View full screen - View 1 of Lot 136. ZHANG DAQIAN (1899-1983)  | MISTY RIVER LANDSCAPE | 張大千 (1899-1983年)及諸名家題跋   《煙波適志圖》 設色紙本 手卷.
136

ZHANG DAQIAN (1899-1983) | MISTY RIVER LANDSCAPE | 張大千 (1899-1983年)及諸名家題跋 《煙波適志圖》 設色紙本 手卷

Estimate:

20,000 to - 30,000 GBP

PROPERTY FROM A DUTCH FAMILY COLLECTION | 荷蘭私人收藏

ZHANG DAQIAN (1899-1983) | MISTY RIVER LANDSCAPE | 張大千 (1899-1983年)及諸名家題跋 《煙波適志圖》 設色紙本 手卷

ZHANG DAQIAN (1899-1983) | MISTY RIVER LANDSCAPE | 張大千 (1899-1983年)及諸名家題跋 《煙波適志圖》 設色紙本 手卷

Estimate:

20,000 to - 30,000 GBP

Lot sold:

277,200

GBP

PROPERTY FROM A DUTCH FAMILY COLLECTION

荷蘭私人收藏

ZHANG DAQIAN (1899-1983)

MISTY RIVER LANDSCAPE

張大千 (1899-1983年)及諸名家題跋

《煙波適志圖》 設色紙本 手卷


Ink and colour on paper, handscroll

signed, inscribed, with two seals of the artist

title slip by Zhu Wenjun (1882-1937), selected colophons by Wu Hufan (1894-1968), dated renshen (1932), and with one seal of his; by Pu Ru (1896-1963), and with one seal of his; by Tao Beiming (1882-1956), dated renshen (1932), and with two seals of his; by Xiang Dicong (1889-1969), and with two seals of his; by Xu Shixiang (1886-1941), and with one seal of his; by Wang Rong (1896-1972), and with two seals of his; by Yu Fei'an (1888-1959), and with one seal of his; by Zhu Baoci (1880-1950), and with three seals of his; by Huang Binhong (1865-1955), and with one seal of his; by Xie Wuliang (1884-1964), dated yihai (1935), by Dai Liangji (1883-1966), and with one seal of his.

the painting, 28.5 by 95.5cm, 11¼ by 38 in, overall 485 cm (190in) long 

題識:寒夜燈昏酒盞空,關心偶見畫圖中;可憐大地魚蝦盡,猶有垂竿老釣翁此吾家冷齋贈大滌子句也,為少亭世兄寫之,大千居士

鈐印:張爰,大千居士

引首:煙波適志圖,少亭属题, 翼盦。鈐印: 朱文均印, 翼盦

後有題跋者若干:如吳湖帆,溥儒,陶北溟,向迪琮,徐世襄,汪溶,于非闇,朱葆慈,黃賓虹,謝無量及戴亮吉等

Overall wear to the textile cover which is missing the toggle.

There's number marks in pencil at the bottom of each colophons.

The painting is in overall good condition with some very minor foxing and discoloration to the paper. 


中文内容僅供參考,請以英文原版爲準。

錦包首部分有磨損,別子已遺失。

每個題跋下面都有一個用鉛筆書寫的數字。

畫心部分品相良好,局部僅有輕微變色與黃斑。


For more information on and additional images for this lot, please contact Alice.Garner @sothebys.com.


如需更多細圖,請聯繫 Alice.Garner@sothebys.com


"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."


我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員,在此敦促您向其他專業修復人員索取諮詢,以獲得更詳盡、專業之報告。

準買家應該檢查每款拍品以確認其狀況,蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知(見圖錄)。

雖然本狀況報告或有針對某拍品之討論,但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

Please note the condition report for this lot has changed. 此拍品品相報告有所更改。

Acquired in China by Drs. Roland van den Berg, between 1962 to 1966. Dutch diplomat and sinologist Roland van den Berg, posted in China as Third Secretary in the Office of the Netherlands Charge d’Affaires from 1962 to 1966. H.E. Roland van den Berg returned to China in 1986 and served as Dutch Ambassador to China from 1986 to 1992.

