Modern Art Online: From Le Pho to Sanyu
從黎譜到常玉:現代藝術網上拍賣
Online Auction: 1–7 December 2021 • 11:00 AM HKT • Hong Kong | 網上拍賣: 2021年12月1-7日 • 上午 11:00 HKT • 香港

Modern Art Online: From Le Pho to Sanyu 1–7 December 2021 • 11:00 AM HKT • Hong Kong

Modern Art Online: From Le Pho to Sanyu spans across a wide range to present a holistic picture of Modern Asian art during the 20th century. Highlights include figurative paintings by Vietnamese artists Le Pho, Mai Trung Thu and Trần Văn Cẩn, a charming selection of editioned works by Chinese maestros Sanyu, Zao Wou-Ki, and Chu Teh-Chun, as well as vibrant paper works by Walasse Ting, sculptural collectibles by Ju Ming and Tran Phuc Duyen, and gestural ink compositions by Wucius Wong, Liu Kuo-Sung and Lin Xi. The auction will be a wonderful opportunity for budding and established collectors alike to acquire works by the most significant names from the modern era.


「從黎譜到常玉:現代藝術網上拍賣」為二十世紀現代亞洲藝壇繪出一卷波瀾壯闊的百年地圖。今次拍賣的點睛之作包括越南藝術家黎譜、枚中栨(梅忠恕)及陳文瑾的人像作品、中國現代藝術大師常玉、趙無極及朱德群的版畫、丁雄泉的紙本作品、朱銘和川福杜岩的雕塑珍品,以及王無邪、劉國松及林夕遒勁十足的水墨傑作。藉著今次拍賣,蘇富比將帶領新老藏家深入探討這段宏偉壯麗的現代史,從中掇菁擷萃, 滿載而歸。


Florals - The Brevity of Beauty花開總有時

From Le Pho to Sanyu, artists in the 20th century were constantly re-imagining the floral form to bring a sense of permanence to the brevity of beauty. Flowers are earthly yet sublime. Whether driven by a flower’s aesthetics, scent, or innate power to reproduce life and survive, artists across the centuries have long imbued flowers with their personal, cultural, and religious relevance.

紅塵花,往往綻放出塵之美。古往今來,藝術家總在花朵的馥郁芬芳、醉人美學和四季怒綻的生命力中獲得豐富啟發,將花卉意象融入創作,從中注入個人詮釋、文化寓義或宗教意涵。二十世紀藝壇大師如黎譜和常玉均喜愛以花卉為題,透過不同的表現形式賦予花朵全新面貌,讓這種稍縱即逝的大自然之美,在畫面上永遠流芳。

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Property from The Eisen Collection: A Single Owner Grouping of Mai Trung Thu Paintings
艾森私人收藏枚中栨作品

Sotheby’s is honored to present a selection of Mai Trung Thu paintings from The Eisen Collection. Known to display his artistic talents on the historically significant Asian medium of silk, Mai Thu’s masterful paintings recapitulates notions of The Orient: through depictions of the quotidian, from doleful, elegant women, to the intimacies of Vietnamese family life. These charming vignettes were originally acquired from the artist in Paris.

今次拍賣,蘇富比欣呈一組艾森私人收藏的枚中栨(梅忠恕)作品。枚中栨素以精湛的絹本繪畫造詣為人所識,此媒材深具歷史價值,充滿亞洲色彩。枚中栨擅於描繪尋常之美,如沉靜優雅的女子和越南家庭的天倫之樂等,將東方的美感與神韻發揮得淋漓盡致。這批精美的小品由艾森直接購自藝術家;當時枚中栨居於法國梅肯,目前當地正舉辦一場枚氏的回顧展。

 Tran Van Can - A Highly Rare Silk Painting
陳文瑾不可多得的珍罕作例

Tran Van Can

Farmers 農民
ink and colors on silk, 1941
彩墨絹本 1941年作
Estimate: 600,000 - 800,000 HKD

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Tran Van Can’s Farmers is an exceptionally rare composition by the Vietnamese artist, painted in the highly coveted medium of silk. Dated 1941, this delicately painted composition leads the sale. The present lot features four sanguine villagers in the foreground jovially walking towards the viewer’s space while effortlessly carrying bundles of hay over their shoulders. The scene overlooks a receding landscape and horizon line peppered with trees and a farmhouse that cast their reflections on a sweeping water body stretching across the picture plane.

Born in 1910, Tran Van Can was a student at the École des Beaux-Arts d'Indochine who worked with a variety of mediums, from lacquer, woodblock printing, oil painting and silk. He served as the director of the Vietnam College of Fine Arts from 1955 to 1964, became the general secretary of the Vietnamese Fine Arts Association between 1958 and 1983. By 1983, the maestro became the President of the Vietnamese association of Plastic Arts.

