Primary Information Source: Wikipedia and Bonhams Auction House:

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The Queen Mother of the West is a goddess in Chinese religion and mythology, also worshipped in neighboring Asian countries such as Japan from ancient times. The first historical information on her can be traced back to oracle bone inscriptions of the fifteenth century BC that record sacrifices to a "Western Mother". She predates organized Taoism. From her name alone some of her most important characteristics are revealed: she is royal, female, and is associated with the west.  She was the dispenser of prosperity, longevity, and eternal bliss that took place during the second century BC when the northern and western parts of China were able to be better known because of the opening of the Silk Road.

Because she was the embodiment of yin, highest goddess, and ruler of female Transcendents, The Queen Mother was seen to have had a special relationship with all women. In the beginning section of Tu Kuang-ting's hagiography, he lists the most important functions of the Queen Mother:

"In heaven, beneath heaven, in the three worlds, and in the ten directions,

all women who ascend to transcendence and attain the way are her dependents." 

One might consider her as Mary, the Queen Mother of Christianity, or as Eve, Mother of Mankind. 

The Asian Queen Mother of the West was said to care for all woman Daoists in the universe, both perfected and aspirants. Tang writers frequently refer to her in poems about Daoist women. In accordance with the Shang Ch'ing vision expressed by Tu, she appears as teacher judge, registrar, and Guardian of female believers. Her forms reflect Tu's definitions.

The Queen Mother was held in especially high regard by Chinese women who did not represent the societal norm of the submissive woman. 

in 2016 a Japanese Scroll by Satake Eikai Sold for £16,250 (US$ 21,526) inc depicting the Queen Mother of the West

 

Born to a family of lacquerers in Wakamatsu, Mutsu Province, Satake Eikai started his studies under a local artist before travelling to Edo, becoming chief pupil of Tani Bunchō. From 1838 he served as a retainer of the Ii Family, Lords of Hikone, rising to the honorary rank of Hōgen and continuing his association even after the assassination of Ii Naosuke in 1860. Like Bunchō he mastered a range of different painting styles including the Maruyama-Shijō-inflected sinified landscape manner seen here.