此拍品由Roland van den Berg先生得於中國。荷蘭外交官及漢學家Roland van den Berg先生於1962-66年以荷蘭外交部辦公室第三秘書的身份首次被派往中國,后又於1986年出任荷蘭駐中國大使,任期至1992年。

Zhang Daqian (1899–1983), original name Zhang Yuan and pseudonym Daqian, is considered one of the most famous and prolific Chinese artists of the twentieth century, known for the many different painting styles he mastered over his long career. His early works made before he left China in 1949 show the influence of ancient masters as Zhang spent his formative years in Shanghai receiving traditional painting instructions from two famous calligraphers and painters of the time, Zeng Xi and Li Ruiqing. As part of his training, he studied and copied works by ancient masters in detail excelling in all types of paintings in the ancient style, especially landscapes, and enjoying great success. In the 1920s, Zhang Daqian moved north to Beijing where he quickly integrated himself in the cultural circles of Beijing where a generation of traditional literati-painters mingled with a younger generation of idealistic men and women familiar with both Eastern and Western culture.

Among the artists Zhang met and befriended in Beijing in the 1920s and 1930s are well known figures such as Wu Hufan, Pu Xinyu and Huang Binhong, whose upbringing and backgrounds were similar and whose interests in traditional Chinese arts and culture mirrored those of Zhang Daqian. Some of these artists and calligraphers closely collaborated with Zhang Daqian during this phase and the annotations on the present painting demonstrate the close bonds and deep appreciation of this close-knit circle.

All the figures in this circle shared a deep passion for and knowledge of ancient Chinese art and culture and all of them faced the struggle to adapt to fast-changing world of early 20th century China, a time of unprecedented social and political change in China. The works they produced during this period and the individual styles they developed also reflect their fascination of the Western perception and approach towards Chinese art.

The scroll bears a titleslip by Zhu Wenjun (1882-1937), a descendant of the great philosopher of Zhu Xi (1130-1200). Zhu Wenjun was a noted connoisseur of Chinese paintings who had graduated from the University of Oxford in 1908 and who started working in the newly founded Palace Museum in 1926. Zhu Wenjun’s collection of Buddhist scrolls, paintings, bronzes, jades and ceramics was regarded as the ultimate art collection in his time and was donated by his family to different museums in China many years after his death.

Wu Hufan (1894-1968), was the son of eminent 19th century collector Wu Dacheng, and himself an eminent collector, painter, calligrapher, poet and writer, descended from a long line of eminent scholar-officials. A traditionalist, he too had been trained as a classicist and spent his life emulating traditional painting and calligraphy styles in his own works, with a strong focus on traditional landscapes of the Song and Yuan dynasties. Peers with deep respect for each other, Zhang Daqian and Wu Hufan often dedicated paintings to each other, adding personal and poetic inscriptions on their respective works such as on this scroll here.

Pu Xinyu (1896-1963) too was a painter and calligrapher trained in the traditional style. A nobleman, he was a member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, and was the cousin to Puyi, the last Emperor of China. While in Beijing, Pu Xinyu and Zhang Daqian began to collaborate and together became known as the “South Zhang and North Pu,” an epithet that is still used to refer to their collaborative works of the 1930s.

Yu Feian (1888-1959) also was part of the artistic circle into which Zhang Daqian immersed himself in Beijing in the late 1920s and 1930s. Known for his ‘realistic’ painting style, his paintings are based on the meticulous painting style of the Song emperor Huizong’s works reflecting the interest in realism which emerged under the stimulus from Western art. In 1935, Yu Feian and Zhang Daqian held a collaborative exhibition in Beijing.

Huang Binhong (1865-1955) was another fellow artist and writer who studied and emulated the traditional style of painting and later became one of China’s best-known modern painters. In his 1934 treatise ‘Principles of Painting’ (huafa yaozhi), Huang advocated the study of Tang and Song painters and their works to ‘trace the past as to initiate the future’. This commitment to artistic continuity and the reinvigoration of brush-and-ink painting positioned in the elite tradition of literati painting was repudated in a time of profound political change. Huang was a key figure in the artistic circle around Zhang Daqian.