This collection presents two treasures of "Grand View - Night of Chinese Painting and Calligraphy": Xugu's "Plum and Bamboo Ribbon" published in "Catalogue of Ancient Chinese Paintings and Calligraphy" and Ren Yi's "Phoenix Sycamore", which is more than two meters high, as well as Ren Yi's flower and bird figures "Lotus Pond Group", "Three Heroes of Wind and Dust" and "Lane Zhang" in "Ancient Chinese Painting and Calligraphy Matinee"; Li Jiafu's "Four Screens of Wealth and Immortal Longevity"; He has been published many times, such as Gai Qi's "The Little Shadow of a Woman in the Bright Moon of Two Points", Gu Luo's "Flower Picture" and Wu Xizai's "Shou Tao Xuancao".
In the middle of the 19th century, Shanghai was opened as a port and became the economic and cultural center of China at that time. Painters from all walks of life poured into Shanghai, forming the Shanghai School. The large demand for calligraphy and painting in Shanghai, an emerging commercial city, contributed to the spectacular situation of the Shanghai School painters and the Eight Immortals crossing the sea to show their abilities. The two lots in this collection are from Shanghai-style masters.
Xugu is one of the four great masters on the sea in the Qing Dynasty, and has the reputation of "the first painting garden in the late Qing Dynasty". The common surname is Zhu, and the name is Huairen. When he was the first general of the Qing army to fight against the Taiping army, he was touched and abandoned the army to become a monk. Middle-aged out of the mountain, living a life of painting like a monk but not a monk. It is well-known for its artistic character of "writing coldly and taking a different path".
Lot 2933
Xugu (1823-1896)
Plum bamboo ribbon
Vertical scroll, ink and color on paper
150×40 cm. Approximately 5.4 square feet
RMB: 1,200,000-1,800,000
This auction object is in a bonded state, please refer to the "Bidding Instructions for Bonded Lots" in this catalogue for details.
Inscription: Imitation of the pen, written in Juefeixi. Xugu was seventy years old and had three.
Seals: Void Valley, Ancient Cypress Cottage, Heart and Moon with Light
Collector's seal: Jimin Zhenmi, Liu Yun □ collection
Publication:
1. Catalogue of Ancient Chinese Paintings and Calligraphy (12), Hu 8-081, p. 118, Cultural Relics Publishing House, 1993.
2. Catalogue of Famous Chinese Paintings and Calligraphy: Selected Paintings and Calligraphy of Xugu, Ren Bonian, and Wu Changshuo, pp. 2-3, Otsuka Qiaoyi Shinsha (Japan), 2010.
Catalogue of Ancient Chinese Paintings and Calligraphy
Description:
1. Lao Jixiong, Appraisal of Ancient Chinese Paintings and Calligraphy (IV), p. 1849, Oriental Publishing Center, 2011.
2. Yang Renkai, Notes on the Appraisal of Ancient Chinese Paintings and Calligraphy (IV), p. 1545, Liaoning People's Publishing House, 2014.
3. Notes on the Work of Fu Xinian's Ancient Chinese Painting and Calligraphy Appraisal Group (Volume 5), p. 1983, Zhonghua Book Company, 2023.
Illustrate:
1. According to the "Catalogue of Ancient Chinese Paintings and Calligraphy", it is known that it was originally the old collection of Shanghai Arts and Crafts Import and Export Corporation.
2. Painted with the seal of "Jimin Treasure" and "Ancient Cypress Cottage", it is the seal of Liu Zhongzi, a famous collector in Shanghai. Liu, the word Jimin, the number Jue Fei layman, a native of Nanjing, Jiangsu. Good appreciation, rich collection. The collection of Qing Dynasty paintings and calligraphy is quite rich, especially the works of Shanghai School painters.
