The Most Luxurious In History | 2020 Autumn Auctions of China Guardian Launches Three Major Evening Sales of 20th Century And Contemporary Art
December 5, 2020，The 20th Century and Contemporary Art Department of China Guardian will appear in the autumn auctions with the "Three Evening Markets", presenting approximately 230 masterpieces of rich features to collectors. In addition to the usual day sales, 20th Century Art Evening Market, Contemporary Art Evening Market (I), Contemporary Art Evening Market (II) will be launched this time, to provide a comprehensive and multi-angle view of Chinese modernism and contemporary art sectors, based on the fine division of the lots structure, to carry out deep integration of resources.
The contemporary art evening sale is reflected on the layout of the rhythm and layering. This is not only the adjustment of the stage, but also the judgment of the contemporary art stages embodied by the structural integration. After 10 years of precipitation, new forces have already come to the front, and the follow-up may have the opportunity to open a new chapter in the market. To sort out contemporary art in layers and act as the finale, the meaning is worthy of admiration.
on paper,color ink
87×42.5cm
signed: Pang Xunqin, with seal (bottom right)
Source
Canadian Chinese Collection
Important Private Collection in Asia
RMB: 600,000-800,000
USD: 89,600-119,400
This auction target is in a bonded state
The Dance that was auctioned this time is one of the paintings of "Ladies" by Pang Xunqin in the 1940s when his artistic creation was most prosperous, representing his highest art achievements of lines. The inspiration comes from Dunhuang murals and Gu Kaizhi's scroll paintings, with the image of a slender woman wearing a flowing ribbons. The lines are as thin as hairspring, soft and charming, their rhythmic changes and decorative features reflect the artist's understanding of traditional line drawing. The modeling concept of Western sketches is also added, the proportion structure is rigorous, and the dress part has a fainted shadow. The free use painting techniques across East and the West conveys Pang Xunqin's artistic proposition of "Chinese academic modernization, foreign academic sinicization", and the whole work integrates nationality, decoration and modernity.
37.5×46cm
Signature: Yun Gee (top left)
Publish
"Zhu Yuanzhi", P56, Great Future Art Co., Ltd., published in 1998
Display
Zhu Yuanzhi, Great Future Gallery, November 14-December 1, 1998
RMB: 1,000,000-1,500,000
USD: 149,300-223,900
This auction target is in a bonded state
With a unique artistic track, Zhu Yuanzhi has become one of the important pioneers in jointly promoting the development of "Western painting to the East" of Chinese modern art. Zhu Yuanzhi went to Paris twice to pursue his dream. In his mind, Paris is "the new world and the old world are one", is a unique capital of art. In the diverse artistic atmosphere of Paris, Zhu Yuanzhi's style has quietly changed. One of the changes is the addition of the "nude" theme. Before this trip to Paris, the number of nude paintings are small, which is hardly the focus of his creation. These female nude works from the period in Paris is not only large in number, but also outstanding in style and highly recognizable. The Nude with Pearl Necklace was created during this period. This work was once displayed in the exhibition catalog of Zhu Yuanzhi at 1998 held by the Great Future Gallery, and was published in "Zhu Yuanzhi" in 1998. At present, the number of his works is relatively scarce in the market. The release this time is very exciting.
