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常玉 Sanyu 1895-1966 紫裙女士 Woman in Purple Skirt
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
水彩 墨 紙本
Watercolour and Ink on paper
一九二〇至一九三〇年代作
Painted in 1920s to 1930s
40 × 26.5 cm. 15 3/4 × 10 3/8 in.
款識 玉 SANYU(左下) 出版 2014年,《常玉素描與水彩全集》,衣淑凡編,財團法人立青文教基金會,台北,圖版W132,第230頁
Signed in Chinese and French on bottom left LITERATURE 2014, Sanyu Catalogue Raisonné Drawings and Watercolours, Rita Wong, The Li Ching Cultural and Educational Foundation, Taipei, plate W132, p. 230
來源 1966年6月,巴黎歐圖拍賣會 法國賈克?尼耶沙瓦舊藏 2016年10月3日,香港蘇富比秋季拍賣會,拍品編號5022 現亞洲重要私人藏家直接購自上述來源 以赤誠之心 繪絕世風姿 常玉來源有序之紙上珍品 「在滿地都是六便士的街上,他抬頭看到了月光。」 ——英國小說家毛姆(William Maugham)《月亮與六便士》 1921年,年僅26歲的常玉踏上了讓他恣意縱情的自由之都巴黎,隨後八年裡,他流連於蒙帕納斯大茅屋學院的自由畫室和街頭咖啡館,隨手用毛筆速寫,其法國友人王季岡曾描述:「常玉外出隨身攜帶白紙簿及鉛筆,坐咖啡館,總愛觀察鄰桌男女,認有突出形象者,立即素描,亦課外作業自修也。」據可考出版,其畢生共創作1800幅素描與211件水彩作品,磨練出他日後驚人的觀察力與畫功。初到巴黎便得著名藝術經紀人侯謝(Henri-Pierre?Roché)賞識及誇讚「他真了不起, 並正在起步!」然而這位「公子哥兒」灑脫不羈,拒絕與畫商合作,我行我素。此亦讓他在家道中落後三十多年裡潦倒孑然,但仍自在生活與追尋夢想,至今回看,依舊令人觸動。 念念不忘,必有迴響 「如果您見過二十至三十年代的素描,您可以體會常玉的藝術史隨著時光的前進而簡化。」 ——常玉好友暨記者達昂(Albert?Dahan)致阿拔赫書信 本次春拍我們呈現歐洲著名藏家尼耶沙瓦(Jacques?Nieszawer)舊藏的水彩珍品《紫裙女士》(拍品編號63)及出自法國阿拔赫(Michel?Habart)家族之毛筆紙本之作《側坐仕女》(拍品編號65)與《站姿裸女》(拍品編號64)。尼耶沙瓦早年活躍於巴黎古玩市場,對於巴黎畫派深有研究,肯定常玉為該畫派重要成員的地位,在常玉過世後由於其無繼承人,1966年其成批作品在巴黎歐圖拍賣上拍,尼耶沙瓦由是購得此作,在過去逾50年來細心珍藏。而阿拔赫曾任法國駐摩洛哥工程師,彼時亦在同場歐圖拍賣買下百件常玉紙上作品,七十年代退休後尋得常玉生前記者好友達昂,並與學者陳炎鋒反復鑽研常玉之作,先後共同在台北與巴黎舉辦常玉紙上作品展,對常玉的藝術推展不遺餘力。三件作品均來源有序,下筆剛柔並濟,皆為藝術家意氣軒昂之傑作。 丹青流動,神彩奕奕 「常玉的小幅作品,尤其是水彩,帶著一種細膩,其優雅隨性的輕柔筆觸,就像是在輪廓上嬉戲的線條。他採用薄透如呼吸的正統中國筆法,帶上一抹粉彩,保留了中國繪畫的雅緻。」 ——《新鹿特丹時報》,1932年10月12日 常玉存世的水彩繪畫共211張,當中三分之一為裸女主題,而色彩豐富且畫面為全身的紫衣女子執筆像僅只兩張,標誌了《紫裙女士》的特出性與不可多得。水彩畫亦標誌著常玉的中西繪畫技藝進入爐火純青的階段,從畫面人物突出的齊眉及齊耳短髮造型推斷,他描繪的是上世紀巴黎社交圈紅極一時的傳奇模特兒琪琪(Kiki),她多才多藝,是歌手演員、亦為畫家與作家,為當時眾多藝術家的繆思女神,藤田嗣治(Léonard?Tsunguharu?Foujita)與雷傑(Fernand Léger)等大家常以其入畫,而常玉亦有多件作品展現她的曼妙身姿。 《紫裙女士》主角呈直角端坐執筆書寫,專心致志。藝術家巧妙地以中國傳統的丹青用色為基調,淺黃綠雪紡上衣搭配深紫色綢緞及膝裙突顯法國女性端莊而內斂的外表,配合咖啡色俐落短髮、黝黑的貓跟尖頭鞋,完美還原三十年代的巴黎風尚。而與之呈反差的則是女子濃豔張揚的妝容,只見常玉以櫻花粉大面積圈塗在主角兩頰,配合重墨勾勒出一雙深邃的大眼與高鼻樑,讓女子在白裡透粉的膚色中更顯楚楚動人。而在線條和構型上,常玉在此的運墨流暢而精細,毛筆自主角發梢一順而下,以曲線刻畫出人物軀幹與五官,不忘保留其獨有「宇宙大腿」的同時,藉以凳子的筆直線條使畫面更加平衡,靈動中散發著女性的嬌媚柔嫩。比起藝術家刻畫的諸多裸豔的琪琪,本作尤現其知性一面,神彩奕奕,展現時代女性的精神力量。 生之喜悅,流年如歌 《側坐仕女》則描繪了正在作畫的清秀歐洲女子側像,畫中主角容顏精緻,眼睛深邃而鼻樑高挺,華服加身,頭戴摩登的短毛氈圓帽(cloche hat),帽沿飾有蝴蝶結,脖頸處露出利落的髮梢,輕柔的皮草披肩懸在肩頭,與珍珠項鏈渾圓的顆粒感呈反差,衣著飄逸鬆弛延伸至裙擺,配以古典雅緻的瑪麗珍鞋,為法國名媛們時興「Flapper」文化的縮影,尤現女子的雍容嫻雅。她手持畫板目視前方,心存目想。常玉以毛筆酣暢運墨施繪出其正襟危坐的上肢,經典的「梳齒狀」雙手。其左手輕扶畫稿,右手呈握筆之勢,墨竭處巧妙帶出比例極度誇張的小腿,雙腳一前一後隨性伸展,怡然自若。一戰後歐洲女性社會地位日漸提高,獲得自我解放與獨立人格的欣欣之象在常玉獨有的東方筆墨下凝結而出。 水墨翩躚,碩人俁俁 以中式美學的簡約寫意線條描寫在國內仍諱莫如深的裸體題材,成就了常玉蔚為經典的「宇宙大腿」裸女,被邵洵美讚美為「近代藝術界的寶貝」。《站姿裸女》呈現了一位體態豐腴的縵立裸女,畫中大量留白既呼應彼時西方風靡的極簡之風,亦援引東方八大山人「精省」的理念。藝術家自人物左肩落筆,線條流暢輕緩,以魚眼視角一呵而就女子豐盈的軀幹,極度誇張的曲線起伏間構架出獨特的量感美,帶出梳齒狀指節、水杏般的雙眼,刻意縮小頭部比例,相較《側坐仕女》的拘謹端坐,本作主角一絲不掛,單手撫頭,一手輕垂身側,張弛有度,媚而不嬌,精妙展現女子的自信。作品正如常玉自言:「精準的力量才更豐富無窮」,深蘊其美學精髓。 「我們的步伐太過時。我們的軀體太脆弱,我們的生命太短暫了。而時間就像大浪,一層層洗去了塵埃,最終展現本質的光芒。」常玉此言讓我們感受一代人物的練達通透,窮盡一生追夢未必如願,但滿懷赤子之心與豁達心懷在百年後仍能感動世人。每每見其筆下的流光倩影,都似在提醒世人,追逐六便士時,勿忘那抬頭可見的月亮。
PROVENANCE Sep 1966, H?tel Drouot Auction, Paris Previous Collection of Jaoques Nieszawer, France 3 Oct 2016, Sotheby’s Hong Kong Autumn Auction , Lot 5022 Acquired directly by present important private Asian collector from the above Capturing Timeless Elegance with Sincerity Treasured Artworks from Sanyu "All over the place was sixpence, but he looked up at the moon." —— William Maugham, The Moon and Sixpence In 1921, at the age of 26, Sanyu embarked on a journey to the free city of Paris. Over the next eight years, he immersed himself in the free studio at Académie de la Grande Chaumière and the city’s cafes, effortlessly sketching with a brush. By the time of his passing, he had created a total of 1,800 sketches and 211 watercolour works, showcasing his remarkable observational skills and artistic prowess. Upon his arrival in Paris, he quickly caught the attention and admiration of the renowned art broker Henri-Pierre Roché, who praised him, saying,?"He’s quite a guy, and he’s on his way."