The "Plum Bamboo Ribbon" was painted by Xugu at the age of 73, which was the last year of his life. At that time, he had already retreated to the inner world of the subject, seeking transcendence and spiritual freedom in the world. The ribbon birds, plums, and bamboos depicted in the painting were all popular themes in the market at that time, but they had a dusty charm and retained the unique nature of the primitive and innocent nature of all creatures. The three ribbon birds are simple and long, and a cluster of blue feathers on their heads cleverly dye the spirit of the ribbon birds. Writing plum blossoms with a straight and hard pen still has the interest of beauty and lushness. The bamboo does not fight or grab, and echoes the blue feathers on the head of the ribbon bird with light blue colors, and integrates unique brushwork to express its unique noble state.
The style of this painting belongs to the fresh and elegant all the way, gentle and elegant light color and light color, there is a vibrant agility and liveliness, and because of the good use of water, plum, bamboo, birds have a fresh sense of spirit and quality, living color and fragrance. The composition is full and ethereal, eclectic, elegant and distant, refreshing. Behind "Plum and Bamboo Ribbon" is Xugu's indifferent and full attitude towards life and the supreme praise of nature and life mood.
Xugu painting was influenced by the Eight Strange Chinese Songs of Yangzhou. There is the words "imitation of the pen of the Xie Tao Museum" in this work, which is the residence of Hua Rong in his later years on the edge of the West Lake in Hangzhou, and expresses the life attitude of "benefiting me from Xuanzhi and enjoying the rest of my life". Xugu's inscription here is "Imitation of the Pen of the Tao Pavilion", which is not only the admiration and learning of Huayuan's flower and bird painting art, but also the pursuit of the free spirit of the two. This can also be seen from the three characters "Jue Fei Xi" in the painting. Jue Fei Xi is the name of Xugu's room, taken from Tao Yuanming's poem "The real lost road is not far away, Jue today is and yesterday is not", he takes "Jue Fei" as the name, representing the courage and determination of complete self-denial.
"Hansong Pavilion Talking Art Trivia" mentions that Xugu "is lonely in nature, and it is not easy for those who know each other well to get a piece of paper". Due to Xugu's unique artistic career, he did not create many works during his lifetime. And because of its nature, there are even fewer works that have been handed down. This "Plum and Bamboo Ribbon" is a very precious work in Xugu's later years, which was originally collected by the Shanghai Arts and Crafts Import and Export Company, and published in the "Catalogue of Ancient Chinese Paintings and Calligraphy".
Ren Bonian, another master of the Shanghai School, is "a genius in the history of Chinese art", who is unique in the late Qing Dynasty painting world and is the leader of the Shanghai School. His landscapes, people, flowers, birds, animals and portrayals are all impossible, and all of them are not impossible. With a distinctive artistic style, it reflects the atmosphere of the times full of vitality, and the Chen Chen Xiang painted by the literati painters of the late Qing Dynasty is not eaten by the fireworks of the world, and the intention of the works is to enter the WTO from birth, and the artistic interest is changed from elegant to "vulgar", with a wide range of themes and full of interest. Wu Changshuo called him a "painting saint", Cai Ruohong praised him as "a great master of modern painting", and Xu Beihong recommended him as "the first Chinese painter after Qiu Shizhou".
Lot 2934
Ren Yi (1840-1895)
Phoenix sycamore
Vertical scroll, ink and color on paper
233×61 cm. about 12.8 square feet
RMB: 2,200,000-3,200,000
Inscription: Like the village brother Yagen, that is, positive. Bo Nian Ren Yi was written on Chunshen Pu.
Seal: Ren Yi's private seal
The phoenix has an extraordinary significance in traditional Chinese art, which is valued by both the court and the people. After the dragon, the phoenix is the second most deified animal and is the king of birds. In ancient times, it was a symbol of auspiciousness, and there was a legend that the phoenix did not fall without treasure. The sycamore is the best among the trees, symbolizing nobility and integrity. Ancient Chinese mythology says that the sycamore is a "spiritual tree", and "if the sycamore does not grow, then Kyushu will change hands", and the sycamore is also regarded as a symbol of peace and prosperity. Since ancient times, people have often associated the phoenix, the king of birds, with the sycamore, and legend has it that "there are phoenix eggs on the sycamore tree" and "planting the sycamore tree attracts the golden phoenix". "The Book of Songs: Daya" has "The phoenix sings, in the high hill." The sycamore is born, and the sun rises in the sun. That is, we later became familiar with the "Danfeng Chaoyang", which is a metaphor for the virtuous to catch up with the good time.
