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MANNER OF XU BEIHONG (1895-1953) Throughout his life, Xu Beihong championed MANNER OF QI BAISHI (1864-1957)
Galloping Horse the revitalisation of Chinese painting through Apples and Lychees
Black ink and white pigment on fibrous paper, the integration of Western-style realism and Ink and colour on paper, bearing signature
signed Xu Beihong, one seal of the artist, Chinese brush techniques. Here, using sharp Qi Baishi and with three seals of the artist,
framed and glazed tonal contrasts between black ink and white framed and glazed.
56.5cm (22 1/2in) high x 50cm (19 6/8in) paper, Xu’s swift rendition of the noble steed 103cm (40 1/2in) long x 35cm (13 3/4in) wide.
wide. embodies the spirit of traditional ‘ink play’.
The horse’s natural pose is deftly captured £5,000 - 8,000
£3,000 - 5,000 in abbreviated brushwork, however, the CNY45,000 - 71,000
CNY27,000 - 45,000 horse’s accurate anatomy and the convincing 齊白石（款） 太平多利圖 紙本設色 鏡框裝裱

徐悲鴻（款） 奔馬 紙本水墨 鏡框裝裱 foreshortening of its body reflect Xu’s solid
grounding in Western academic art. The Provenance: Max Morris (1910-2017),
Provenance: Max Morris (1910-2017), powerful demeanour of the unleashed acquired in China in 1957, and thence by
acquired in China in 1957, and thence by unmounted animal may convey a Western descent
descent influence, but its mane and tail, blowing
unnaturally in opposite directions, testify to the Published and Exhibited: Herbert Art Gallery
Published and Exhibited: Herbert Art Gallery artist’s ultimately subjective approach. and Museum, Modern Chinese Paintings from
and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry,
the Hafkin and Other Collections, Coventry, Xu employed freehand strokes, only outlining 11 July - 9 August 1964, no.42.
11 July - 9 August 1964, no.42. the critical parts, such as the nose, the
chest and the hooves. Xu Beihong studied 來源：Max Morris（1910-2017）舊藏，
來源：Max Morris（1910-2017）舊藏， the anatomy of horses and observed their 於1957年購自中國，並由後人保存迄今

於1957年購自中國，並由後人保存迄今 postures and expressions in great detail;
the shape of the large muscles at the neck, 展覽著錄：赫伯特藝術博物館，《Modern
展覽著錄：赫伯特藝術博物館，《Modern breast and back is accentuated with ink Chinese Paintings from the Hafkin and Other
Chinese Paintings from the Hafkin and Other washes executed in various tones, giving life Collections》，考文垂，1964年7月11日-8月
Collections》，考文垂，1964年7月11日-8月 to a remarkably robust figure, whilst, at the 9日，編號42

9日，編號42 same time, reinstating Xu Beihong’s position
as a leader of one of the first generation of
Winning high acclaim for their bold and lively innovative artists seeking to reinvigorate the
styles, the horse paintings by Xu Beihong long tradition of Chinese aesthetics.
were highly admired amongst collectors and
connoisseurs for their strength and vivacity, Xu’s powerful and passionate images of
whilst also expressing Xu’s desire to show his horses, a traditional symbol of Chinese
own feelings of patriotism. martial spirit, were intended to inspire patriotic
resistance during the Sino-Japanese War
Born in Yixing, Jiangsu Province, in 1895, (1937–1945). See a related ink on paper
Xu grew up in an artistic family and showed depiction of a ‘Heavenly Horse’ by Xu
talent at an early age. In 1915, he moved to Beihong, in the Metropolitan Museum of
Shanghai, then a melting pot of Chinese and Art, New York, published by Shi-yee Liu,
Western cultures, to begin his studies. There Straddling East and West: Lin Yutang, a
he met Kang Youwei, the scholar and political Modern Literatus, New York, 2007, p.52.
reformer, who became his mentor and greatly
influenced Xu’s thinking about the need to
incorporate Western practices and ideas into
Chinese art.
For details of the charges payable in addition to the final Hammer Price of each Lot
please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.