Fiberboard oil painting
42×71.5cm
Signature: Yan Wenliang with seal (lower right)
Publish
"New Art", back cover, Journal of Zhejiang Academy of Fine Arts, Shanghai People's Fine Arts Publishing House, published in 1982
"Modern Artist-Yan Wenliang", T plate 86, Xuelin Publishing House, published in 1982
"Yiyuan Art Edition", P18, Issue 56, Journal of Nanjing University of the Arts, published in 1993
"Modern Artist—Painting Theory·Work·Life—Yan Wenliang", pl. 86, Xuelin Publishing House, published in 1996
"Complete Works of Chinese Modern Art Oil Painting 2", P2, Tianjin People's Fine Arts Publishing House, September 1997
"Complete Works of Chinese Modern Art Oil Painting 2", P2, Tianjin People's Fine Arts Publishing House, September 1997
"Yan Wenliang—Chinese Western Painting Literature in the 20th Century", P190, Culture and Art Publishing House, published in 2009
Display
Yan Wenliang Painting Exhibition, hosted by Zhejiang Academy of Fine Arts and Shanghai Branch of China Artists Association, Shanghai Art Exhibition Hall, July 1982
Yan Wenliang Painting Exhibition, hosted by Zhejiang Academy of Fine Arts and Shanghai Branch of China Artists Association, Zhejiang Academy of Fine Arts, October 1982
RMB: 7,800,000-12,000,000
USD: 1,164,200-1,791,000
Yan Wenliang was one of the pioneers who had explored and spread Western painting techniques during the exchange and collision of Eastern and Western cultures. South Lake Sunburst is a masterpiece of Yan Wenliang's landscape paintings. In the depiction of natural still life, it unfolds the recollection of the glorious years of revolutionary history, showing the steady temperament of historicism. This work was created in 1960s when he reached peak of his art practice again, which has profound artistic and historical value. South Lake was created at the same time as South Lake Sunburst, like twines whose structure and appearance are almost the same, it has been the permanent collection of the National Art Museum of China. Both of them have been exhibited in important exhibitions for many times and become one of the seven works of Yan Wenliang in the museum. There are only two works on the theme of party created by Yan Wenliang. South Lake is the only one that are still on secondary market, which shows its rareness and classics.
Oil on canvas
53×38cm
Publish
"Chinese New School Painting Master·Wu Dayu Teachers and Students Exhibition", plate 12, Great Future Art Co., Ltd., January 1996
"The Master of Chinese New School Painting·Wu Dayu", P119, Great Future Art Co., Ltd., July 1996
"Chinese Oil Painting Development Master Wu Dayu Painting Exhibition", P112, National Museum of History, March 2001
"Wu Dayu", P136, Shanghai Education Press, November 2003
"Wu Dayu", P122, Great Future Gallery Art Co., Ltd., May 2006
"A Collection of Works by Wu Dayu's Representative Painters of Shanghai School in a Century", P99, Shanghai Calligraphy and Painting Publishing House, July 2013
"Wu Dayu Collection", P127, People's Fine Arts Publishing House, March 2015
"Flying Feathers Flying Over the Sky-Collection of Wu Dayu's Works", P160, The Commercial Press, April 2020
Exhibition
Chinese New School Painting Master-Wu Dayu Teacher and Student Exhibition, Great Future Gallery, Taipei, January 13-February 6, 1996
Wu Dayu Painting Exhibition, National Museum of History, Taipei, March 8-April 8, 2001 Wu Dayu Oil Painting Art Retrospective Exhibition-Commemorating the 100th Birthday of Mr. Wu Dayu, Shanghai Art Museum, Shanghai, November 21st-December 10th, 2003
Source
China Guardian Hong Kong 2013 Autumn Auction, Lot460
RMB: 8,500,000-12,000,000
USD：1,295,400-1,828,800
This auction target is in a bonded state
Wu Dayu has made great contributions to the development of Chinese abstract painting, and he has pushed Chinese oil painting to a new height with his own strength. Charm of Chinese Opera was created in the 1980s and is a representative masterpiece of Wu Dayu at a new level of his later years. As a rare masterpiece in auctions, it was exhibited in the important exhibition of “Wu Dayu Painting Exhibition” that was held at the National Museum of History in Taipei. Wu Dayu is good at using colors, especially blue. In Charm of Chinese Opera, the brown background gives the fluent color layout a stable support. Under the colorful composition, the gentleness and brilliance are revealed, which is joyful. The elements of Western modernism are deconstructed by the brushstrokes of hand writing, and the overall artistic conception is transformed into a lyrical image that creates a momentum image, flowing with the beauty of music-like rhythm, to let the viewer feel the spirit of liveliness and harmony.
35×44.5cm
Publish
"Guan Liang's Picture Album", P4, Sichuan People's Publishing House, published in May 1982
"Guan Liang Centennial Exhibition", P46, Great Future Gallery, published in April 2000
Display
Guan Liang Centennial Exhibition, Great Future Gallery, Taipei, April 19-May 14, 2000
RMB: 3,800,000-5,800,000
USD: 567,200-865,700
Guan Liang is an important master of modern Chinese art history. West Lake is considered as an anomaly in Guan Liang's oil paintings. Most of his works are colorful, but this piece resembles a quiet, clear and graceful flute. Adopting the blending technique and the composition of traditional Chinese landscape paintings, the shapes are simplified, and most of the objects are treated as flat surfaces to add a delicate atmosphere. Guan Liang combined the traditional freehand spirit into his landscape paintings, showing a clumsy realm and free demeanor. The whole picture presents a "plain and simple" conception. This work is included in his first oil painting album that were published when he was eighty-one years old, namely by Guo Moruo's inscription, "Guan Liang's Picture Album" was published in 1982. The album is a selection of 50 oil paintings made by him over the years, including West Lake, which shows its importance.
