余本

款識：
Y. BON 33（左下）

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This work is in overall good condition. There are negligible pin holes along the edges, presumably due to the artist's working method. There is a small abrasion near the left eyebrow of the figure. There is no apparent inpainting under UV light examination.
"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."

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余本海外遺珍

生於廣東台山的余本，1918年即以十三歲之齡，前往加拿大勤工儉學。1928年余本考入溫尼佩格藝術學院（Winnipeg School of Art），1929年轉入多倫多安大略省立藝術學院（Ontario College of Art），於1930年畢業後，即以《拉琴者》入選安省畫展，更代表加拿大參加在多倫多舉行的藝術博覽會。《芭蕾舞者》（拍品編號5060）作於1933年，與《拉琴者》同為余本三〇年代初期作於加拿大的海外遺珍，以其戲劇性的筆觸和光源表現，標誌著余本早期人物畫帶有的特殊張力。1935年，余本定居香港，而至1956年遷居廣州。《廣州風景》（拍品編號5061）及《珠江河畔》（拍品編號5062）即是余本遷居廣州後，於當地所作的風景寫生。《廣州風景》中依稀可見的六榕寺花塔，和《珠江河畔》中遠眺的海珠橋，皆為余本上世紀中期最為膾炙人口的寫生主題。余本的寫生於此時期達到高峰，後於八〇年代因於眼疾而未再作畫。