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張大千 秋趣圖立軸(附紐約蘇富比1986年圖錄)
美国
03月23日 晚上9点 开拍 /16天10小时
拍品描述 翻译
Sight dimensions: H: 46 5/8, W: 12 3/4 in. (H: 118.4, W: 32.4 cm.)
A Chinese painting of Autumn scene
by Zhang Daqian (1899-1983)
英文描述:A gnarled tree trunk rises vertically through the composition, its branches extending outward with sparse leaves rendered in expressive ink strokes. At the base, flowering plants, grasses, and small creatures are depicted with a mix of delicate lines and soft washes, creating a quiet natural scene. With inscription, signature and four seals. Accompanied by a Sotheby's tag Lot 157. Sold with Sotheby's New York 1986 catalog.
Provenance:This lot was sold at Sotheby's, New York, on December 4, 1986, as Lot 157, from the estate of Hing Tong (16 February 1922 - 4 March 2007). Hing Tong was a distinguished American mathematician best known for providing the original proof of the Katetov-Tong insertion theorem. Born in Canton, China, he received his bachelor's degree from the University of Pennsylvania and his doctoral degree from Columbia University. His academic career included professorships at Columbia University and Princeton University, as well as serving as Chair of the Mathematics Department at Fordham University. Tong was named among the "Outstanding Educators of America" in 1973 and retired from academia in 1984 to focus on research in theoretical physics. His contributions are commemorated by a brick in the Paul Halmos Commemorative Walk at the Mathematical Association of America, inscribed: "Hing Tong, Topology and Physics". Alongside his mathematical research, Tong was an avid collector of traditional Chinese paintings and calligraphy, which he acquired primarily through Christie's and Sotheby's auctions from the 1980s to the early 1990s. Lots 496-503 from our September 20, 2020 auction were also from the same estate.
来源:本拍品曾於1986年12月4日于蘇富比紐約以第157號拍品釋出,來源為 Hing Tong(1922年2月16日-2007年3月4日)舊藏。 Hing Tong 為美國著名數學家,以提出並證明“Katetov-Tong 插入定理”而聞名。其生於中國廣州,先後取得賓夕法尼亞大學學士學位及哥倫比亞大學博士學位。其學術生涯中曾任教于哥倫比亞大學與普林斯頓大學,並曾出任福坦莫大學數學系主任。 1973年,Hing Tong 獲選為“美國傑出教育家”,並于1984年自學界退休,專注於理論物理研究。其學術貢獻獲美國數學協會於華盛頓特區設立之 Paul Halmos 紀念步道刻磚紀念,銘文為:“Hing Tong, Topology and Physics”。 除數學研究外,Hing Tong 亦為中國傳統書畫的重要收藏家,其收藏多購自1980至1990年代間的佳士得及蘇富比拍賣。本行於2020年9月20日拍賣之第496至503號拍品,亦出自同一收藏。
Condition:With minor foxing throughout, a few areas of repaired tears.
品相:整體有輕微發黴,有少量撕裂並修補
高清細圖鏈接:https://oag.smugmug.com/190-March-Painting
英文长介绍:Artist Biography Zhang Daqian (1899–1983), a native of Neijiang, Sichuan, with ancestral roots in Panyu, Guangdong, was one of the most influential Chinese painters of the modern era. Born Zhang Zhengquan and later renamed Zhang Yuan, he styled himself Jiyuan and adopted the Buddhist sobriquet Daqian, also known as Daqian Jushi. A founding member of the Jingxing Painting Society, Zhang mastered landscape, figure, and flower painting, drawing deeply from classical traditions while developing a highly personal idiom. Among his most celebrated works are Lotuses, Lake Lucerne, Ten Thousand Miles of the Yangtze River, and Autumn Dawn. In May 2023, China’s National Cultural Heritage Administration announced that all works by Zhang Daqian are permanently restricted from export. From the 1950s onward, Zhang travelled extensively in Europe and the Americas, achieving international acclaim. Xu Beihong famously praised him as “a once-in-five-hundred-years talent,” while Pablo Picasso, upon viewing Zhang’s late works, remarked, “True art lies in the East.” Zhang Daqian has since been hailed in the West as “The Brush of the East” and is also known as one of the most prolific copyists of ancient masterpieces in Chinese art history. Zhu Baoci (1880–1950) A native of Suzhou, Jiangsu province, Zhu Baoci was a painter and art educator active in the Republican period. Long resident in Beijing, he specialized in landscape painting in the manner of Yun Nantian, with an elegant and refined style, and was also accomplished in regular script calligraphy