Cardboard oil painting
24×33cm
Signed: Wuji Zao 1949 (lower right)
Publish
"Complete Works of Zao Wou-Ki·Volume 1 1935-1958", P79, Zao Wou-Ki Foundation, France Framarion Publishing House, published in December 2019
Source
Lucienne-Léonce Rosenberg Collection, Paris
European private collection
RMB: 1,200,000-1,800,000
USD: 179,100-268,700
This auction target is in a bonded state
In The Water was created in 1949, the year when Zao Wou-Ki left China to France. It was his first experiment in the Western contemporary painting. In this work, Zao Wou-Ki enthusiastically experimented with the texture of thick coating, light application, engraving, and scraping, gives an oriental style to the painting with imagination. In the almost empty background on the left side, the simple and clean lines draws a naked woman with Asian face, she can be only appreciated distantly but not touched blasphemously. The blue brushstrokes stacked in the foreground are like blue waves of the ocean. A black seabird across the sea and the sky, the carving-liked brushstrokes show the swiftness of flying, laying the groundwork for the application of the inscribed symbols in the Oracle series. This work is included in the "Chronicles of Zao Wou-Ki's Works" compiled by the Zao Wou-Ki Foundation, Van Siwa Ma Kai and Jan Hendergen. Compared with the late abstract works that are more common on market, the figurative period is lesser in numbers due to the age. This work can be regarded as a precious testimony of Zao Wou-Ki's first transition in his art career, which deserves more attention.
Oil on canvas
101×102cm
Signed: Wuji ZAO (lower right) ZAO WOU- KI 30.09.97 (back)
Published
"Collection of Zao Wou-Ki Paintings", p69, Tessa Herrod Gallery, Paris, France, published in 1998
Exhibition
Spain International Contemporary Art Fair, Madrid, Spain, February 1998
RMB: 7,500,000-9,500,000
USD: 1,119,400-1,014,900
This auction target is in a bonded state
The boundless atmosphere in 30.09.97 echoes with the artist's continuous exploration in art world. In the 1990s, Zao Wou-Ki's painting skills got more sophisticated, and his painting style tended to be Chinese imagery painting, further embodying the spiritual realm of "Men and Nature" and "Emptyness & Quietness" in Chinese philosophy. Zao Wou-Ki's important work 30.09.97 in the 90s demonstrated his artistic talent in controlling and rendering colors to express personal emotions and specific atmospheres.
Oil painting on canvas
162×130cm
Signature: Zhu Dequn CHU THE-CHUN 92 (lower right)
Publish
"Zhu Dequn Painting Exhibition", P49, Shanghai Museum, published in 2000
Display
Zhu Dequn Painting Exhibition, Shanghai Museum, Shanghai, September 28th-November 26th, 2000
RMB: 8,000,000-12,000,000
USD: 1,194,000-1,791,000
The art critic Jean-Clarence Lambert once said, “Each Chu Teh-Chun’s painting is cut into a complete space, and this complete space is the place where people and various elements merge together.” Substantial Mastery appeared in the important retrospective exhibition of Chu Teh-Chun, supported by the Art Action Committee of the French Ministry of Foreign Affairs and held at the Shanghai Museum. It has a strong lyrical, musical and rhythmic nature: through fast-moving lines, free blocky brushstrokes, a technique that of exaggeration and lyricism, combined all the natural scenery on canvas into a mysterious and dreamy appearance; in the quiet space, a symphony-like dialogue is produced, that is magnificent and solemn. Like a space full of light and water, a sky of the universe, that resonates harmoniously in here.
