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1949, HUANG BINHONG LANDSCAPE SCROLL PAINTING

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1949, HUANG BINHONG LANDSCAPE SCROLL PAINTING

Lot 0460 Details

Description
Huang Binhong (黃賓虹; 1865-1955) Chinese traditional scroll painting, grisaille ink on paper laid to silk, hanging scroll. Signed and dated, in 85th years old (ca. 1949).
Architectural structures are vaunted skyward by tiered precipices, by Huang Pin-Hung (1864-1955). Noteworthy representation of the Guohua or national painting style which is indicative of the early 20th century artistic movement. Guohua method used a combination of line and spots applied to a neutral canvas. A flurry of varied stippling marks creates an amalgamation of foliage and plant life which cling to steep rock face. Three more detailed trees are erected beside each abode creating a visual symmetry of sorts. The structures are placed on separate cliffsides that increase in elevation, producing a staircase-like composition. This tiered composition gives rise to the idea of ascending toward the abode of the immortals. A succinct calligraphic script is placed in the upper left corner and can easily be read as it contrasts with the neutral background. A single Red seal ensues the swift calligraphy and another seal can be found in the bottom left corner.


Dimensions: Scroll Height: 89 7/8" Width: 31 3/4" Painting Height: 47 1/2" Width: 20 5/8"

PROVENANCE:
From the heirloom collections of Wu Guozhen (吳國楨; October 21, 1903-June 6, 1984) was a Chinese political figure and historian, government official who served as mayor of Hankow (1932-1938), mayor of Chung-king (1939-1941), political vice minister of foreign affairs (1943-45), mayor of Shanghai (1946-1948), and governor of Taiwan (1950-1952) and the former Chairman of Taiwan Provincial Government. He resigned in 1953 and went to the United States.


K.C. Wu lived in the United States where he served as professor of Chinese history at Armstrong Atlantic State University in Savannah, Chatham County, Georgia. During his time in the United States, he wrote various works, including a detailed analysis on Chinese culture in the context of mythology and early history in his book The Chinese Heritage.

Wu is remembered mainly for his vital role in the formation of a liberal modern Taiwan and his anti-communist beliefs typical of a member of Kuomintang, but he is also remembered for his brave anti-Kuomintang rhetoric and turbulent disagreements with the more Russian-styled second President of Taiwan.

The Collections of Wu Guozhen (吳國楨) presented and offered up to auctions
ON DAY-1: from Lot-97 through Lot-127, continued from Lot-219 through Lot-255.
ON DAY-2: from Lot-354 through Lot-377, continued from Lot-451 through Lot-480.



LOT NOTES:
Huang Binhong (黃賓虹; 1865-1955) was a Chinese art historian and painter born in Jinhua in Zhejiang province. He was the grandson of artist Huang Fengliu. He is considered one of the last innovators in the style of painting and is noted for his freehand landscapes. His painting style showed the influence of the earlier painters Li Liufang, Cheng Sui, Cheng Zhengkui, and Kun Can. He also had significance for creating several societies devoted to painting and calligraphy. Huang Binhong's work and ideas reached maturity during the 1930s and '40s. In his writings from this period, Huang advocated studying the Tang and Song works to trace the past, in order to initiate the future. He wrote "Huafa yaozhi" (Principles of Paintings) in 1934, in which he explained his five ways of using the brush and his seven ways of using ink. He derived his style from the close study of Chinese tradition and of nature. Huang Binhong was among the first to point out the significance of the Xing'an School of painting in his scholarly writings of the early 1940s. Beside the Xi'an School, Huang was also influenced by Dong Qichang. Despite these ancient influences, some of his painting techniques, especially his experiments with the effects of light and his autonomous use of brush and ink, converged with those of Western Impressionism and Modernism. He developed calligraphic strokes in his works, forming a richly integrated style in which he manipulated solid and void. At the end of his career, when his eyesight was failing, Huang Binhong nearly departed from figuration in his paintings, while still infusing them with the essential spirit and resonance of the natural landscape. When he was 80 he had his first solo retrospective in Shanghai.
Condition
Natural imperfection on the medium (paper or silk), regardless from any major damages; includes light blooms, discoloration and minor fading. Consider normal due to the ages.