It is a picture of "Phoenix Sycamore" white phoenix and green tung reflecting each other, rich and elegant. The phoenix posture is elegant, the crown feathers and tail feathers are elegant and moving, and the eyes looking back are very anthropomorphic. The hairy feathers on the body are mainly outlined with ink lines, and occasionally smudged with light ink and ochre, showing a layered and fluffy state. The tail feathers are more elegant, and the ups and downs are very charming, as if there is a windy situation between the pen and ink. Beneath the soft feathers are the stiff legs and sharp claws, which are outlined in a golden-stone brush, and the twists and turns of the pen show tension.
In terms of coloring, Ren Bonian borrowed from Western watercolor techniques, and the use of colors was very flexible, contrasting, harmonious and not stiff. His superb modeling ability makes him bold and able to unify complex colors. In the painting, the trunk of the sycamore tree is first dyed with light ink silhouettes, and then it is dotted with stone green, dyed, or painted, and its color is thick, dry, or wet, and the scars of the branches are shaped by various brush shapes and strengths. The green leaves and red leaves are boneless, and they form a vivid color gradation with the yellow chrysanthemums and the blue lake stones, "red reflects green, flowers are clustered", and the transition between cold and warm colors adds another vitality to the picture with the help of light ink as the background color.
This piece is more than two meters high, more than 12 square feet, given to the "Brother Ren of the Village", although the year is not signed, but according to the money and seal, it should be made in Ren Bonian about 40 years old. With his superb painting skills, he has created an art world that is "appreciated by both the elegant and the vulgar". Many images full of auspicious meaning are included in one picture, interspersed with wonderful intersperse, the composition is full and sparse, and the brushstrokes are full of ink and color infiltration, which is both bright and simple, full of vitality and interest.
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Lot 3199
Ren Yi (1840-1895)
Lotus ponds
Tongzhi Gengwu (1870).
Vertical scroll, ink and color on paper
79×149.5 cm. Approximately 10.6 square feet
RMB: 800,000-1,200,000
Title: Tongzhi Gengwu November, Mr. Ju Tan's law is correct. Bo Nian Ren Yi wrote in Shanghai City.
Seal: Ren Bonian
Publication:
1. Qiao Min Hua Yuan Collection, pp. 164-165, Hongxi Art and Cultural Foundation (Taipei), 1994.
2. Catalogue of Famous Chinese Paintings and Calligraphy: Selected Paintings and Calligraphy of Xugu, Ren Bonian, and Wu Changshuo, p. 21, Otsuka Qiaoyi Shinsha (Japan), 2010.
Publications, book shadows
Description: The person in the above paragraph "Mr. Jutan" is Wu Gan (1839-1887), a calligrapher and painter on the sea, with the word Jutan, Chaoqi, Chunzhai, and the name of the room is Yuan Shengzhai. A native of Qiantang (now Hangzhou), Zhejiang. Liao Gongsheng, Guansheng County Instructor. Work articles, fine letters, law and Jin Tang people, to the line of books to meet the world, free and easy to move the pen, thin and hard. In the twelfth year of Tongzhi (1873), the "Declaration" published "Eight Quatrains of Hujiang Calligraphy and Painting", praising twelve calligraphers and painters, Wu Gan is one of the five calligraphers, and there is a sentence in the poem "Jutan Xiaokai is also spiritual". The classic masterpiece "Miscellaneous Notes on Travels to Shanghai", which reflects the current situation of modern Shanghai, describes that among the calligraphers and painters in Shanghai, "its most important authors are calligraphers such as Wu Ju Tangan and Tang Xunbo, and painters such as Zhang Zixiangxiong, Hu Gong Shouyuan, Ren Bo Nianyi, Yang Bo Runlu, and Zhu Menglu Zhujun."
Ren Yi has painted many works for him, including "Kui Xing" (1873, collection of CAFA Art Museum) and "Portrait of Wu Gan" (collection of the Palace Museum).
