| 中文版 English

具体要求

其它要求

-
关闭
張荔英 (1907-1992) 靜物 (中秋節)
香港
2021年12月01日 开拍 / 2021年11月29日 截止委托
拍品描述 翻译
張荔英
張荔英 (1907-1992)
靜物 (中秋節)
油彩 畫布
81 x 54 cm. (31 7/8 x 21 1/4 in.)
約1960年代中旬作
款識︰CHEN (左下)
Private Collection, Asia
拍品专文 Recognised for her masterful skill in painting as well as her fascinating biography, which lends great depth and character to her works, Georgette Chen is undisputedly acknowledged as an outstanding personality within modern Asian art. Many of her works are held in institutional or private collections, and not often seen in the market. This season, Christie’s is pleased to present Still Life (Mid Autumn Festival), a rare work of exceptional quality that depicts one of Chen’s beloved subjects of mooncakes and lanterns, both items found during the Mid-Autumn festival and widely celebrated across Asia. The daughter of a progressive yet patriotic Chinese family, a young avant-garde painter in Paris, wife of an emissary, as well as an, artist, teacher and inspiration in a recently-independent Singapore, Chen’s life was one marked by cosmopolitanism. There are differing accounts of her birth, with some sources stating she was born in Paris, while others citing her birthplace as Zhejiang, China. What is certain is that, having come from an affluent family, her childhood was a nomadic one, spent between France, China and the United States. Chen returned to Paris at the age of twenty to study art, and during this period she was invited to exhibit at the Salon d’Automne in 1930, which was recognised to be one of the leading modernist salons at the time, and an early indicator of Chen’s artistic talents. It was in this same year that the artist married Eugene Chen, a Trinidad-born diplomat, whose independent spirit and sense of adventure would become a strong in?uence on Chen’s life. He encouraged her to travel and develop her interest in painting, as opposed to taking on a more conventional domestic role expected of women of the time. Chen would spend two decades living in Europe, Shanghai and Hong Kong, before eventually moving to Southeast Asia, ?rst to Penang, Malaysia, and eventually settling in Singapore until her death in 1992. This period of stability towards the end of her life allowed her artistic legacy to achieve the recognition that a perambulate existence could not offer. During her time in Singapore, Chen taught part-time at Nanyang Academy of Fine Arts (NAFA) and was an active participant in the burgeoning modern art scene. Despite being associated with the pioneer group of artists of the Nanyang style, Chen had a predilection to styles and techniques of the Western Impressionists, which was unlike many of her peers at NAFA who merged formal elements of Eastern and Western techniques in their work. Indeed, Chen still very much abided by the French salon style of her formative training, applying them as a ?lter to a wide range of local subject matter she encountered in a way that was completely distinct. Chen was very much in?uenced by the work of French Modern master, Paul Cézanne, who incorporated visual devices such as subtle distortions to achieve pictorial balance, as well as colour blocking through modulation, as exempli?ed in paintings such as Still Life with Cherub. In a similar vein, Still Life (Mid-Autumn Festival) demonstrates Chen’s experimental use of multiple viewpoints in a single composition, whereby the food items on the table are painted on a top-down tangent, while the suspended objects such as the lantern and pomelo are painted as if being viewed from a bottom-up angle. The result of this compositional technique is that each element only exists in relation to the other, allowing them to be distilled into their most essential of forms. Taken in turn with her use of complementary and contrasting colours in bold expressive brushstrokes to delineate the forms, the resulting product is a complex yet completely harmonious work imbued with a strong sense of dynamism. Although Chen painted a wide variety of subject matter across her artistic career, including portraits and landscapes, she is most widely endorsed as a still life painter par excellence. Consistently depicting elements and scenes from everyday life, Chen’s commitment to illustrating each object with such virtuosity, can be traced to her receptivity toward the rich and diverse environments she encountered throughout her life – the amalgamation of this attitude alongside the various sources of inspiration during her travels and the plethora of cultures, imbuing her canvases with the spirit and emotions that these forms represent and not merely a two-dimensional re-presentation of objects. From the delicate warm peach-toned orchids suspended from wooden baskets, to the diaphanous lanterns fashioned into various auspicious animals used in the observance of the mid-autumn festival, Chen’s virtuosic visual representations of Southeast Asian material culture achieve an intense evocation of the sentimental nature of these objects. Traditionally, used to capture a slice of life during a speci?c period and place, there is a documentary nature that still life painting has always had that makes it so signi?cant; the everyday is elevated into the realm of the artistic, worthy of study, appreciation and remembrance. In the Western canon of art history, still life paintings were of distinctly European subjects, with the genre ?ourishing greatly in the Dutch Republic in the 1600s exempli?ed by works such as Jan Davidsz. de Heem’s Still-Life, Breakfast with Champaign Glass and Pipe. In contrast to the moralising quality these paintings had, Chen’s decision to depict these mundane objects had a more sentimental, but nonetheless important signi?cance. Each item in the present lot is imbued with deep symbolism: the pomelo suspended from a net representing family harmony, the gold?sh lantern a symbol of abundance and wealth, and mooncakes an artefact of myth, tradition and unity. These items represented a growing ambivalence between the rapid modernisation in 20th century Southeast Asia, and the simultaneous disintegration of cultural traditions increasingly deemed as irrelevant and archaic; for artists such as Chen, “there existed an on-going tension between longing for the past, with attempts at rooting [themselves] in the present” (Daniel Tham ed., A Changed World: Singapore Art 1950s to 1970s, Dialogues between Szan Tan and Daniel Tham 2013, p. 23). Thus, Still Life (Mid-Autumn Festival) can be seen as a way to immortalise these small cultural acts of remembrance, such as painting on a lantern or the craft of making mooncakes that were on the verge of extinction. One of the few Southeast Asian female artists of the twentieth-century to achieve this level of success, Chen’s late still lifes are considered some of her ?nest paintings. In the appreciation of a rare work such as the present lot, one can observe its signi?cance as a culmination of decades of Chen’s artistic training and development. From the delicately balanced compositions, to the use of perspective to showcase the traditional delicacies, as well as the ?ne handling of colour and excellent draughtsmanship, Still Life (Mid-Autumn Festival) is a true masterpiece and leaves no doubt in the viewer’s mind of Chen’s contributions to the historical landscape of Asian modern art.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价:3,200,000 - 4,500,000 港币 起拍价格:3,200,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 25.00%
5,000,000 - 50,000,000 20.00%
50,000,000 - 以上 14.50%

拍卖公司

Christie's HK
地址: 佳士得艺廊 香港中环历山大厦22楼
电话: +852 2978 6734
邮编: 000
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士