The painting depicts a smiling young child standing within an expansive ochre and blue-grey landscape.

The sitter wears substantial fur- or fleece-trimmed clothing, with red decorative elements around the neck, while one hand is raised towards the mouth. There is an appealing spontaneity to both the expression and gesture.

The artist has concentrated relatively controlled modelling upon the child's face and hand, while the surrounding landscape becomes considerably broader and more physical. Thick passages of oil paint create pronounced ridges and texture across the pale terrain.

This contrast between carefully observed portraiture and freely handled landscape became an important element in our subsequent research.

At lower right is a conspicuous signature executed in blue Chinese script.

The characters appear potentially significant because 树森 corresponds to the given-name element of Lin Shusen – 林树森.

A name correspondence alone would never be sufficient to establish an attribution. What makes the clue considerably more interesting is the relationship that emerged when the painting was compared with documented works associated with Lin Shusen.

Lin Shusen was born in Quanzhou, Fujian Province, in 1974 and subsequently established his professional career within the artistic environment of Dafen in Shenzhen.

His documented oeuvre contains a sustained body of realist figure painting involving children, young people and figures associated with Tibet and western China's highland regions.

Particularly relevant documented paintings include:

Of these works, Morning Light at Xiahe provides a particularly intriguing comparison.

The two paintings are not the same composition. Nevertheless, Lin's documented work similarly combines a young highland figure, substantial fur-edged clothing, a hand raised towards the face, a low horizon and an expansive plateau landscape.

The relationship is therefore considerably more specific than a broad similarity in colour or style.

Combined with the possible “Shusen” signature, these characteristics make Lin Shusen the strongest artist candidate identified through our research.

Published biographical material records that Lin Shusen established his first art studio in 1996 before opening Senyi Classic Gallery in Dafen in 2004.

His subsequent artistic education included advanced oil-painting study at Guangzhou Academy of Fine Arts, further study connected with the Repin Academy in Russia in 2012, and study at the Chinese Academy of Oil Painting in 2015.

His practice developed an increasing emphasis upon psychologically expressive portraiture.

Published material surrounding his later exhibitions discusses his recurring interest in girls and children, including Tibetan children, and his desire to communicate the gaze, character and emotional presence of his sitters through realist oil painting.

Lin Shusen has developed an interesting documented exhibition history.

The second major clue is found on the reverse of the painting.

The label provides tangible evidence associating the framed painting with a named Shanghai gallery or retail business.

Independent research has identified use of the Yi-Ren Gallery name elsewhere in Shanghai. The precise historical relationship between that independently recorded business and the Gubei Road address printed on this label has not, however, been conclusively established.

Importantly, the surviving label contains no artist's name, title, date, exhibition title or inventory number.

It therefore establishes a Shanghai gallery or retail association, rather than proof that this particular painting was formally exhibited by Yi Ren Gallery.

It is presently unknown whether Yi Ren Gallery represented the artist, sold the painting, exhibited it, commissioned it or was involved primarily with its framing or retail handling.

The painting has previously been described as portraying a child within the Gobi Desert.

Current evidence does not allow that geographical identification to be stated as fact.

Nothing on the surviving Yi Ren Gallery label identifies either the sitter or location. We therefore prefer the more cautious description of a western-Chinese or highland landscape.

There is nevertheless an intriguing connection.

Lin Shusen is documented as having travelled through Dunhuang, Yumen Pass, Yang Pass and the Gobi while researching paintings associated with his Silk Road project.

Combined with his extensive Tibetan and highland portraiture, this establishes that such imagery belonged firmly within Lin's artistic vocabulary.

It does not, however, establish the specific location depicted in the present painting.

Research can strengthen an attribution, but it is equally important to recognise where the evidence ends.

No authoritative signature comparison or documentary provenance has yet established Lin Shusen's authorship of this particular painting.

We therefore catalogue the work as:

The painting measures approximately 33.5 × 28 × 2.5 cm / 13.19 × 11.02 × 0.98 inches framed.

The case for a possible Lin Shusen attribution rests upon several independent strands of evidence rather than a single name match.

The painting is currently available from Cheshire Antiques Consultant LTD®.

View the complete catalogue entry, detailed photographs and purchasing information.