Lot 3200任颐（1840-1895）风尘三侠立轴 设色纸本135×33 cm. 53 1/8×13 in. 约4.0平尺RMB: 300,000-500,000
Collection seal: Huang Zhou Collection, a Ding, a Ding this piece Xu Beihong inscription: Three Heroes. Mr. Bo Nian made it in his early years, and he was covered by the law of the Hou Zhang. Wu Junzhong, Xiong Yi, I will never forget, Beihong. Xin Wei (1931). Seal: Beihong Publishing: 1. Chinese Painting and Calligraphy, No. 3, pp. 5-8, People's Fine Arts Publishing House, 1980. 2. Jiangsu Pictorial, No. 2, p. 27, Jiangsu People's Fine Arts Publishing House, 1983.
Publications, book shadows
Bibliography:1. Zhang Anzhi, Chinese Painting and Painting Theory, pp. 166-167, Shanghai People's Fine Arts Publishing House, 1986. 2. Zhang Anzhi, Zhang Anzhi's Art Collection, pp. 349-350, People's Fine Arts Publishing House, 1999. 3. Zheng Yan, The Legacy of Qiluo: Women in Famous Paintings, p. 108, Culture and Art Publishing House, 2010. 4. Zheng Yan, Women in Famous Paintings, p. 160, Culture and Art Publishing House, 2014. Description: This painting was once collected by Wu Zhongxiong, Xu Beihong, and Huang Zhou; Xu Beihong inscribed. 1. Wu Zhongxiong (1899-?) ), a word Zhongjiong, Zhai Fangfei room, Wuxing, Zhejiang. His step-grandmother is Ren Yuhua, the daughter of Ren Bonian. Wu Zhongxiong's weak crown is famous in the art garden, the landscape is far-reaching, and the flowers and birds are written, exquisite and fascinating, and the mantle of Bo Nian has to be appointed. In his early years, he participated in the Xileng Printing Society, and at the same time participated in the Yuyuan Calligraphy and Painting Association, the Shanghai Calligraphy and Painting Association, the Inscription Hall Calligraphy and Painting Association and other organizations, and had close contacts with Wu Changshuo, Huang Binhong, Wang Fuchang, Xu Beihong, etc. 2. Xu Beihong (1895-1953), formerly known as Xu Shoukang, was a native of Yixing, Jiangsu. He is a famous modern Chinese painter and art educator. He has successively taught at the Art Department of National Central University, the School of Art of Peking University, the Beiping Art College, and the Central Academy of Fine Arts. 3. Huang Zhou (1925-1997), formerly known as Liang Huangzhou, was born in Lixian County, Hebei Province. He is a famous modern Chinese painter, collector and social activist. Founded Yanhuang Art Museum. Huang Zhou is good at using sketches to capture the characteristics of characters or animals, with smooth and powerful lines and unrestrained style.
"Three Heroes of Wind and Dust" is from the Tang Dynasty Zhang Shuo's "The Biography of the Bearded Guest", which tells the story of the Red Whisk Girl, Li Jing, the Bearded Guest and others who helped Li Shimin achieve his great cause during the reign of Emperor Yang of the Sui Dynasty. This work depicts the first encounter between the Red Whisk Girl, Li Jing and the bearded guest, the guest in the nearest part of the lower right of the picture, hesitating with his head held high, as if no one is around, his left arm stretched forward, his fingers cocked, as if he is contemplating something, planning something. Li Jing, who was brushing the horse behind the tree, had noticed this extraordinary visitor, and the red-haired girl who was dressing in the mirror indoors was also paying attention to the comer. Ren Bonian does not depict the dramatic scene after the three people meet, but focuses on depicting the moment before the meeting, so that the reader can use his imagination to play with the plot that will unfold in the future, so that the psychological state of each person when they meet will be more clearly expressed the theme.