?However, this "young master" remained carefree and unconventional, refusing to collaborate with art dealers, and charting his course. This independence led him to a modest and isolated existence for over thirty years, but he continued to live freely, pursuing his dreams. Looking back now, his story remains deeply moving. Always in Mind, Echoes We Find "If you have seen sketches from the 1920s and 1930s, you can understand how Sanyu’s art history simplifies as time progresses." —— Albert Dahan, a close friend and journalist, in a letter to Michel Habart In this Spring auction, we present a watercolour painting from the renowned European collector Jacques Nieszawer’s collection:?Woman in Purple Skirt?(Lot 63) and two ink-on-paper works from the Michel Habart family, titled?Seated Lady?(Lot 65) and?Standing Nude?(Lot 64). Nieszawer, well-versed in the école de Paris, acknowledged Sanyu’s significance within. After Sanyu’s passing, Nieszawer acquired?Woman in Purple Skirt?at the H?tel Drouot Auction in 1966. Habart, a retired French engineer, also acquired more than a hundred of Sanyu’s works at the same auction. These works, all from orderly sources, represent Sanyu’s vibrant and masterful artistic expression and provide a rare opportunity for collectors. Fluid Brushstrokes, Vibrant Colours Of Sanyu’s surviving watercolour paintings, one-third feature nude subjects, and only two depict full-body portraits of women with a pen in hands in purple attire. Watercolour paintings also mark the zenith of Sanyu’s fusion of Eastern and Western painting techniques. Judging from the prominently featured eyebrow and ear-length bobbed hairstyle, it is inferred that he depicted the legendary model Kiki, who was a sensation in the Paris social scene of the last century. Kiki, a versatile talent as a singer, actress, painter, and writer, served as the muse for numerous artists of that era. Sanyu created several pieces showcasing her graceful figure.?Woman in Purple Skirt?captures Kiki in a poised position, focused and absorbed in her writing. Sanyu skillfully uses traditional Chinese brushstroke techniques, with light green chiffon for her blouse, deep purple silk for the knee-length skirt, and a coffee-coloured bob haircut complemented by a pair of black pointed shoes. The composition perfectly reflects the Parisian fashion of the 1930s. In stark contrast, the woman in the painting exudes vibrant and bold makeup. Sanyu skillfully applies cherry blossom pink generously to the protagonist’s cheeks, complemented by heavy ink strokes outlining deep, enchanting eyes and a delicate high nose bridge. This technique enhances the woman’s beauty with a fair and translucent complexion. In terms of lines and composition, Sanyu’s brushwork is both smooth and intricate. The brush gracefully flows from the protagonist’s hair tips, outlining curves that depict the figure with grace. While preserving the distinctive "thighs of the universe", he