders, a few minor cracks and tears to rice paper as often; framed and glazed, overall dimensions: 38.7cm x 27cm x 2cm. A fine group of Chinese export watercolours showing courtiers. Pith came into use for painting to satisfy the increasing demand for small, inexpensive and easily transported souvenirs, following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils, on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings (and later the little glass-fronted boxes) were inexpensive, light, easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light, they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera, native to south-west China. It has had a variety of uses, some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting, it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Because of the nature of pith and its cellular structure, the gouache used by the Chinese sat on the surface allowing fine detail and bright colour.

Eight watercolour and gouache on pith paper, edged in turquoise silk ribbon and laid on paper; framed and glazed, overall size: 32.2 x 24.1 x 2cm. 86 A fine group of Chinese export watercolours showing exotic fruit. Pith came into use for painting to satisfy the increasing demand for small, inexpensive and easily transported souvenirs, following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils, on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings (and later the little glass-fronted boxes) were inexpensive, light, easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light, they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera, native to south-west China. It has had a variety of uses, some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting, it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Because of the nature of pith and its cellular structure, the gouache used by the Chinese sat on the surface allowing fine detail and bright colour.

Ten water-colour and gouache studies on pith paper, each surrounded by purple silk borders. Framed and and glazed, overall size: 40cm x 28.5 cm x 2cm. Fine scenes showing rich interiors and fine costumes - this album of especially large format. Pith came into use for painting to satisfy the increasing demand for small, inexpensive and easily transported souvenirs, following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils, on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings (and later the little glass-fronted boxes) were inexpensive, light, easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light, they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera, native to south-west China. It has had a variety of uses, some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting, it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Because of the nature of pith and its cellular structure, the gouache used by the Chinese sat on the surface allowing fine detail and bright colour.

12 watercolour and gouache studies on pith paper; occasional spotting; framed and glazed, overall size: 33 x 25 cm. A fine group of Chinese export watercolours showing Chinese deities and processional characters. Pith came into use for painting to satisfy the increasing demand for small, inexpensive and easily transported souvenirs, following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils, on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings (and later the little glass-fronted boxes) were inexpensive, light, easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light, they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera, native to south-west China. It has had a variety of uses, some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting, it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Because of the nature of pith and its cellular structure, the gouache used by the Chinese sat on the surface allowing fine detail and bright colour.

12 watercolour and gouache studies on pith paper, framed by blue silk ribbon; framed and glazed, overall dimensions: 33cm x 23.5cm x 2cm. ID22 A fine group of Chinese export watercolours showing processions. Pith came into use for painting to satisfy the increasing demand for small, inexpensive and easily transported souvenirs, following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils, on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings (and later the little glass-fronted boxes) were inexpensive, light, easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light, they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera, native to south-west China. It has had a variety of uses, some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting, it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Because of the nature of pith and its cellular structure, the gouache used by the Chinese sat on the surface allowing fine detail and bright colour.

CHINESE EXPORT (LATE EIGHTEENTH-CENTURY) Pineapple (Ananas camosus) Gouache on paper Paper size: 18 1/4 x 14 in Frame size: 27 1/4 x 23 3/8 in 1790-1810 Provenance: Mr. and Mrs. Joseph Verner Reed, Greenwich, CT; and thence by descent to Mr. Samuel P. Reed, New York, NY. The market for Chinese export watercolors grew out of the trade-in porcelain to the West. In Britain, botanical interest in the exotic botany of the world was spurred on by Sir Joseph Banks (1743-1820), the Royal Society president. However, China's botanical treasures must have been known in England well before 1750, since Sir Hans Sloane (1660-1753) owned a fine album of such drawings, now in the British Museum. There was a long tradition of botanical writing and illustration in China, dating back to the Song dynasty (960-1279). Western scholars' desire to obtain accurate depictions of unfamiliar Asian flora and fauna was easily satisfied by Chinese natural history watercolorists. The tradition of botanical painting was so prevalent throughout China that western traders were not solely reliant upon the workshops at Canton, the main trading city-port, and also obtained watercolors from other parts of the Chinese community in southeast Asia This outstanding example date from the late eighteenth century and display an acute sense of scientific accuracy balanced by a strong aesthetic sensibility. Probably initially commissioned by a Western scholar or amateur gentleman-botanist curious as to the appearance of the exotic fruits of Asia. As is typical of Chinese export watercolors of this period, each work shows the fruit with its complete vegetation and contains a cross-section illustration depicting the fruit's interior flesh. Each of these minutely detailed, exquisitely colored, and fully animated renderings seem ready to burst out of its compositional boundaries. Indeed, from the incredibly life-like rendering of a pineapple's prickly scales to the emotionally charged depictions of seeds liberating themselves from their shells, it is clear that the watercolorist possessed an incredibly heightened scientific and decorative sense. Sir Hans Sloane (1660-1753) wrote of the pineapple: "This Fruit is planted and us'd by way of des[s]ert (having a very fine flavour and tast[e]) all over the hot West-Indies, either raw or, when not yet ripe, candied, and is accounted the most delicious Fruit these places, or the World affords, having the flavour of Raspberries, Strawberries, etc., but they seem to me not to be so extremely pleasant, but too [sour], setting the Teeth on edge very speedily [.] It is clear'd of its outward Skin when ripe, and cut into slices, and so eaten, the middle fibrous or woody part being thrown away. It is known when ripe by the colour of the tuft of Leaves at top, which then turn yellow, and will easily come off with the least pulling. This Tuft as well as young Spouts or Succors from the old ones sides, are planted in any hot Soil, and seldom miss to prosper. The slices are soaked in Canary [a fortified wine] to take of the sharpness which commonly otherwise inflames the Throat, and then they are eaten." (Hans Sloane, A Voyage to the Islands Madera, Barbados, Nieves, S. Christophers, and Jamaica, 2 vols (London, 1707-25), I, p. 191.) Although whole pineapple plants could be exported to America and Europe by sea, the fresh fruit itself was commonly candied before transit. It was too perishable to survive the long trip. In England, the first pineapple was grown at Dorney Court, Dorney in Buckinghamshire, and a huge "pineapple stove" to heat the plants was built at the Chelsea Physic Garden in 1723. Because of the expense of direct import and the enormous cost in equipment and labor required to grow them in a temperate climate, using hothouses called "pineries," pineapples soon became a symbol of wealth.