In 1928, Wu Zhongxiong and Xu Beihong had a close relationship, Xu Beihong mentioned Wu Zhongxiong's gift of paintings in the "Ren Bonian Commentary": "When Bonian died, his son Uncle Jin was only fifteen years old, so the posthumous works all belonged to Yuhua." Yuhua died in the ninth year of the Republic of China. Yu lives in Shanghai, Zhong Xiong Zhiwu loves Bo New Year's paintings, and the unpaid framed relics of his uncle's father and daughter are all given as gifts, which can be dozens of papers. Some of these dozens of unframed paintings are Ren Bonian's unfinished works, which Xu Beihong regards as treasures, and sometimes adds brushstrokes or inscriptions to the paintings. In 1931, Xu Beihong made an inscription for this, and according to the record of "Xu Beihong's Long Chronicle", in the autumn of this year, Xu Beihong also inscribed the "Xi Shi Huansha Map" (Xu Beihong Memorial Museum) for Ren Bonian's unpaid "Xi Shi Huansha Map". Published in 1980 in Chinese Painting and Calligraphy, Zhang Anzhi, a professor at the Central Academy of Fine Arts, and published in Jiangsu Pictorial in 1983.
Lot 3201
Ren Yi (1840-1895)
Diagram of Zhang
Xin Si (1881).
Vertical scroll, ink and color on paper
68×33 cm. Approximately 2.0 sq. ft
RMB: 800,000-1,200,000
Seal: Ren Bonian
Title: The genus of Mr. Pingqiao Ren, that is, Xi Zhengke. Xin Siqiu was appointed in July.
Signature: Ren Bonian makes a picture. Seal: Ding Miao
Description: The person in the above paragraph is Shu Hao (1841-1901) Pingqiao, and the number is a waterway person. A native of Shugang, southwest of Yinxian County, Zhejiang, he moved to the east of Pingqiao in the city, and his living room was named Yiqin Room. Ningbo Shangqiao lived in Shanghai, and Sha Fu and Qian Hui'an were at the same time, and the names of the paintings were also equal. Painting is omnipotent, and he is good at filling in color with a double hook, and he has not made much of the painting style in the early years of Ren Bonian.
Li Jiafu, the word Shengyu, the word Beixi, a native of Shimen, Zhejiang, is the father-in-law of the Shanghai School painter Wu Zhiqiu. Fine appreciation, very rich collection, Rui Zhi to learn painting, for Dai Xi's disciples, and taste the word in He Shaoji, seal carving neat, imitation of the Qin and Han dynasties, get this influence, its style of painting is also very rich in ancient and thick gold and stone atmosphere.
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Lot 3212, Li Jiafu (1839-1904), Fortune and Immortal Longevity, Four Panels, Vertical Scroll, ink and color on paper, 88.5×27 cm. About 2.2 sq. ft. (each): 60,000-100,000 (4)
Seals: Shengyu Calligraphy and Painting, Shimen Li Jiafu Seal, Shengyu, Jiafu Longevity Seal Letter (3 seals, see "Chinese Calligraphers and Painters Seal Appreciation of Li Jiafu" 22 seals, 382 pages) Inscription: (1) Full of spring. Dreams are blessed. (2) Shoushi Ganoderma lucidum. Copy Sun Xue Juben, often laughing at Lu Ping. (3) Longevity. Li Jiafu. (4) The immortals wish together. Imitation of the Yuan human law, Shengyu Jiafu. Collection seals: Qidong Daqian's beloved things, Yuan Wei's appreciation, Qidong Yuan Weizeng's collection, Qidong Yuan Wei's Mengyuzhai collection of calligraphy and paintings
Gao Chongrui of the Qing Dynasty said in the "Panasonic Qingzhai Collection": "It is a famous mountain and water in the world, strange flowers and birds, but beauties can have both." Lady painting occupies a unique position in Chinese painting, and the Qing Dynasty was the heyday of the development of lady painting. Gai Qi was quite accomplished in the painting of ladies, formed a "reform school" and was romantic, almost affecting the atmosphere of Jia and Dao figure painting.
Generations of Chinese have imagined Chang'e's beauty as the purest, most transcendent, most beautiful and highest beauty, and Gai Qi is no exception, he combines all the elements he thinks is the best—face, skin, posture, expression, clothing, fan, color, etc.—although she seems to us to be no different from the woman in the boudoir, only the chic composition and the arrangement of replacing the pavilion with an empty circle will make people realize her extraordinary. Gai Qi carried it with him, and after enjoying it with friends, he happily wrote the question, which can be seen in the fashion of the times. It can be said that such a lady and such an atmosphere are one of the most obvious signs of our recognition of that era.