All lots are sold as is and where is. Lauren Galleries provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Lauren Galleries does not give refunds based on condition. Lauren Galleries does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.
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1949, HUANG BINHONG LANDSCAPE SCROLL PAINTING

Estimate $5,000 - $8,000
Aug 19, 2018
Starting Price $2,500
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Lauren Auctions

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0460: 1949, HUANG BINHONG LANDSCAPE SCROLL PAINTING

Sold for $35,000
25 Bids
Est. $5,000 - $8,000Starting Price $2,500
DAY-2 SUMMER 2018 ASIAN ANTIQUES & FINE ARTS
Sun, Aug 19, 2018 10:00 AM
Buyer's Premium 25%

Lot 0460 Details

Description
...
Huang Binhong (黃賓虹; 1865-1955) Chinese traditional scroll painting, grisaille ink on paper laid to silk, hanging scroll. Signed and dated, in 85th years old (ca. 1949).
Architectural structures are vaunted skyward by tiered precipices, by Huang Pin-Hung (1864-1955). Noteworthy representation of the Guohua or national painting style which is indicative of the early 20th century artistic movement. Guohua method used a combination of line and spots applied to a neutral canvas. A flurry of varied stippling marks creates an amalgamation of foliage and plant life which cling to steep rock face. Three more detailed trees are erected beside each abode creating a visual symmetry of sorts. The structures are placed on separate cliffsides that increase in elevation, producing a staircase-like composition. This tiered composition gives rise to the idea of ascending toward the abode of the immortals. A succinct calligraphic script is placed in the upper left corner and can easily be read as it contrasts with the neutral background. A single Red seal ensues the swift calligraphy and another seal can be found in the bottom left corner.


Dimensions: Scroll Height: 89 7/8" Width: 31 3/4" Painting Height: 47 1/2" Width: 20 5/8"

PROVENANCE:
From the heirloom collections of Wu Guozhen (吳國楨; October 21, 1903-June 6, 1984) was a Chinese political figure and historian, government official who served as mayor of Hankow (1932-1938), mayor of Chung-king (1939-1941), political vice minister of foreign affairs (1943-45), mayor of Shanghai (1946-1948), and governor of Taiwan (1950-1952) and the former Chairman of Taiwan Provincial Government. He resigned in 1953 and went to the United States.


K.C. Wu lived in the United States where he served as professor of Chinese history at Armstrong Atlantic State University in Savannah, Chatham County, Georgia. During his time in the United States, he wrote various works, including a detailed analysis on Chinese culture in the context of mythology and early history in his book The Chinese Heritage.

Wu is remembered mainly for his vital role in the formation of a liberal modern Taiwan and his anti-communist beliefs typical of a member of Kuomintang, but he is also remembered for his brave anti-Kuomintang rhetoric and turbulent disagreements with the more Russian-styled second President of Taiwan.

The Collections of Wu Guozhen (吳國楨) presented and offered up to auctions
ON DAY-1: from Lot-97 through Lot-127, continued from Lot-219 through Lot-255.
ON DAY-2: from Lot-354 through Lot-377, continued from Lot-451 through Lot-480.



LOT NOTES:
Huang Binhong (黃賓虹; 1865-1955) was a Chinese art historian and painter born in Jinhua in Zhejiang province. He was the grandson of artist Huang Fengliu. He is considered one of the last innovators in the style of painting and is noted for his freehand landscapes. His painting style showed the influence of the earlier painters Li Liufang, Cheng Sui, Cheng Zhengkui, and Kun Can. He also had significance for creating several societies devoted to painting and calligraphy. Huang Binhong's work and ideas reached maturity during the 1930s and '40s. In his writings from this period, Huang advocated studying the Tang and Song works to trace the past, in order to initiate the future. He wrote "Huafa yaozhi" (Principles of Paintings) in 1934, in which he explained his five ways of using the brush and his seven ways of using ink. He derived his style from the close study of Chinese tradition and of nature. Huang Binhong was among the first to point out the significance of the Xing'an School of painting in his scholarly writings of the early 1940s. Beside the Xi'an School, Huang was also influenced by Dong Qichang. Despite these ancient influences, some of his painting techniques, especially his experiments with the effects of light and his autonomous use of brush and ink, converged with those of Western Impressionism and Modernism. He developed calligraphic strokes in his works, forming a richly integrated style in which he manipulated solid and void. At the end of his career, when his eyesight was failing, Huang Binhong nearly departed from figuration in his paintings, while still infusing them with the essential spirit and resonance of the natural landscape. When he was 80 he had his first solo retrospective in Shanghai.
Condition
...
Natural imperfection on the medium (paper or silk), regardless from any major damages; includes light blooms, discoloration and minor fading. Consider normal due to the ages.<br><br/>All lots are sold as is and where is. Lauren Galleries provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Lauren Galleries does not give refunds based on condition. Lauren Galleries does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.

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