Chang Ta-ch'ien (Zhang Daqian) is one of the best-known and most prolific Chinese artists of the 20th century, as prized for his detailed portraits as he is for his splashed-ink landscapes. Originally a traditionalist who excelled at a broad range of classical Chinese styles and techniques, he later developed innovative methods such as pouring ink and colour on paper or silk to produce random, evocative forms to which he added small figurative details such as a figure or a tree. Combining traditional Chinese brushwork and semiabstract compositions related to American Abstract Exressionism, Chang created highly innovative works distinguished by rich, dark tones and mineral-based pigments; he is one of the great modernist of the last century. Born in 1899 in Sichuan, Chang Ta-ch'ien was encouraged by his family to pursue painting. Starting with a youthful trip to Kyoto, Japan, to learn Japanese weaving and dying, he later traveled to Shanghai, where he studied with famous calligraphers and painters and began to emulate the traditionalist masters Tang Yin, Chen Hongshou and Shitao; then Beijing, where he was active in cultural circles. A gregarious man, Chang surrounded himself with a large entourage of family, students, friends and admirers; he presented himself as a traditional literatus-artist, adopting long scholar’s robes and a flowing beard. Following the Communist takeover, the artist lived in Argentina, Brazil, the US and, finally, Taiwan, where he settled in 1978 and died in 1983. A lifelong collector, Chang left his large holdings of Chinese paintings from the Tang to the Qing dynasties to the National Palace Museum in Taipei. His own work may be found in the National Palace Museum, Taipei City; the Museum of Fine Arts, Boston; the Metropolitan Museum of Art, New York, and others. According to Sotheby’s Mei Moses, the average compound annual return for Chang’s work resold at auction between 2003 and 2017 was 20.8% and 98.5% of 66 such works increased in value.

Zhang Daqian

Inkspiration: Chinese Paintings Online

ink on paper, scroll dated 1983, with 3 seals of the artist 49.4 x 99 cm 19⅜ x 39 in. 張大千　倚松伴鶴圖 水墨紙本　片　一九八三年作 鈐印：「摩耶精舍」、「癸亥」、「千千千」。 FROM THE COLLECTION OF CHANG DAI-CHIEN’S FAMILY (LOT 552-555) | 張大千家屬藏書畫（編號 552-555）

View 1 of Lot 555: 張大千　倚松伴鶴圖 | Chang Dai-chien （Zhang Daqian）, Scholar and Crane

張大千　倚松伴鶴圖 | chang dai-chien （zhang daqian）, scholar and crane

ink on paper, scroll 24.2 x 33.9 cm 9½ x 13⅜ in. 張大千　菜單 水墨紙本　片 款識： 相邀 醃鴨 乾燒明蝦 紅燒蹄筋 炒雞丁（泡辣椒油、豆瓣紅） 四川師子頭（生菜） 炒魷魚（泡辣椒、蔥莭） 口蘑清湯（切厚片、去蒂、加西洋菜三五根） 展覽及著錄： 上海，龍美術館西岸館，〈拾得珍寶—張大千長女心瑞藏品展〉，二〇一五年六月十二日至七月十二日，並刊於展覽圖錄，頁88 FROM THE COLLECTION OF CHANG DAI-CHIEN’S FAMILY (LOT 552-555) | 張大千家屬藏書畫（編號 552-555）

View 1 of Lot 554: 張大千　菜單 | Chang Dai-chien（Zhang Daqian）, Menu

張大千　菜單 | chang dai-chien（zhang daqian）, menu

ink and colour on paper, folding fan the reverse: calligraphy by Pu Ru 18.5 x 48.2 cm 7¼ x 19 in. 張大千　桐蔭高士 設色紙本　成扇 溥儒　行書自作詩　一九四〇年作 款識： 〈張〉百尺梧桐半畝陰，枝枝葉葉有秋心。何年脫骨乘鸞鳳，月下飛來聽素琴。張爰寫於遲秋簃。 〈溥〉庚辰夏月，錄舊作以應希齋先生教正。溥儒。 鈐印：〈張〉「張爰」、「大千」。 〈溥〉「舊王孫」、「玉壺」。 來源：王翔龍舊藏，扇股具其「翔龍藏扇」印 王氏，寓日本橫濱，藏扇七百餘柄，部份參展一九八四年臺北歷史博物館〈千扇展〉。 註：本幅寫於「大風堂」製箋上，夾層具「蜀人張大千書畫扇」及「大風堂製」字樣。 扇股一面刻葦塘雙鵝，另面刻秋山行旅，款「朱松齋作」，落「松」印。 FROM AN ASIAN PRIVATE COLLECTION (LOT 506-543) | 亞洲私人收藏（編號 506-543）

View 1 of Lot 512: 張大千　桐蔭高士；溥儒　行書自作詩 | Chang Dai-chien (Zhang Daqian), Scholar by Shore

張大千　桐蔭高士；溥儒　行書自作詩 | chang dai-chien (zhang daqian), scholar by shore

ink and colour on cardboard with 3 seals of the artist 45.3 x 52.8 cm 17⅞ x 20¾ in. 張大千　竹筍 設色紙卡 鈐印：「大風堂」、「張爰」、「大千居士」。 展覽：三藩市，硅谷亞洲藝術中心，〈大風堂三代畫展〉，二〇一七年二月十八日至三月八日 著錄：〈大風堂三代畫集〉（硅谷亞洲藝術中心，二〇一七年一月），頁42 註：二〇一七年二月十八日至三月八日，〈大風堂三代畫展〉假硅谷亞洲藝術中心舉辦，展覽獲得張心瑞、張葆蘿及大風堂後人支持，所有作品皆來自家族收藏。 FROM THE COLLECTION OF CHANG DAI-CHIEN’S FAMILY (LOT 552-555) | 張大千家屬藏書畫（編號 552-555）

