Two sets of 18th century Imperial Chinese bird paintings by renowned Qing dynasty court painter Jiang Tingxi (1669–1732), discovered in British family homes after more than a century in private hands, have sold for a total of £780,480 at Roseberys.
 
The two sets of seven and twelve paintings were sold as two separate lots on 13 May in Roseberys’ Chinese, Japanese & South East Asian Art Auction. Each set realised a price of £390,240, following intense bidding between room bidders, telephone buyers, and online participants. Both sets ultimately sold in the room to an agent bidding on behalf of a private collector. 
 
Jiang Tingxi (1669-1732), An Imperial Manual of Birds, a set of seven album leaves, ink and colour on silk Estimate: £200,000-£400,000

Jiang Tingxi (1669-1732), An Imperial Manual of Birds, a set of seven album leaves, ink and colour on silk Estimate: £200,000-£400,000

Jiang Tingxi (1669-1732), An Imperial Manual of Birds, a set of twelve album leaves, ink and colour on silk Estimate: £300,000-£500,000

Jiang Tingxi (1669-1732), An Imperial Manual of Birds, a set of twelve album leaves, ink and colour on silk Estimate: £300,000-£500,000

The discovery of the paintings was made by Bill Forrest, Head of Chinese, Japanese & South East Asian Art at Roseberys, during a routine valuation at a home in South London. There, seven original paintings by Jiang Tingxi were found. This initial discovery led to the identification of twelve further paintings in Dorset, owned by a related family member. 
Together, the nineteen paintings are part of an encyclopaedic bird album commissioned by the Kangxi Emperor, completed around 1721, and among the very few known surviving works by Jiang still in private hands.
Blyth's Tragopan with original text overleaf and artist's signature, from set of seven album leaves, ink and colour on silk

Blyth's Tragopan with original text overleaf and artist's signature, from set of seven album leaves, ink and colour on silk

Crucially, it was discovered after removing the pictures from their frames that all retain their original accompanying texts. These descriptive texts are recorded in the Shiqu Baoji (Catalogue of the Imperial Collection of Painting and Calligraphy) but none of the very few examples that have come to auction have had them attached. These texts offer meticulous ornithological observations alongside philosophical commentary and references to Chinese folklore. Some of the birds illustrated are not recorded in classical Chinese or early modern European ornithological texts, giving the works exceptional scholarly value.
Major Iain Menzies during the First World War

Major Iain Menzies during the First World War

Both sets of paintings were acquired by Major Iain Menzies (1895–1979) following the First World War. Menzies served in the Coldstream Guards, joining in 1914 and being recruited from the Special Reserve to serve in France with the Brigade Machine-Gun Company. He resigned with the rank of Lieutenant in 1919. He was the younger brother of Major-General Sir Stewart Menzies, wartime Chief of MI6 and head of the British Special Operations Executive, founded in 1940 to coordinate espionage and sabotage against Axis forces.
 
Major Iain Menzies

Major Iain Menzies

The paintings were hung in the Menzies’ home, Tadley Court, Hampshire, during the 1950s, before moving to Cannon Hall, Hampstead, a grand Georgian residence inherited from Iain’s aunt, Muriel Wilson. It is believed Muriel gifted the bird paintings to Iain’s wife, Lisa Menzies, to hang in Tadley Court. When the couple relocated to Cannon Hall, the paintings were reframed with coral mounts and gilt frames to complement the interiors. They appear on the staircase in a 1967 issue of Homes and Gardens magazine, described in a caption as “fine bird pictures with bright coral mounts decorate the magnificent black oak staircase.”
Three of the paintings hanging in Cannon Hall, former home of Iain Menzies

Three of the paintings hanging in Cannon Hall, former home of Iain Menzies

The paintings were divided among descendants following Iain Menzies’ death in 1979, and have never before been exhibited or offered for sale. They were shown to the public for the first time at the Hong Kong International Antiques Fair (3–7 May 2025), before being previewed at Roseberys in London.
 
Nineteen paintings on display in Roseberys' booth at Hong Kong International Antiques Fair.

Nineteen paintings on display in Roseberys' booth at Hong Kong International Antiques Fair.

Jiang Tingxi was one of the most revered painters and scholars of the Qing court, celebrated for his bird-and-flower works, erudition and intellect. He worked closely with Western missionaries at court, adopting European artistic methods including chiaroscuro and linear perspective. Combined with the traditional Chinese "boneless" (mogu) painting style, this fusion led to the emergence of the so-called “Jiang School” of naturalistic painting. His original paintings were held in the private study of the Qianlong Emperor, who admired them so greatly he issued multiple edicts for the album’s reproduction. While a number of faithful court copies are preserved in the Palace Museums in Beijing and Taipei, original works are exceedingly rare.
 
Silver Pheasant, from set of twelve album leaves, ink and colour on silk

Silver Pheasant, from set of twelve album leaves, ink and colour on silk

 

 Bill Forrest, who led the discovery and sale, said:
 

This is one of the most extraordinary discoveries of my career. To find not only original works by Jiang Tingxi, but ones that have survived in private hands, unknown to scholars, and with their original texts intact, is beyond extraordinary. These paintings aren’t just beautiful objects; they’re vital records of early Qing court culture, science, and aesthetics. It’s an honour to have helped bring them to light.

 Bill Forrest, Director and Head of Chinese, Japanese & South East Asian Art at Roseberys. 

A member of the Menzies family, who consigned the twelve paintings, added: “The twelve pictures hung in my family home for over 40 years. I’ve always thought they were beautiful, but I didn’t quite appreciate their historical significance. I hope the next owner cherishes them as my family has."
 
An Imperial Manual of Birds with text, a set of twelve album leaves, ink and colour on silk

An Imperial Manual of Birds with text, a set of twelve album leaves, ink and colour on silk