LOT 107
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Bai Xueshi (1915 - 2011) Former site of Chairman Mao’s residence and office in Jinggangshan Ink and colour on paper, inscribed and signed by th
作品估价：GBP 2,000
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图录号：
107
拍品名称：
Bai Xueshi (1915 - 2011) Former site of Chairman Mao’s residence and office in Jinggangshan Ink and colour on paper, inscribed and signed by th
拍品描述：
Bai Xueshi (1915 - 2011)
Former site of Chairman Mao’s residence and office in Jinggangshan
Ink and colour on paper, inscribed and signed by the artist, with a seal, dated 1963, framed and glazed, 86 x 63.5cm.
Provenance: The Adler Family Collection.
Solomon Adler was born in Leeds, England, into a Jewish family originally from Belarus. He studied economics at Oxford and University College London before moving to the U.S. in 1935 for research. In 1936 Adler joined the U.S. Treasury’s Division of Monetary Research and Statistics, working closely with Harry Dexter White. In 1940 he became a U.S. citizen and in the following year was assigned to China as Treasury representative, serving there until 1948. It is during this period that he assembled his collection of Chinese furniture. In 1950 he resigned and returned to the U.K., teaching at Cambridge University. In the early 1960s Adler moved back to China where he lived until his death in Beijing in 1994. Before leaving the U.K. he passed his possessions to his brother, the father of the present owner. Solomon Alder's brother visited China for the first time in 1965, then a number of additional times after the fall of the 'Gang of Four' in 1977.
白雪石
毛主席駐井岡山舊址，一九六三年作
設色紙本，玻璃木框
款識：毛主席在井岡山大井辦公住宿舊址，一九六三年於茨坪。雪石。
鈴印：「老白」。
來源：Adler家族收藏。
Solomon Adler出生於英格蘭里茲的一個猶太家庭，家族原籍白俄羅斯。他曾就讀於Oxford和University College London主修經濟學，後於1935年前往美國從事研究工作。1936年，Adler加入了美國財政部的Division of Monetary Research and Statistics，並與Harry Dexter White密切合作。1940年，他成為美國公民，翌年被派往中國擔任財政部代表，任職至1948年。在此期間，他收集了中國家具，形成了其收藏。1950年，Adler辭職並返回英國，在Cambridge University任教。1960年代初期，Adler再次移居中國，並一直居住至1994年於北京逝世。離開英國前，他將自己的財產轉交給弟弟，即現藏家之父。Solomon Adler的弟弟於1965年首次訪問中國，並在1977年「四人幫」倒台後又多次再度訪華。
Note:Bai Xueshi (白雪石, 1915–2011), was a prominent Chinese traditional ink and colour painter and educator active during the Mao era. Born in Beijing, he studied under masters like Qi Baishi and Wang Shensheng from a young age, blending classical techniques with modern socialist themes. By the 1950s, Bai had become a key figure in reforming Chinese painting to align with CCP ideology, emphasizing depictions of the "new socialist countryside," peasant labour, and collective optimism. He taught at institutions like Beijing Normal College (from 1958), the Beijing Academy of Arts (1960), and the Central Academy of Arts and Crafts (from 1964), where he mentored students in landscape and figure painting while conducting sketching trips to rural areas.
In the 1960s, amid the Great Leap Forward and the lead-up to the Cultural Revolution, Bai's work exemplified the era's push for "revolutionary realism" in traditional media. He created numerous pieces portraying farmers' daily lives and agricultural triumphs. These paintings used fresh, naturalistic brushwork to capture vibrant scenes of production and joy, often in ink and colour on paper or scrolls, infusing Maoist ideals of class struggle and modernisation into guohua forms. His style—lively lines, bold compositions, and earthy tones—bridged traditional aesthetics with propaganda, making socialist subjects accessible and inspiring.
The building depicted in the present painting is Ciping Former Residence, a modest two-story wooden building (Bajiaolou, or "Eight-Cornered Building") in the Ciping scenic area. Built in the early 20th century as a local landlord's home, it served as Mao Zedong’s primary residence. The ground floor served as living quarters (shared with his wife He Zizhen), while the upper floor was an office for meetings and command. Conditions were austere—no electricity, harsh winters, and constant threat of raids.
Jinggangshan, located in southwestern Jiangxi Province (straddling the border with Hunan), is a rugged mountain range often called the "Cradle of the Chinese Revolution".
Today, Jinggangshan is a UNESCO Global Geopark and major tourist site, drawing millions annually for "red tourism." The Ciping Residence is preserved as a museum, with guided tours emphasizing revolutionary history.
There is no documented evidence that Bai Xueshi created specific paintings of Mao's residence in Jinggangshan in the 1960s. His 1960s output focused more on contemporary rural motifs rather than historical revolutionary landscapes like Jinggangshan, which were more commonly addressed by oil painters such as Luo Gongliu or guohua artists like Li Keran.
Solomon Adler, as a foreign advisor and translator closely associated with the Chinese Communist Party (CCP) from the early 1960s, interacted with Mao and other leaders and his documented activities focused primarily on translation work, economic advising, and liaison duties in Beijing. Revolutionary tourism sites like Jinggangshan were popular for CCP-affiliated foreigners during the Cultural Revolution era (1966–1976), so it is conceivable that Adler was gifted this painting by a CCP associate given the importance of its subject matter in the context of 1960s China.