View 1 of Lot 552: 張大千　竹筍 | Chang Dai-chien（Zhang Daqian）, Bamboo Shoot

張大千　竹筍 | chang dai-chien（zhang daqian）, bamboo shoot

ink and colour on cardboard with 3 seals of the artist 45.3 x 52.8 cm 17⅞ x 20¾ in. 張大千　攜琴遊山 設色紙卡 鈐印：「八德園長年」、「張爰之印」、「大千居士」。 註：本幅所鈐「八德園長年」印，乃王壯為一九六八年為先生賀壽所作，其鐵筆遒勁，大刀闊斧，如不假修飾，恰與大千之寫意畫風相合。邊款曰：「川語謂長工為長年，居士造八德園於巴西國、闢湖植樹，移石栽花，昕夕無倦，自號長年，恰具雙關之妙。采古器物五字成此，壯為並識。大千先生七十大慶，敬獻吉語為壽，戊申夏初，王壯為載拜。」亦可推知本幅創作時間不早於一九六八年。 FROM THE COLLECTION OF CHANG DAI-CHIEN’S FAMILY (LOT 552-555) | 張大千家屬藏書畫（編號 552-555）

View 1 of Lot 553: 張大千　攜琴遊山 | Chang Dai-chien（Zhang Daqian）, Strolling into Mountain

張大千　攜琴遊山 | chang dai-chien（zhang daqian）, strolling into mountain

ink and colour on cardboard signed, with a dedication and 2 seals of the artist 44.8 x 60.4 cm 17⅝ x 23¾ in. 張大千　修竹紅梅 設色紙卡 款識： 中華民國六十三年甲寅嘉平月，莎莉亞小友南返巴西，寫此以贈其行。爰翁年七十有五。 鈐印：「張爰印信」、「三千大千」。 來源：歐洲私人收藏 上款：莎莉亞於巴西聖保羅結識大千一家，與其四女心嫻尤為投緣，亦獲邀出席一九六九年張心嫻、伍俊偉婚禮。一九七四年，她自美國南返巴西，畫家特取舊作紅梅題字相贈，又補修竹，寓平安之意。

View 1 of Lot 556: 張大千　修竹紅梅 | Chang Dai-chien (Zhang Daqian), Bamboo by Plum Blossoms

張大千　修竹紅梅 | chang dai-chien (zhang daqian), bamboo by plum blossoms

Annotation by Chang Dai-chien（Zhang Daqian）, dated 1955, with a dedication and 2 seals of the artist

Annotation by Chang Dai-chien（Zhang Daqian）, dated 1955, with a dedication and 2 seals of the artist 39.2 × 28.8 cm 15⅜ × 11⅜ in. 張大千〈大風堂名蹟第二集．清湘老人專輯〉　一冊 京都便利堂，一九五五年七月發行 註：冊中具張大千題：「孟堅吾兄法教，乙未秋，大千弟張爰同在東京。」 鈐印：「張爰私印」、「大千居士」。 蔡孟堅（1905－2001），江西萍鄉人。畢業於青島大學經濟系。年弱冠，擔任山東戰區軍事特派員，為國民政府收編北伐兵敗餘軍。後被派往湖北省任警察局長，在位十年，頗有政聲而為賞識。一九四一年，被邀任蘭州市長。抗戰勝利後，出任救濟總署江西分署長，主理善後救濟與建設。其間曾往歐美、東南亞考察。 四九年赴臺後，赴東瀛任駐日大使。返臺後，擔任中央評議委員等職。蔡氏在大陸或在臺雖無顯赫官職，但多次任命皆直接由層峰指援，極受最高當局倚重信任。七三年退休後客居美國，直至二○○一年歿。 大千先生赴敦煌臨壁畫藝術期間，於一九四一年十二月在武威結識出任蘭州市長的蔡氏，自此締結逾四十年之友誼。四九年後政局變異，大千先生去國，蔡氏東渡臺灣。那時，先生因坊間種種傳言，令辦理臺灣入境証屢遇阻礙，卻苦無對策。蔡氏得悉此事，遂在會見蔣夫人宋美齡時，以畫冊介紹先生藝事，並述其入境障礙 。蔣夫人暸解事情始末，表示歡迎大千返臺觀光，並交待批出其入臺証。大千數月後即得以赴臺，受各界熱烈歡迎之餘，更獲蔣總統及夫人接見款待。若非此特殊關係兼巧妙安排，令先生賓至如歸，促使他日後回臺定居，大千晚年的經歷極可能截然不同！ 五十年代，先生屢到日本遊覽、開畫展、買賣字畫，居停數月，與當時長駐東京的蔡氏相往頻仍，本冊即一九五五年秋，二人同處日本時題贈。 From the Collection of The Born Free Studio (LOTS 607-616) |「無物累齋」藏書（編號607-616）

View 1 of Lot 608: 張大千〈大風堂名蹟第二集．清湘老人專輯〉　一冊 |  Treasures of Dafengtang, Book 2, Painting and Calligraphy by Shi Tao

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