Lot 3202
Gai Qi (1773-1828)
Two-minute moon girl small shadow
Jiaqing Yihai (1815).
Vertical scroll, ink and color on paper
105×36.5 cm. Approximately 3.4 sq. ft
RMB: 80,000-120,000
Seal: Change Qi painting seal, indifferent Mingzhi, change Qi
Title: Two bright moon women's shadows. Jiaqing Yihai Baisheng birthday, Yuhu Mountain people changed to Bo Yun.
Tuan Luan Hao's heart is imprinted, and the bead curtain of Zhuxi Pavilion is quiet. There is only one point of people, and it accounts for two points of his month. The fairy flew into the moon, and did not feel the smoke wet. Don't see it later, and the golden wave is a ring. Bodhisattva. Yu made two bright moon statues, brought to the mountains, belongs to the lazy fishermen inscription. The twilight of the year is about to return, and the brother of the suitable cousin said goodbye to the crane boat, because he recorded the old score and gave it away. On the third day of the twelfth month of the twelfth month of Shi Bingzi (1816), Qiqian was recorded again.
Collector's seal: Shuizhu Village, Shimei Jushi, painting edge Zhu, stamping
Inscription:
(1) The bearded hair is not coiled, the apricot face is light and even, and the halo is faint, and it has been remembered that the white Su embankment has been down, which coincides with the incense car outside the willow. The initial cut of the fog is called light, the green window is pretty, the fan is hateful, the acacia is the moon, the moon is the predecessor, and the bright moon is the predecessor. Jiaqing Yihai Xiangzi changed the child to write a photo for this woman, and the rest of the title was in the summer of Bingzi. Ye Yi. Seal: medical hermitage, leaves, interpretation
(2) The wonderful painting is psychic, clearly showing the face of Chang'e, Yinqiao is broken, and the name is called. Tired clouds, small dancing clothes, used to difficult pastime, many grievances. Singing fan on the back. In the spring of Ding Chou (1817), Gu Shao's idiot brother came up with this topic, in order to make up for the lip in the mountain pavilion, Shen Bingbiao in Changzhou. Seal: Bing Biao
(3) There is beauty and grace, the bun is not curled, the forehead is covered at the beginning of the Qi, the moth color is delicate, the eyelashes are smiling, and the powder is drunk and fragrant. Fei Jun ten paintings, Goose Creek Town Flowers, the bottom end of the negative Yi, wonderful painting of love, Caihao rhyme, everywhere contentious. Mr. Qixiang belongs to the immortal history inscription, and the spectrum of Liu Shaoqing is explained, please correct. Zhou Cai, the owner of the Qing Lai Pavilion. Seals: Zhou, color printing, lazy fishing
Publication:
1. Yilin Xunkan, 36th edition, 3rd edition, 1928.
2. Modern Chinese Painting, 22 pages, published by Jiuyatang, 1991.
3. Collection of Calligraphy and Painting in the Late Qing Dynasty and Early Republic of China, Figure C12, p. 162, Museum of History, Taiwan, 1998.
Publications, book shadows
Illustrate:
1. This poem by Ye Yi, Shen Bingbi, and Zhou Cai. Zhou Cai (Qing Dynasty), the word Laiyi, the number lazy fisher, Wu (now Suzhou) of the East Dongting Mountain people. Rich collection, sketching is interesting, and the law is in and out of Cao Quan, and the ritual vessels.
2. "Shuizhu Village people" is Xu Shichang's Tibetan seal. Xu Shichang (1854-1939), known as Bu Wu, was known as Juren, also known as Juren, and was also known as Ju Ren, also known as Donghai and Taozhai, alias Shuizhu Village, alias Shuizhu, Shimenshan, Tianjin. In the twelfth year of Guangxu (1986), he was a Jinshi and an associate minister of the cabinet. During the Beiyang period, he was the president.
