CHINA, 19th century - The Tiger. An important ink painting on silk depicting a tiger sitting in profile, its head facing the front, its coat depicted in great detail. An inscription on the left reads Suici bingyin heyue Yuchang Sushen Guan Ning xie yu Luwengxuan "In the sixth month of the Bingyin year, Guan Ning, whose pseudonym is Yuchuang, from Jilin province, painted this in the Luwengxuan. In this inscription, Sushen is an archaic term for the province of Jilin; Heyue (month of the lotus) is a rare term for the 6th month; Luwengxuan can literally be translated as "the pavilion of the old man Lu"; and finally, the cyclical date Bingyin refers to the dates 1806 or 1866 for the 19th century. In addition, there are three stamps: two read Jin Jianjie and Guang Huo respectively, and appear to be collectors' or appreciation stamps. The third, Haoshanshi, could be an artist's pseudonym. (Restored in 1990-1991 by the British Museum; framed under glass) Dimensions when viewed: Height: 100 cm, Width: 97 cm. Dimensions with frame: Height: 123 cm, Width: 118 cm. Note: This painting was brought back from China in the early 20th century by the present owner's great-uncle, Georges Johnston, son of Nathaniel Johnston, owner of Château Beaucaillou in St Julien en Médoc. In 1973, Rigby Lee, the current owner's father, inherited the painting and decided to have it restored. We have correspondence with Professor William Watson, then director of the Percival David Foundation in London, whom he knew and to whom he turned. In letters dated November 1973, Professor Watson first informed the owner of the painting that the only restorers he knew of were at the British Museum, but he was not sure that the British Museum would agree to a private restoration. In a second letter, he enclosed a letter sent to him by Prof. Roderick WHITFIELD, Curator of Oriental Antiquities at the British Museum, following his request. Prof. WHITFIELD wrote that it was not possible for the British Museum to restore the painting and gave the details of the restoration. by the British Museum and gave the contact details of a restorer in Hong Kong. It was not until 18 years later that the painting was finally restored and reassembled by the British Museum. This is attested by two letters from Andrew THOMPSON, then Curator of Oriental Paintings, dated 1 October 1990 and 13 May 1991 respectively. In the second, he mentions the cyclical date Bingyin, and suggests, as a translation of the inscription, that it was "carefully painted by Guan Ying on a rainy day in the studio of the old sage Lu". The cost of the restoration cost £630. Expert: Cabinet ANSAS PAPILLON et de LERY