van velzen
More ideas from van
LOT SOLD. $25,000 USD  Rare Carved and Painted Pine Twenty-Three Bird "Adirondack-Style" Bird Tree, Probably New York State circa 1900   Height with base 37 1/2 inches; Width of base 12 inches; Diameter overall 22 inches Visual Grace: Important American Folk Art from the Collection of Ralph O. Esmerian

USD Rare Carved and Painted Pine Twenty-Three Bird "Adirondack-Style" Bird Tree, Probably New York State circa 1900 Height with base 37 inches; Width of base 12 inches; Diameter overall 22 inches sothebys

Wallpaper from a Brewery House in Watford. Gouache. China, 1750-1800.

Panel of wallpaper, goache on paper, China, 1750 - A smart way to create impact and make an interior design statement.

明 文徵明《山庄客至图》 轴,纸本,87.5×27.3cm,辽宁省博物馆藏。 此画描绘的是友人前来拜访的场景,山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图,山石皴然兼施,多有抬点,笔致气魄洋溢。是典型的文人画作,淡于仕进,优游林下,以诗文书画自娱,表现自己的品格情怀。

A guest arrives at a secluded mountain mansion, Chinese ink painting by Ming Dynasty artist Wen Zhengming

Gai Qi (改琦) ,   人物四屏 1808年作. 改琦(1773-1828),中国清代画家。字伯韫,号香白,又号七芗、玉壶山人、玉壶外史、玉壶仙叟等。松江(今上海市)人,宗法华喦,喜用兰叶描,仕女衣纹细秀,树石背景简逸,造型纤细,敷色清雅,创立了仕女画新的体格,时人称为“改派”。工人物,佛像,仕女,笔意秀逸潇洒,其远祖为西域人,于元朝时入居中原,明清两代世居宛平(今属北京),祖父改光宗一度任松江(今属上海)参将,遂入籍于此。明清以来,松江地区文人荟萃,书画鼎盛,改琦从小耳濡目染,深受影响,青少年时就在艺术上取得一定成就。

Gai Qi (改琦) , 人物四屏 1808年作. 改琦(1773-1828),中国清代画家。字伯韫,号香白,又号七芗、玉壶山人、玉壶外史、玉壶仙叟等。松江(今上海市)人,宗法华喦,喜用兰叶描,仕女衣纹细秀,树石背景简逸,造型纤细,敷色清雅,创立了仕女画新的体格,时人称为“改派”。工人物,佛像,仕女,笔意秀逸潇洒,其远祖为西域人,于元朝时入居中原,明清两代世居宛平(今属北京),祖父改光宗一度任松江(今属上海)参将,遂入籍于此。明清以来,松江地区文人荟萃,书画鼎盛,改琦从小耳濡目染,深受影响,青少年时就在艺术上取得一定成就。

Lu Ji(吕纪) 。 吕纪(1477~?)中国明代画家。字廷振,号乐愚。鄞(今浙江宁波)人。以画被召入宫,值仁智殿,授锦衣卫指挥使。擅花鸟、人物、山水,以花鸟著称于世。

Lu Ji(吕纪) 。 吕纪(1477~?)中国明代画家。字廷振,号乐愚。鄞(今浙江宁波)人。以画被召入宫,值仁智殿,授锦衣卫指挥使。擅花鸟、人物、山水,以花鸟著称于世。

Lǚ Jì(呂紀). 其花鸟初师边景昭,又学林良,并广泛师法唐宋诸家,所作有工笔重彩和水墨写意两种画法,前者描绘精工,色彩富丽,法度谨严;后者粗笔挥洒,随意点染,简练奔放,富有气势和动感。其山水宗法马远、夏圭,以大斧劈皴画山石,苍劲有力。人物亦法南宋院体,衣纹线条简练顿挫。初学边景昭工笔法,亦受林良水墨法影响,后临仿唐宋诸家名迹,遂自成一体,独步当代。其花鸟画风呈两种面貌,一作工笔重彩,精工富丽,多绘凤鹤、孔雀、鸳鸯之类,辅以树木坡石、滩渚流泉背景,既具法度,又富生气。另一类为水墨写意画,粗笔挥洒,简练奔放,接近林良的风格。他亦兼善人物、山水,宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大,继承者不乏其人。

Lǚ Jì(呂紀). 其花鸟初师边景昭,又学林良,并广泛师法唐宋诸家,所作有工笔重彩和水墨写意两种画法,前者描绘精工,色彩富丽,法度谨严;后者粗笔挥洒,随意点染,简练奔放,富有气势和动感。其山水宗法马远、夏圭,以大斧劈皴画山石,苍劲有力。人物亦法南宋院体,衣纹线条简练顿挫。初学边景昭工笔法,亦受林良水墨法影响,后临仿唐宋诸家名迹,遂自成一体,独步当代。其花鸟画风呈两种面貌,一作工笔重彩,精工富丽,多绘凤鹤、孔雀、鸳鸯之类,辅以树木坡石、滩渚流泉背景,既具法度,又富生气。另一类为水墨写意画,粗笔挥洒,简练奔放,接近林良的风格。他亦兼善人物、山水,宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大,继承者不乏其人。

deer painting minhwa | File:Korea-Minhwa-Jangsaeng.hwarakdo.jpg - Wikipedia, the free ...

hwarakdo" - Minhwa style of Korean folk painting from the Joseon Dynasty

Lǚ Jì(呂紀). Lü Ji first studied the painting style of Bian Wenjin (ca. 1356-ca. 1428), an important early Ming court painter of bird-and-flower subjects. Lü also once had the opportunity to view and copy famous paintings of the Tang and Song dynasties at the residence of the Imperial Physiognomist, Yuan Zhongche (1376-1458), who hailed from the same hometown.

Lǚ Jì(呂紀). Lü Ji first studied the painting style of Bian Wenjin (ca. 1356-ca. 1428), an important early Ming court painter of bird-and-flower subjects. Lü also once had the opportunity to view and copy famous paintings of the Tang and Song dynasties at the residence of the Imperial Physiognomist, Yuan Zhongche (1376-1458), who hailed from the same hometown.

C1750-1780 Französisch Indienne Block gedruckt Stoff Vorhänge 4 Tropfen

C1750-1780 Französisch Indienne Block gedruckt Stoff Vorhänge 4 Tropfen