27 CHINESE FINE ART – QI, Baishi. Beijing Rongbaozhai xin ji shijian pu (“Fine Letter Papers From the Beijing Rongbaozhai Studio”). Beijing: Rongbaozhai xinji, 1953 “The Chinese Picasso” First edition of this exquisitely produced collection of “letter papers”, containing several dozen works by Qi Baishi, known as the “Chinese Picasso”, as well as examples by many other prominent late Qing abd Republican artists. This is an outstanding example, scarce in this condition, of fine press publishing in 20th-century China. WorldCat records only a handful of various Rongbaozhai letter paper albums in institutional collections outside the US. First produced in 1951, Rongbaozhai’s collections of letter papers – the name given to illustrated sheets designed and executed by literati to enhance their written correspondence – showcase the visually arresting work of leading practitioners. The present work reproduces many examples by Qi Baishi (1864–1957), one of the “Four Great Masters of 20th- century Chinese painting” (Perkins, p. 404), who also brushed the calligraphy used for the title labels. Qi’s contributions exhibit his well-known fascination with insects, flowers and birds, variably rendered in either broad strokes or precise fine lines. Alongside the work of Qi Baishi are designs by other luminaries; foremost among these is Zhang Daqian (1898–1983), “the last great traditionalist of
literati painting and an internationally acclaimed modernist, the most avant-garde of his generation” (Shen & Stuart, p. 15). Today, Zhang’s paintings regularly break auction records. Other artists include Xu Yansun (1899–1961), Wang Xuetao (1903–1982), Wu Guangyu (1908–1970), Wu Daiqiu (1878–1949), Wang Shizi (1885–1950), Pu Xinyu (1896–1963), Li Hechou (1891–1974), Chen Banding (1876–1970) and Tang Dingzhi (1878–1948). Founded in 1894 on the legacy of a studio dating back to 1672, Rongbaozhai treated books as works of art, with its publications typified by decorative silk brocade cases, volumes bound in the traditional xianzhuang style, and the use of xuan paper, long prized by artists and calligraphers. After the founding of the People’s Republic of China, it became a state- controlled enterprise but continued to specialize in collectable art publications issued in small print-runs. 2 volumes, quarto. Original blue wrappers flecked with gold, gold xianzhuang stitching, light blue silk at head and foot of spines, xylographic title labels flecked with gold on front covers. Housed in the original decorative silk brocade folding case with block-printed and gold-flecked title label and bone ties, additional title label on internal lining. With 121 colour prints. Wrappers and contents clean and bright, edges spotted, minor creasing to leaves. A near-fine copy in the sparkling case, unusually retaining both ties, with wear to two loops. ¶ Dorothy Perkins, Encyclopedia of China: History and Culture , 2013; Shen Fu and Jan Stuart, Challenging the Past: the Paintings of Chang Dai-chien , 1991; Michael Sullivan, Modern Chinese Artists: A Biographical Dictionary , 2006. £4,250 [157565]
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again, the tea house is an exclusively male space, with the addition of the occasional foreign patron. The later stereograph and the panorama together capture the changes wrought by the end of dynastic rule and the advent of a more distinctive cultural modernity in urban areas. New fashion styles, advertising boards placed on surrounding structures, and a higher footfall of visitors (still predominantly male) evoke the bustle of the Roaring Twenties and early thirties. 4 captioned stereograph cards (88 × 178 mm), each with rounded corners and 2 mounted 80 × 78 mm albumen or silver gelatine photographs. Together with silver gelatine panorama (100 × 248 mm) with matt finish and small margin. A well-preserved collection, two stereographs slightly yellowed, one of these with conspicuous brushstrokes, silver mirroring at foot of panorama. £1,600 [154516]
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All items are fully described and photographed at peterharrington.co.uk
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