Oil painting on canvas
61×72cm
Signature: Tu, 1985 (lower left)
Publish
"Chinese Contemporary Artist—Wu Guanzhong", P51, Sichuan Fine Arts Publishing House, early 1989 version
"Master Hanmo" Issue 22-Wu Guanzhong Appraisal Special, P116-117, published by Hanmoxuan Society, published in November 1991
"The Complete Works of Wu Guanzhong 3", P210-211, Hunan Fine Arts Publishing House, published in 2012
RMB: 12,000,000-18,000,000
USD: 1,791,000-2,686,600
This auction target is in a bonded state
Wu Guanzhong grew up in a water village in the south of the Yangtze River. The style of the black and white Jiangnan is clear, elegant and concise. Spring Willow In Jiang Nan in 1985 has the features of his "Jiangnan Series". It cuts out the complex and simplified, he uses large colors to complete the plane segmentation. It is not limited to the object image or the form. "The intricate combination of simple factors constitutes a diverse and unified form Beauty". The contrast between black and white presents an abstract style, it is different from Western abstraction which emphasizes rationality. Wu Guanzhong's Jiangnan series of Ming & Qing Dynasty style has always full of sentiment of the East.
Oil painting on paper mounted on wood
35×37cm
Signature: Tu Qiba (lower right)
Publish
"Selected Works of Wu Guanzhong", plate 57, Yida Workshop, published in October 1996
Collection of Wu Guanzhong's Works, plate 40, People's Fine Arts Publishing House, published in 2003
"The Complete Works of Wu Guanzhong 3", P131, Hunan Fine Arts Publishing House, published in 2012
Source
Sotheby's Hong Kong Autumn Auction 2005, lot788
Important Private Collection in Asia
RMB: 6,000,000-8,000,000
USD: 895,500-1,194,000
This auction target is in a bonded state
pigments has been displayed. The table and flowerpots are large blocks of black, with the green of the plants bringing out light to express the transition and volume, with the end of the brush is used to outline the shape of the basin in the paint. The picture is graceful and lovely also delicate. When look at this painting, you can feel the spirit of the artist. The twigs and buds in the earthen basin represent a symbol of life. When the spring breeze arrives, the death of winter will disappear.
Oil painting on canvas
250×200cm
Signature: 1997-99 Zhou Chunya (lower right)
Publish
"Zhou Chunya", P331, Timezone8Limited, 2010
display
1971-2010 Zhou Chunya Art Retrospective Exhibition for 40 Years, Shanghai Art Museum, Shanghai, June 13-23, 2010
Description
Attached with a certificate of work signed by the artist
RMB: 8,000,000-12,000,000
USD: 1,194,000-1,791,000
This auction target is in a bonded state
As Zhou Chunya's pet dog, Heigen brought an inspiration to Zhou Chunya, the "Green Dog" series was born. This weird image became Zhou Chunya's most important theme and iconic symbol for more than a decade. The Story Of The Green Dog created in 1997, has a huge size of 250×200cm, and it's the opening work of Zhou Chunya's "Green Dog" series. This series was made for the "Oriental Meeting in the West" exhibition held at LIMN Gallery in San Francisco in 1998 (the exhibition was also attended by Liu Xiaodong, Mao Yan, Guo Wei, Liu Hong from the United States, etc.). It was an important milestone of his art career. There are total of 6 works in the same series, many of which have set records for the artist at auctions. This time the opening work of the "Green Dog" series has appeared in the auction, which is rare in case. Its landmark historical background makes this work has an irreplaceable uniqueness with great value of collection.
Oil painting on canvas
358.5×220cm
Signature: Zhou Chunya 2003 (lower right)
Publish
"History of Chinese Art in the 20th Century", P1064, by Lu Peng, Peking University Press, 2006 Published in December
"Case—Artists in Art History and Art Criticism [I]", P185, Lv Pengzhu Edited, Hunan Fine Arts Publishing House, May 2008
Display
From Van Gogh to Chinese Contemporary Art-Song Art Museum Opening Exhibition, Song Art Museum, Beijing, 2017, September 27, 2018-January 24, 2018
Duration: Chinese Art in Change, Beijing Minsheng Art Museum, Beijing, September 2020 Month 25-long term
RMB: 28,000,000-38,000,000
USD: 4,179,100-5,671,600
Since the early 1990s, Zhou Chunya used traditional imagery as the object of expression and started the artistic creation of the "Mountain and Rock" series. This series is a new exploration of the artist's fusion of Western expressionist language with his interests on traditional ink paintings, reflecting the artist's further in-depth and conversion of concepts. Taking this series as a starting point, Zhou Chunya discovered a creative approach that fits his nature and at the same time it is opposed to traditional practice. In the "Mountain and Rock" series, Zhou Chunya performed a new interpretation of classic visual symbol, conveying his strong emotions through exaggerated and deformed techniques, vivid colors and brushstrokes. Its significance to him is as important as Zhou Chunya's once said: "I cherish these ‘Mountain and Rock’ works very much. In a certain sense, it is the first standard process of my painting in terms of form refinement and cultural proposition." Rocks And Clouds that was will be presented this time is a masterpiece from this important period, also the largest in the series.