and occasional floral subjects. During the 1920s, he taught at the National Beiping Art School, and his teaching sketches are regarded as important early materials in modern Chinese art education. His representative work Five Auspicious Emblems dates to 1940. Inscription and Seals Inscribed: “Fifth day after Mid-Autumn, yihai year (1935), Daqian Jushi” Seals: Daqian (white); Zhang Yuan (red); Zhu Baoci, styled Defu, Hanmo (red); Zhu Family of Dongting (red) Within the landscape of early Republican-era painting and collecting, Zhu Baoci occupies a discreet yet significant position. Though sparsely documented in historical records, he was widely respected for his discerning connoisseurship and refined aesthetic judgment. Long based in Beiping, he maintained close ties with artists and collectors in the Beijing–Tianjin region. While not known as a magnate collector, his carefully considered acquisitions positioned him as an essential link in the chain of Republican-period art transmission. Zhu Baoci’s collector’s seals serve as crucial material evidence in reconstructing his collecting activity. His seal Dingxiang Chiguan appears on Zhang Daqian’s Fish at Play, painted in 1937, providing direct testimony to the relationship between artist and collector. The present work, dated 1935, bears two of Zhu’s collector’s seals—Zhu Baoci, styled Defu, Hanmo and Zhu Family of Dongting—not only confirming that Zhu’s association with Zhang Daqian predates 1937, but also preserving a complete narrative of the painting’s creation, connoisseurship, and subsequent transmission. As such, it constitutes a rare and valuable documentary artifact within the history of Republican-era collecting. The year 1935 marks a pivotal moment in Zhang Daqian’s artistic maturity. By this time, he had thoroughly absorbed classical models and forged a distinctive personal style across landscape, figure, and bird-and-flower painting. His reputation was rapidly ascending in both northern and southern art circles, and his works were highly sought after by collectors. Zhu Baoci’s acquisition of this painting at such a moment attests both to his discerning eye and to his standing within Beiping’s collecting milieu. Chronologically, this work predates Zhang’s 1937 painting bearing Zhu’s Dingxiang Chiguan seal, demonstrating that Zhu’s patronage of Zhang was sustained and systematic rather than incidental. The two collector’s seals are rich in meaning and serve as incontrovertible evidence for dating and provenance. Zhu Baoci, styled Defu, Hanmo reflects the collector’s reverence for traditional brushwork and epigraphic aesthetics, while Zhu Family of Dongting echoes his sobriquet Dongting Shanren, evoking his cultural roots in Suzhou’s Dongting region. Applied with restraint and clarity, the seals exemplify the Republican literati ideal of connoisseurship—appreciative yet respectful, preserving rather than intruding upon the work—and underscore Zhu Baoci’s esteem for this painting. Collectors such as Zhu Baoci—less celebrated than figures like Zhang Boju or Pang Yuanji—formed the backbone of Republican-period art collecting. Through their dedication and discernment, they safeguarded masterworks and ensured the continuity of cultural heritage. The present 1935 painting by Zhang Daqian, enriched by Zhu Baoci’s collector’s seals, thus possesses not only exceptional artistic merit from the artist’s mature period, but also embodies the human and cultural memory of the Beiping collecting circle. A seal tells a history; a painting preserves a lineage. Anchored by Zhu Baoci’s two collector’s seals, this work allows a once-obscure Republican collector to re-emerge into view, while offering a vivid glimpse into an era when artistic creation and connoisseurship were deeply intertwined. Today, it stands as both an object of aesthetic contemplation and a document of history.
See below references for similar items: Sotheby’s, Hong Kong, Autumn Auctions, 2015, lot 1377 (sold for HKD 1,125,000; RMB 924,750).