Gu Luo, the word Yumen, the number prune. A native of Qiantang, Zhejiang. Gongshu is good at painting, and calligraphy is ancient and round. Painting figures, landscapes, flowers, and feathers are all very vivid, especially for ladies.
Lot 3204
Gu Luo (1763-after 1837)
Illustration of the flowers
Vertical scroll, ink and color on paper
86×30.5 cm. Approximately 2.4 square feet
RMB: 60,000-100,000
Seal: Gu Luo's Seal
Inscription: Pavilions and pavilions, see abundance, and take a slight step before the wind. Not by the world, the red powder market, light makeup into a degree. The autumn water is smoky, the spring mountains are light and blue, and there is always a place of affection. Fan's lips opened, and a warbler spoke. The blue paddle is promoted into the Qiantang, and the flat lake is like a mirror, reflecting the Wu palace maid. Gu begs Yangzhi, Tianzhu country, every time you are a vegetarian. is more hearty, only then can Yongxue, who is in the bottom of his eyes. Returning for no reason, teaching people to cut off Nanpu. Mr. Youxiang belongs to "Nian Nu Jiao", and Gu Luo of Xizhen is titled.
Seal of the Collection:
Zhao Zhiqian (1829-1884): Zhiqian was approved and suffered
Ma Dehong (19th-20th century): Han Lu Collection, Dongshan Thatched Cottage
Publication:
1. Ukiyo-e Danqing: Chinese Painting in the Late Qing Dynasty, pp. 90-91, no. 32, Phoenix Museum of Art, 1992.
2. Traveling on Silk: A Journey on Silk and Marilyn Piper, pp. 150-153, no. 46, Phoenix Museum of Art, 1998.
3. The Hidden Meaning of Love and Death in Chinese Painting: Selected Collections of Roy and Marilyn Piper, pp. 50-51, 89, no. 23, Phoenix Museum of Art, 2013.
4. Bu Gedi, The Great Qing Dynasty: Chinese Painting from 1644 to 1911, p. 143, plate 5.15, University of Washington Press, 2014.
Bibliography: Do You Remember My Country and City, pp. 87-88, Tianjin Education Press, 2011.
Exhibit:
1. Ukiyo-e Danqing: Chinese Painting in the Late Qing Dynasty, Phoenix Museum of Art, August 22–October 4, 1992.
2. Ukiyo-e Danqing: Chinese Painting in the Late Qing Dynasty, Denver Art Museum, November 7, 1992–January 3, 1993.
3. "Ukiyo-e Danqing: Chinese Painting in the Late Qing Dynasty", Honolulu College of Art, March 17–April 19, 1993.
4. Ukiyo-e Danqing: Chinese Painting in the Late Qing Dynasty, Hong Kong Museum of Art, 14 May-18 July 1993.
5. "Silk Paper Travel: Roy and Marilyn Piper's Collection of Chinese Paintings," Phoenix Museum of Art, February 28–April 19, 1998.
6. "The Circulation of Meaning: Chinese Painting Spanning 400 Years," Friess Center for the Visual Arts, Nashville, June 22–October 7, 2007.
7. "The Hidden Meaning of Love and Death in Chinese Painting: Selected Collections from Roy and Marilyn Piper", Phoenix Museum of Art, April 27–September 2, 2013.
Illustrate:
1. Hanart TZ Gallery, "Special Exhibition of Chinese Paintings and Calligraphy," November 22-December 17, 1988, lot 50.
2. New York Auction, "Roy and Marilyn Piper Collection of Chinese Paintings," 14 September 2016, lot 617.
Mr. Roy Piper (1927-2017) was a distinguished banker and entrepreneur. From 1975 to 1977, he served as a director and ambassador to Manila for the Asian Development Bank. At that time, he and his wife Marilyn (1931-2016) traveled throughout Asia and began to love the culture and art of East Asia. In the late 70s of the 20th century, they returned to the United States and settled in Phoenix, Arizona, where they decided to establish a collection of Chinese paintings.