Former site of Chairman Mao’s residence and office in Jinggangshan
Ink and colour on paper, inscribed and signed by the artist, with a seal, dated 1963, framed and glazed, 86 x 63.5cm.
Provenance: The Adler Family Collection.
Solomon Adler was born in Leeds, England, into a Jewish family originally from Belarus. He studied economics at Oxford and University College London before moving to the U.S. in 1935 for research. In 1936 Adler joined the U.S. Treasury’s Division of Monetary Research and Statistics, working closely with Harry Dexter White. In 1940 he became a U.S. citizen and in the following year was assigned to China as Treasury representative, serving there until 1948. It is during this period that he assembled his collection of Chinese furniture. In 1950 he resigned and returned to the U.K., teaching at Cambridge University. In the early 1960s Adler moved back to China where he lived until his death in Beijing in 1994. Before leaving the U.K. he passed his possessions to his brother, the father of the present owner. Solomon Alder's brother visited China for the first time in 1965, then a number of additional times after the fall of the 'Gang of Four' in 1977.
白雪石
毛主席駐井岡山舊址，一九六三年作
設色紙本，玻璃木框
款識：毛主席在井岡山大井辦公住宿舊址，一九六三年於茨坪。雪石。
鈴印：「老白」。
來源：Adler家族收藏。
Solomon Adler出生於英格蘭里茲的一個猶太家庭，家族原籍白俄羅斯。他曾就讀於Oxford和University College London主修經濟學，後於1935年前往美國從事研究工作。1936年，Adler加入了美國財政部的Division of Monetary Research and Statistics，並與Harry Dexter White密切合作。1940年，他成為美國公民，翌年被派往中國擔任財政部代表，任職至1948年。在此期間，他收集了中國家具，形成了其收藏。1950年，Adler辭職並返回英國，在Cambridge University任教。1960年代初期，Adler再次移居中國，並一直居住至1994年於北京逝世。離開英國前，他將自己的財產轉交給弟弟，即現藏家之父。Solomon Adler的弟弟於1965年首次訪問中國，並在1977年「四人幫」倒台後又多次再度訪華。
Note:Bai Xueshi (白雪石, 1915–2011), was a prominent Chinese traditional ink and colour painter and educator active during the Mao era. Born in Beijing, he studied under masters like Qi Baishi and Wang Shensheng from a young age, blending classical techniques with modern socialist themes. By the 1950s, Bai had become a key figure in reforming Chinese painting to align with CCP ideology, emphasizing depictions of the "new socialist countryside," peasant labour, and collective optimism. He taught at institutions like Beijing Normal College (from 1958), the Beijing Academy of Arts (1960), and the Central Academy of Arts and Crafts (from 1964), where he mentored students in landscape and figure painting while conducting sketching trips to rural areas.
In the 1960s, amid the Great Leap Forward and the lead-up to the Cultural Revolution, Bai's work exemplified the era's push for "revolutionary realism" in traditional media. He created numerous pieces portraying farmers' daily lives and agricultural triumphs. These paintings used fresh, naturalistic brushwork to capture vibrant scenes of production and joy, often in ink and colour on paper or scrolls, infusing Maoist ideals of class struggle and modernisation into guohua forms. His style—lively lines, bold compositions, and earthy tones—bridged traditional aesthetics with propaganda, making socialist subjects accessible and inspiring.
The building depicted in the present painting is Ciping Former Residence, a modest two-story wooden building (Bajiaolou, or "Eight-Cornered Building") in the Ciping scenic area. Built in the early 20th century as a local landlord's home, it served as Mao Zedong’s primary residence. The ground floor served as living quarters (shared with his wife He Zizhen), while the upper floor was an office for meetings and command. Conditions were austere—no electricity, harsh winters, and constant threat of raids.
Jinggangshan, located in southwestern Jiangxi Province (straddling the border with Hunan), is a rugged mountain range often called the "Cradle of the Chinese Revolution".
Today, Jinggangshan is a UNESCO Global Geopark and major tourist site, drawing millions annually for "red tourism." The Ciping Residence is preserved as a museum, with guided tours emphasizing revolutionary history.
There is no documented evidence that Bai Xueshi created specific paintings of Mao's residence in Jinggangshan in the 1960s. His 1960s output focused more on contemporary rural motifs rather than historical revolutionary landscapes like Jinggangshan, which were more commonly addressed by oil painters such as Luo Gongliu or guohua artists like Li Keran.
Solomon Adler, as a foreign advisor and translator closely associated with the Chinese Communist Party (CCP) from the early 1960s, interacted with Mao and other leaders and his documented activities focused primarily on translation work, economic advising, and liaison duties in Beijing. Revolutionary tourism sites like Jinggangshan were popular for CCP-affiliated foreigners during the Cultural Revolution era (1966–1976), so it is conceivable that Adler was gifted this painting by a CCP associate given the importance of its subject matter in the context of 1960s China.