uses the straight lines of the chair to balance the composition, emitting a dynamic charm of feminine delicacy. In comparison to many explicit depictions of the sensual Kiki by other artists, this piece particularly highlights her intellectual side, radiating a vibrant and captivating aura. Joy of Life, Flowing through the Years Seated Lady?portrays a delicate European woman. The protagonist in the painting possesses delicate features, with deep-set eyes and a high-bridged nose. Adorned in elegant attire, she wears a modern cloche hat adorned with a bow on the brim. A neat hair tassel is revealed at the nape of her neck, complemented by a soft fur stole draped over her shoulder. The contrast between the smooth pearls of her necklace and the flowing, loose elegance of her attire, extending to the hem of her skirt, epitomizes the fashionable "Flapper" culture among French socialites. She completes her look with classical Mary Jane shoes. Holding a painting board and gazing forward with thoughtful eyes, Sanyu portrays her upright upper body with expressive brushstrokes. He skillfully outlines her classic "toothed" hands–the left lightly supporting the sketch, while the right assumes a poised grip on the brush. In a masterful stroke, he exaggerates the proportions of her slender legs, with feet casually stretching forward and backwards. After World War I, the social status of European women rose, and the image of self-liberation and independent personality is beautifully captured in Sanyu’s unique Eastern brushstrokes. In Ink’s Dance, a Stature’s Prance In the embrace of Chinese aesthetics, Sanyu’s minimalist and expressive strokes dared to tackle the taboo of nudity, crafting the iconic "thighs of the universe" nude, hailed by art connoisseur Shao Xunmei as a?"treasure in the modern art world".?Standing Nude?presents a voluptuous figure with ample use of white space, echoing the prevalent Western trend of minimalism. It also incorporates the concept of precision from the literati tradition. The artist starts from the subject’s left shoulder, employing flowing lines to gracefully frame the woman’s full-bodied curves with exaggerated undulations, creating a unique sense of beauty. The "toothed" joints, almond-like eyes, deliberately minimized head proportions, and the contrasting confident pose distinguish this artwork from the restrained posture of?Seated Lady. The central figure, unabashedly exposed, delicately touches her head with one hand while gracefully tilting her body to the side, exuding charm without coyness, masterfully showcasing feminine confidence. As Sanyu aptly put it,?"Precision gives richness to infinity",?embodying the essence of his aesthetic philosophy. "Our footsteps are too outdated. Our bodies are too fragile, and our lives are too brief. Time, like a vast wave, washes away layers of dust, ultimately revealing the essence’s radiance."?Sanyu’s words invite us to feel the wisdom of a generation, realizing that a lifetime’s pursuit of dreams may not always go as planned. Yet, the sincerity and open-heartedness persist, capable of touching people even a century later. Whenever we witness the graceful figures under his brush, it is as if he is reminding us not to forget the moon visible when chasing six pence.

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拍品估价:900,000 - 1,200,000 港币 起拍价格:900,000 港币  买家佣金:
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