《農民》以備受藏家青睞的絹本為媒材,是越南知名藝術家陳文瑾不可多得的珍罕作例。《農民》於1941年面世,是今場拍賣的領銜之作。在畫面前景中,四個臉色紅潤的農民正愉快地步向觀者;她們步履輕盈,肩上扛著捆捆乾草。人物後方的地平線向遠方伸延,錯落有致的綠木與農舍在寬廣的水面上投出片片倒影,佔據大片畫面。

陳文瑾生於1910年,曾求學於中南半島美術學院。他的作品廣涉不同媒材,包括漆畫、油畫、木版印刷及絹本畫。1955至1964年間,陳文瑾出任越南美術學院院長,並於1958 至 1983年擔任越南美術協會秘書長。1983年,陳文瑾成為越南造型藝術協會會長。

A Splash of Color五彩紛飛

Color is crucial to the interpretation of the mystery of nature. From Walasse Ting’s vivid depictions of animals and figures, Shi Hu’s imaginary collages that reference to the buddhist grottoes, Wang Yancheng’s abstract cosmic compositions and to Lebadang’s richly textured canvases, these artists juxtapose colors and reconstruct forms in their works. By visualizing their emotions through color, they break through established artistic boundaries.

色彩是解構大自然奧秘的鑰匙。丁雄泉筆下的人物與動物活靈活現;石虎向佛教石窟取材的拼貼畫空靈飄渺;王衍成的彩色宇宙抽象無形;雷巴當的畫幅充滿質感。從這些作品當中,觀者可觀察藝術家們如何並置色彩、重構各式形態;他們突破了傳統的界限,讓色彩化為情感的載體。

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Literati Passion文人書情

Calligraphy being the blend of symbol and gesture, has always been one of the core elements and sources of inspiration for especially abstract artists. From the gestural abstraction of Wang Dongling, the integration between Chinese calligraphy and Cubism demonstrated in Wang Huaiqing’s disassembled furniture; to award-winning lyricist Lin Xi’s calligraphy work, Wucius Wong’s ink landscape and Lui Shou-Kwan’s flowers - a comprehensive overview of the diverse facets of literati aesthetics is presented in this sale.

書法是筆勢與表意符號的偉大交匯,一直以來都是藝術家的一大靈感泉源和核心創作元素,其中以抽象藝術家為甚。今次拍賣薈萃王冬齡的抽象書法、王懷慶糅合中國書法與立體主義風格的家具創作、獲獎作詞人林夕的書法作品、王無邪的寫意山水,以及呂壽琨的水墨花卉,精彩紛呈,體現文人美學的豐富面向。

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Artists of the Straits海峽之歌

Other highlights of the sale include works by artists who captured the everyday, quintessential scenes of life along the straits for Southeast Asia where trade and exchange of ideas thrived. The works of Chinese artists such as Liu Kang and Cheong Soo Pieng who migrated to Singapore, are presented in this auction alongside a masterful work by Vicente Manansala who invented “transparent Cubism” in the Philippines.

今次拍賣的其他點睛之作,不乏刻畫東南亞海峽貿易與文化交流等生活場景的作品,另有中國藝術家劉抗、新加坡華僑鍾泗濱,以及菲律賓「透視立體主義」創始人文森馬南薩拉的精彩鉅作。

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Post-war Chinese Artist Group戰後中國藝術家群體

The sale also presents a group of works by post-war Chinese artists, including The Lalatta Family Collection of Ho Kan, an important single owner collection of Chen Ting-Shih and other works by Zao Wou-Ki, Liu Kuo-Sung and Li Yuan-Chia.

同步登場的是一組戰後中國藝術家的作品,包括拉拉塔家族珍藏的霍剛畫作、一位重要私人藏家收藏的陳庭詩作品,還有趙無極、劉國松及李元佳的佳作。

From Europe to Indonesia 從歐洲到印尼

In the 1920s the Dutch colonial government of Indonesia presented Indonesia to the world as a kind of living museum of culture: a landscape of rice fields, thriving Javanese traditions and Hindu temples that offered cultured Europeans a sense of remove from the pressures of modernity. The European artists who visited and often settled there in the decades before World War II found something to what Paul Gauguin had found in Tahiti at the end of the 19th century. Indonesia - both Java and the island of Bali, was a place that could be idealised through the prism of art.

1920年代,荷屬東印度殖民政府以「活文化博物館」的形象,向世界推廣印度尼西亞文化。該國的稻田美景、充滿活力的爪哇傳統與古色古香的印度教寺廟,為歐洲文士提供了一個遠離現代社會繁囂的理想去處。二戰前數十年,有一批歐洲藝術家先後造訪印尼、甚至於該地定居;一如在十九世紀末戀上大溪地的保羅・高更,印尼之美使他們深深迷醉。在藝術家的巧手之下,不論爪哇還是峇里島,均散發烏托邦般的夢幻色彩。

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