Modern Day Auction

Juan Luna 1857 - 1899 The Shepherd signed Luna, inscribed Roma and dated 1882 (lower right) watercolor on paper 96 by 61 cm. 37¾ by 24 in. Executed in 1882. ---------------------------------------------- 胡安・魯納 1857 - 1899年 牧羊人 款識 Luna Roma 1882（右下） 水彩紙本 96 x 61 公分 37¾ x 24 英寸 1882年作

View 1 of Lot 228: Juan Luna 胡安・魯納 | The Shepherd 牧羊人

juan luna 胡安・魯納 | the shepherd 牧羊人

JUAN LUNA (1857-1899) STEEL MILLS Signed and dated 1893 lower right/Unsigned Oil on canvas 55 by 121 cm.; 21 3/4 by 47 1/2 in./ 52 by 151 cm.; 20 1/2 by 59 1/2 in. (2) US$264700-382350

juan luna (1857-1899)

Southeast Asian Paintings

JUAN LUNA 1857-1899 A Day's Closure signed lower right oil on panel 13 by 22 cm.; 5 by 8 3/4 in. PROVENANCE: Formerly in the Collection of a Lady, Barcelona S$20000-30000 US$12120-18180

juan luna

Modern & Contemporary Southeast Asian Paintings

en el palco (in the theatre box)

40th Anniversary Evening Sale

españa y filipinas (spain and philippines)

JUAN LUNA (1857-1899) SHEPHERD BOY Signed and dated Roma, 1882 lower left Oil on canvas 48.5 by 39 cm.; 19 by 15 1/4 in. US$93750-156250

Impressionist & Modern Art Day Sale 

Property from a Private Collection, New York

Property from a Private Collection, New York Juan O'Gorman 1905 - 1982 Paisaje lunático Signed Pintó Juan O'Gorman (lower left); signed Juan O'Gorman and titled (on the reverse) Tempera and beeswax varnish on panel 15 ⅝ by 15 ½ in. (39.6 by 39.3 cm) Framed: 21 ¼ by 20 ⅞ in. (54 by 53 cm) Painted circa 1965.

paisaje lunático

Property from a Private Collection, New York Juan O'Gorman 1905 - 1982 Paisaje lunático signed Juan O'Gorman (lower left); signed Juan O'Gorman and titled (on the reverse) tempera and beeswax varnish on panel 15 ⅝ by 15 ½ in. 39.6 by 39.3 cm. Executed circa 1965.

Latin American Art

Fine Classical Chinese Paintings

董其昌　行書論畫卷 水墨紙本　手卷 釋文：畫樹木各有分別。如畫〈瀟湘圖〉意在荒遠滅沒，即不當作大樹。及近景叢木畫五嶽亦然，如畫園亭景，可作楊柳、梧、竹及古檜、青松。若以園亭樹木移之山居，便不稱矣。若重山複嶂，樹木又別。當直枝直幹，多用攢點，彼此相籍，望之模糊鬱蔥，似入林有猿啼虎嗥者乃稱。至春夏秋冬，風晴雨雪之□，又不在言也。古人雲，有筆有墨，筆墨二字人多不曉，畫豈有無筆墨者，但有輪廓而無皴法，即謂之無筆，有皴法，而不分輕重向背明晦，即謂之無墨。古人雲石分三面，此語是筆亦是墨，可參之。其昌。鈐印：「玄賞齋」、「董其昌印」、「宗伯學士」 題跋： (歐豪年) 思翁論畫，此卷首寫瀟湘之景，急在荒達□沒不作大樹，直岳景亦然，園亭近景始寫大木，又重山複峰，畫遠樹直枝直幹，攅點成之。余曾考其自，藏有董北苑名跡，瀟湘圖以及去□網川山居圖、煙江疊嶂圖，詩皆為有著錄之名跡持之，可作上述論畫之津梁，非空言泛說。是則思翁茹古有得矣，持論固足為今日□，汲古新開坦途，直其後續仲論，形容模擬鬱蔥如入林，有猿啼屬嘯之聲，或如風晴雨雪之變色，亦可為今水墨畫涵新之講義。思翁末言文人畫之筆墨，更有具體釋言，有輪廓而無皴法者，謂之無筆有皴，而不分輕重向背明晦者，則為無墨。故而右分三面，即謂是筆亦是墨。思翁此論叮嚀後學，真如明鏡之於纖塵，至是稱也。癸巳(2013)端陽酒餘。嶺南歐介豪年細讀詳為跋此。鈐印：「自在」、「挹翠山堂」、「歐豪年印」 (周澄) 董文敏行書論畫卷。文敏公論畫雲，習山水之訣，樹木遠近之佈置，宜簡要而精譬，古人論畫常言淺而意賅，乍視平凡無奇，細審之往往可奉為無上心法也。此篇兼論畫法及筆墨，乃積數十年鑑藏實踐之功而來。思翁行書自然天真、跌宕多姿，嘗雲予學書三十年，不敢謂入古三昧而書法至。餘亦復一變，世有明眼人必能知其解者，董其昌為明代書學集大成者，此語自況其書，亦堪雲睥睨當世考其時序，竟乎乎四百年之間矣。而筆墨猶然，神氣自足，光采鑑人，如此佳作豈非福惠中人能得之耳。癸巳(2013)端陽再獲賞讀。蓴波周澄記於居山堂。鈐印：「懶雲」、「蘭陽周澄」、「蓴波無恙」 端節後二日重讀思翁論畫，其中雖言樹木與環境之差異，其數種之栽配應合自然生態，亦告誡畫人對大自然當深入感悟，不然只是逞筆墨之能無助畫境之提昇，而對筆墨二字見解獨到。除論輪廓與皴法運用，更重視輕重向背明晦之變化，啟迪後學頗有助益。蓴波周澄再識。鈐印：「周澄」、「居山堂書畫」 (歐豪年) 思翁論畫鞭撻入擬，惟可以解人傳之也。壬辰(2012)夏五豪年觀餘記。鈐印：「歐介」、「豪年」 (許水德) 癸巳(2013)立冬許水德敬觀。鈐印：「許水德印」 木盒題簽：董其昌行書論畫卷。壬辰(2012)夏日，周澄。鈐印：「周澄」 Dong Qichang 1555-1636 Discourse on Painting in Running Script ink on paper, handscroll signed Qichang and with three seals of the artist colophon by Ou Haonian (1935-) twice and with five seals of his; by Zhou Cheng (1941-) twice and with five seals of his; by Xu Shuide (1931-2021) and with one seal of his titleslip on the box by Zhou Cheng and with one seal of his 28.4 × 216 cm. 11 ⅛ × 85 ⅛ in.

View 1 of Lot 2579: 董其昌 行書論畫卷｜Dong Qichang, Discourse on Painting in Running Script 

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