Using the Sheikh's "Six Laws" as a criterion, the Pipers selected the Chinese paintings that best fit their minds. From 1983 to 2000, he spent nearly 20 years and collected more than 180 paintings from the Ming and Qing dynasties. The collection standards of these works are highly uniform, the quality is neat, and they are not conventional. Forty of these works were donated to the Phoenix Museum of Art in 2005-2009, more than 20 are currently on loan to the museum, and 121 were released from the market in 2016.
Publications, book shadows
Wu Xizai, formerly known as Ting Yang, the word Xizai, because of the avoidance of the Tongzhi Emperor, changed the word to let it, the number of late scholars, Jiangsu Yizheng people. He is erudite and versatile, especially good at seal carving. When he was young, he tracing the Qin and Han Dynasty seals, and then directly took the law Deng Shiru, got its essence, and had a pivotal position in the history of seal carving in the Ming and Qing dynasties. In addition, he is also good at calligraphy and painting, and can integrate his proficient seal carving knife technique with painting brushwork, so that the viewer can often feel a strong interest in gold and stone in his paintings.
Lot 3213: Wu Xizai (1799-1870), Shou Tao, Xuancao, Xianfeng, Renzi (1852), vertical scroll, ink and color on paper, 145×61.5 cm. There is no reserve price for about 8.0 square feet
Seal: Xi Zai calligraphy and painting seal, the inscription of the inscription: three thousand peach ripe hundred shou Xuan Rong. Xianfeng Renzi spring, for the Shouwu brother to pay a reward. Let's brother Wu Xizai. Note: The "Shouwu" in the above paragraph is Chen Shouwu, who is a close friend of Wu Xizai. In 1853, in order to avoid the war, Wu Xizai lived in Taizhou, during which he successively lived in Yao Zhengyong (Zhonghai), Cen Rong (Zhongtao), Chen Shouwu and other famous families. In 1864, Wu Xizai was in Taizhou and wrote "Hundred Small Quotations of Plum Blossom Poetry Fans" at Chen Shouwu's house. Publication: 1. The Sixth Collection of Duo Yun Xuan, p. 84, Shanghai Painting and Calligraphy Publishing House, 2005. 2. "Chinese Flower and Bird Painting Tongjian, 17: Frost Resistance", Shanghai Painting and Calligraphy Publishing House, 2008 edition. 3. Shanghai School of Painting, Volume I, p. 189, Shanghai Painting and Calligraphy Publishing House, 2016.
Publications, book shadows
China Guardian Spring Auction 2024 Phase II
Preview time: May 18-21
Auction time: Grand View - Night of Chinese Painting and Calligraphy, Modern and Modern/Ancient May 23 18:30 Ancient Chinese Painting and CalligraphyMay 24 14:00
Guardian Art Center, Hall A
China Guardian Contact Information (Swipe to view)
China Guardian International Auction Co., Ltd. (Headquarters)
Customer inquiry: (86-10) 8592 8288-3
Settlement Services: (86-10) 8592 8288-4
Media Cooperation: (86-10) 8592 8288-5
Transportation Inquiries: (86-10) 8592 8288-9
Online Auction Consultation: 15010006220 / 15910807786 ext. 9
Official website: www.cguardian.com
Contact Email: [email protected]
Address: No. 1, Wangfujing Street, Dongcheng District, Beijing
China Guardian (Hong Kong) International Auction Co., Ltd
Customer Enquiries: (852) 2815 2269
Contact Email: [email protected]
Address: 5th Floor, Lippo Centre One, 89 Queensway, Hong Kong
Liaison with regional offices
Shanghai
Tel: (86-21) 5466 0508
E-mail: [email protected]
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Guangzhou
Tel: (86-20) 3808 8589
Email: [email protected]
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nanking
Tel: (86-25) 8670 2356
Email: [email protected]
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Hangzhou
Tel: (86-571) 8535 9925
Email: [email protected]
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Xiamen
Tel: (86-592) 566 9168
E-mail: [email protected]
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Taiwan
Tel: (886) 2 2757 6228
Email: [email protected]
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Japan
Tel: (81-3) 6206 6682
Email: [email protected]
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United States
Tel: (212) 308 8889 / (888) 799 8830
E-mail: [email protected]