Page 157 - Bonhams Chinese and Himalayan Paintings June 2016
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8284

PROPERTY FROM A SAN FRANCISCO COLLECTOR                               8284
                                                                      LIU HAISU (1896-1994)
8283                                                                  Huangshan Landscape, 1978
WANG JIQIAN (C. C. WANG, 1907-2003)                                   Mounted for framing, ink and color on paper, titled by the artist in
Winter Landscape, 1985                                                running script Huanghai Qiguan followed by a date of wuwu deng
Ink and color on paper, framed and glazed, dated yichou san yue       (winter, 1978), and signed Liu Haisu nian fang ba san (Liu Haisu at
shi liu ri (1985, March 16) and signed Wang Jiqian with two artist’s  eight-three) with three seals of the artist reading Haiweng, Cengjing
seals reading Jiqian chuang gao and chong shu niao ji.                cang hai and Liu Haisu.
26 1/2 x 17 1/2in (67.3 x 44.5cm) sight                               32 1/2 x 60in (82.5 x 152.4cm)

$8,000 - 12,000                                                       $60,000 - 80,000

                                   鏡框 一九八五年作                                                             鏡片 一九七八年作

                                                                      Exhibited and Published
                                                                      Modern Chinese painting - abstract expressions of the brush,
                                                                      Warwick Arts Trust, 20 February-24 March 1985, no. 26 p. 11

                                                                      Anhui’s Yellow Mountain (Huangshan) has inspired Chinese landscape
                                                                      painters for centuries, entranced by its wondrous rocky spires,
                                                                      expressive pines and cloud-filled gorges. Liu Haisu visited the
                                                                      mountain ten times, and the dramatic views became a favorite
                                                                      subject matter for his later paintings. The contrast of the brightly
                                                                      splashed mineral reds and blues juxtaposed by the unpainted areas
                                                                      representing the billowing clouds evinces the artist’s training in
                                                                      European oil painting as well as his deep understanding of traditional
                                                                      Chinese landscape painting.

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