London

As London gears up for the 20th Asian Art in London festival in November, ATG talks to its founders and participants on evolving the event to stay relevant and distinct in a crowded calendar

Arriving in Madras in the second week of November 1792, William Daniell (1769-1837) and his uncle Thomas Daniell (1749-1840) – creators of a successful series of aquatints depicting the subcontinent – sought out fellow artist Robert Home (1752-1834).

Tapering cabinets or yuanjiaogui were valued by the Ming and Qing for their practical use, as the primary place of storage for clothes and linen, and also paintings and books.

Lazarus Halstead, head of Asian art at Chiswick Auctions, describes this 33ft (10m) long handscroll as “both a work of art and an historical document”.

Paul Moss chose an unorthodox route to move the family firm into its second century. Here he discusses his passion for ‘great’ Asian art, the ebbs and flows of the market and succession planning.

A long tradition of trade between China and Java culminated with the establishment of a trading colony in 1297, early in the Majapahit period (1292-1500).

ATG speaks to two exhibitors at 'Asian Art in London' - Jacqueline Simcox who has participated at the event since 1998 and Red Finer of Peter Finer Fine Antique Arms and Armour who joined in 2016.

This Japanese bronze okimono of turtles – symbolic of longevity and good luck – belonged to the empress Shōken (1849-1914), the consort of the emperor Meiji who ruled Japan from 1868-1912.

The collection of Japanese and Chinese works of art at Eaton Neston near Towcester was formed largely by Thomas George Fermor-Hesketh (1849-1924).

With the spread of religion and the development of the Silk Road during the Han Dynasty (206BC-220AD), Chinese works of art began to develop widely in terms of geography and form.

The 'Asian Art in London' event celebrates its 20th anniversary on November 2-11.

The Qianlong period (1736-95) porcelain plate made for export c.1740-60 is painted in famille rose enamels and en grisaille with a half-length portrait of St Simon.

Mabel Lucy Atwell (1879-1964) began her formal artistic training at St Martin’s School of Art in London, but abandoned her courses to pursue a career that saw her produce those sentimentalised depictions of chubby, mostly cheery, rosy cheeked children.