Tang Haiwen

signed in pinyin and Chinese; inscribed Le Petit Poucet Autoportrait on the reverse

Private European Collection

This work is in good condition. There is evidence of one area of discolouration, 23 cm from the right and 40 cm from the bottom edge of the work, presumably inherent to the artist’s working method. There is one area of paper peeled off at the upper right corner and evidence of slight abrasions at the four corners of the work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The oeuvre of Tang is coherent to the European Post-War art scene. With his shift in painting style, the medium he used also changed from oil to ink, water colour and acrylic on paper, which display the essence of Eastern culture that was deeply rooted in him. His Forest (Lot 608) from 1964 depicts a relaxing stroll in the forest using a flat composition. It reminds us of the nostalgic country life that Marc Chagall missed. Even though the artist turned to abstraction later on, viewers could nonetheless sense the traveler's spirit steeped in his works. Untitled (Lot 611), Untitled , Untitled (Lot 612) and a set of four paintings Untitled (Lot 609) were as if chapters from a traveler's diary. In addition, the inner journey was crucial to Tang. They directed the lines, ink washes and symbols to form his pure abstract pieces: Untitled (Lot 518), Untitled (Lot 519) and Untitled (Lot 610) all created a sense of drifting consciousness through the movement of ink. As the artist commented on his oeuvre, "My paintings are neither abstract nor figurative. They do not represent any worldly matters but intend to surpass the boundary of consciousness and to create a new form to denote the nature and its rhythm."