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Lot 1268 PROPERTY FROM A HONG KONG PRIVATE COLLECTION (LOTS 1267-1273)
This collection was amassed by a Hong Kong industrialist. He started collecting Chinese artworks in the 1930s and 1940s in Shanghai, and concentrated primarily on Chinese paintings. He later migrated to Hong Kong in the late 1940s and brought the collection with him. This collection is kept in the family for over fifty years.
This collection was amassed by a Hong Kong industrialist. He started collecting Chinese artworks in the 1930s and 1940s in Shanghai, and concentrated primarily on Chinese paintings. He later migrated to Hong Kong in the late 1940s and brought the collection with him. This collection is kept in the family for over fifty years.
ZHANG DAQIAN (1899-1983)
Scholar Viewing Pine in the Style of Tang Yin
Closed26 November 2019
Price Realised
HKD 1,000,000
More Information
Specialist note
There is another version of Scholar Viewing Pine in the Style of Tang Yin, painted by Zhang Daqian in 1930, currently residing in the Sichuan Museum collection. According to its side inscription dated 1930, Zhang viewed the original handscroll by Tang Yin (1470-1524) seven or eight years ago in Shanghai. According to the current painting’s inscription, Zhang Daqian copied the abovementioned and transformed the original horizontal composition into a vertical work. In the Sichuan Museum version, Zhang Daqian wrote that he painted it after viewing another Tang Yin’s work in the collection of Pang Laichen (1864-1949). In this version, he inscribed poems by Tang Yin and Shen Zhou on the silk mounting on top of the painting, which altered the proportion of the work. It is likely that both versions are based on the same painting by Tang Yin.
Although the inscribed date on the current work is gengyin year (1950), it is probable that Zhang misdated the painting. Judging from his painting and calligraphic style, the work was likely created around the same time as the Sichuan Museum version, and is a work early in the artist’s career.
Although the inscribed date on the current work is gengyin year (1950), it is probable that Zhang misdated the painting. Judging from his painting and calligraphic style, the work was likely created around the same time as the Sichuan Museum version, and is a work early in the artist’s career.