中文长介绍:張大千(1899年5月10日—1983年4月2日),四川內江人,祖籍廣東番禺 。學名張正權,後改名張爰,字季爰,法號大千,別號大千居士、下裡港人,齋名大風堂,中國近現代國畫家,景星學社社員 。代表作品有《荷花圖》《愛痕湖》《長江萬里圖》《秋曦圖》 等。2023年5月,國家文物局網站公佈了《關於頒佈1911年後已故書畫等8類作品限制出境名家名單的通知》。根據通知,張大千的書畫作品將一律不得出境。 20世紀50年代,張大千遊歷世界,獲得巨大的國際聲譽,徐悲鴻稱其為“五百年來一大千”。畢卡索看過其晚年的畫作後,讚歎:“真正的藝術在東方。”張大千被西方藝壇贊為“東方之筆”,又被稱為“臨摹天下名畫最多的畫家”。 朱葆慈(1880-1950),江蘇蘇州人,近代畫家、美術教育家。早年寓居北京,擅長山水畫,宗法惲南田,畫風清麗;兼善楷書,偶作花卉。20世紀20年代任教于北平藝專,其課徒畫稿為早期中國畫教學的重要資料。代表作《五瑞圖》創作於1940年。 款識:乙亥(1935年)中秋後五日 大千居士 鈐印:大千(白);張爰(朱);朱葆慈字德甫翰墨(朱); 洞庭朱氏(朱)。 在民國初年的書畫鑒藏版圖中,朱葆慈是一位生平載籍不多、卻以精鑒與收藏留痕藝林的藏家。其久寓北平,雅好書畫、精於賞鑒,兼擅山水花卉,與京津畫壇、收藏圈層往來密切,雖未以巨富藏家名世,卻以精准的審美與鄭重的鑒藏,成為民國時期書畫遞藏鏈條中不可忽視的一環。 朱葆慈的藏印,是鉤沉其收藏軌跡的關鍵物證。已知其“定香池館”鑒藏印,曾鈐於張大千1937年所作《魚樂圖》,成為二人藝緣的直接佐證;而本次所見1935年張大千畫作,更留存其“朱葆慈字德甫翰墨”、“洞庭朱氏”二枚鑒藏印,不僅補證了朱葆慈與張大千的交遊早於1937年,更完整呈現一幅佳作從創作、鑒藏到遞傳的完整脈絡,於民國書畫鑒藏史而言,堪稱珍貴的實物文獻。 1935年,正值張大千藝術生涯的關鍵成熟期。此時他精研古法、博採眾長,山水、花鳥、人物皆已自成面目,在南北畫壇聲名日隆,作品備受藏家追捧。朱葆慈能于此時入藏大千佳作,既見其眼光之獨到,亦顯其在北平收藏圈的人脈與地位。從時間線來看,此作早於 “定香池館”印的1937年《芋葉圖》,可證朱葆慈對張大千藝術的關注與收藏,是持續且系統的,並非偶一為之。 二枚藏印各有深意,亦為鑒藏斷代與溯源提供鐵證。“朱葆慈字德甫翰墨”寄寓其對傳統筆墨、金石古趣的推崇,彰顯藏家審美旨趣;“洞庭朱氏”則與其“洞庭山人”之號相呼應,暗合其蘇州洞庭故里的文脈淵源,一枚閒章,藏著鄉梓情懷與鑒藏初心。雙印並鈐,鈐蓋規整、印文清晰,符合民國文人藏家“鑒而不褻、藏而有禮”的風尚,足見朱葆慈對這件大千作品的珍視。 朱葆慈生平記載簡略,恰是這類“小眾精鑒藏家”,構成了民國書畫收藏的中堅力量。他們不似張伯駒、龐元濟般名滿天下,卻以一己之力守護丹青、傳承文脈,讓名家佳作得以流轉有序、薪火不絕。這件1935年張大千作品,因朱葆慈的鑒藏印而更具溫度:既有大千盛年筆精墨妙的藝術價值,又承載著民國北平收藏圈的人文記憶,是藝術史與鑒藏史交織的鮮活標本。 一枚藏印,一段藏史;一幅佳作,一脈藝緣。這件1935年張大千畫作,以朱葆慈兩枚鑒藏印為紐帶,讓一位被史料輕描淡寫的民國藏家重新被看見,也讓我們得以窺見那個時代書畫創作與鑒藏相融共生的風雅圖景。於今日賞鑒,既是藝術之美,亦是歷史之珍。
相似藏品可参阅:2015年蘇富比香港秋拍,編號1377。

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