曾宓

款識：三石樓主寫。
鈐印：「石鼓山人」。

香港，藝倡畫廊
現藏者於一九九四年購自於上述來源

香港，藝倡畫廊 ，〈曾宓：現代寫意畫家〉，一九九四年，42頁

Overall in good condition. Overall framed dimensions: 112.2 by 66 cm; 44⅛ by 26 in.
"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."

Born in 1935 in Hangzhou, Zeng Mi is a prominent figure in the new literati movement and throughout his painting career maintained a constant devotion to art despite the political and cultural turmoil in China. Prominent gallerist Alice King notes that “His poetic paintings with their calligraphic quality are reminiscent of Pu Hua, one of his favorite Qing dynasty painters, on whom he has written many essays.” By the time he was officially recognised by the Zhejiang Academy of Art in 1984, he had already achieved a distinctive painting style that illustrated the freedom that his circumstances would have suggested otherwise. His expressive xieyi style is similar to the attributes of works by Huang Binhong, both in theory and execution. Recognized for his landscapes, the present lots Terraced Gardens (Lot ###), Cliff Dwellings (Lot ###) and Mountainside (Lot ###), are distinctive examples of his deliberate brush lines and a variation of ink tones. His bold use of colour and quiet compositions lack pretension and are as accessible as the vibrant landscapes of the innovative works by Expressionist Emile Nolde.  In his art, Zeng Mi refuses to reject tradition but is undoubtedly part of its transformation in the 20^th century. His works have been featured in important international group exhibitions, including “Twentieth Century Chinese Painting” organised by the Hong Kong Museum of Art and travelled to Singapore, London and Cologne in 1996-1997, along with “China: 5000 Years” organised by the Guggenheim Museum in New York and Bilbao in 1998.