Oil painting on canvas
60×100cm
Signature: Ye Ye 2010 (lower right)
Publish
"The Complete Works of Liu Ye from 1991-2015", P345, Hatje Cantz Verlag, Germany, published in 2015
Description
Attached with a certificate of work signed by the artist
RMB: 6,800,000-8,800,000
USD: 1,014,900-1,313,400
This auction target is in a bonded state
Liu Ye is a high-profile artist in the field of contemporary Chinese art. Little Girl with Mondrian was made in 2010 and is a classic representative of Liu Ye's "Mondrian" series. This series of works reflects Liu Ye's emphasis on geometric lines, pure colors and harmony, often adopting extremely simple layouts. In the work, Mondrian's paintings are juxtaposed with the subject characters. The little girl on the right is a cartoon-like image with exaggerated proportions and is broken down into geometric shapes such as circles and squares, compared with the vertical and horizontal lines on the right.
Paper carving
71×53cm
Signature: Zhang Xiaogang 1989.7 (lower right)
Publish
"The Umbilical Cord of the Times: Zhang Xiaogang's Painting", P23, Hanart TZ Gallery, Hong Kong, published in 2004
Source
Christie's Hong Kong Autumn Auction 2007, Lot461
Important European Private Collection
RMB: 2,200,000-3,200,000
USD: 328,400-477,600
This auction target is in a bonded state
Insomnia Martyrs-Memories of The Past was made in 1989 which presents the thoughts on life of the artist. This painting is also a mature work of his early stage. It not only has the surreal atmosphere, but also has religious care for life and death, soul, and loneliness. At the time of creation, the work was finished after the political turmoil in 1989, highlighting the the impermanence of life and the insignificance of people under political turmoil. The change of social atmosphere caused change of Zhang Xiaogang’s perspective. It was from this year that he shifted his from the Western theme to the contingency and fragility of individual life in the history and collective destiny. That made psychological preparations for the "Family Series" later. No matter the background or the arrangement of the details, or even the breath of the whole, the works showed the exquisite skills and ideas of the artist, which can be regarded as the inner monologue of the period.
Canvas, oil painting, acrylic
208×336cm
Signature: Huang Yuxing 2012 (lower right)
Publish
"HUANG YUXING", P109, Antenna Space, September 2014
Display
Huang Yuxing Solo Exhibition, Beijing Commune, Beijing, April 26-June 3, 2012
The river swallows the bushes | Then swallows you—Huang Yuxing, Antenna Space, September 2014
13th-October 20th RMB: 1,000,000-1,500,000
USD: 149,300-223,900
As one of the most outstanding contemporary artists born in 1970s in China, Huang Yuxing has been constantly polishing and breaking through himself, and has since come to the forefront of the younger generation. From 2011 to 2013, Huang Yuxing created a series of works with fictional architectural scenes as the main theme. The body structure that has been continuously dismantled and reorganized, with bright colors, shows a strong visual tension, which has made him move from private and concrete to public. The most important turning point on his path to abstract, “Grove” is the theme of this series with the most continuity and evolutionary significance in this stage. The visual abstraction riches the aesthetic, especially the critical point of every detail connects the traces of the artist's changes, also allows the viewer to see the growth of Huang Yuxing's painting language, the large scale of the work obviously emphasized all this.
Oil painting on canvas
150×210cm
Publish
"Far from the Heart: Tu Hongtao Solo Exhibition", P144, Hive Center for Contemporary Art, published in 2013
Display
Forget the Words: Tu Hongtao Solo Exhibition, Hive Center for Contemporary Art, Beijing, August 2013
RMB: 600,000-800,000
USD: 89,600-119,400
Tu Hongtao was famous for his highly critical urban scenes in his early days. Since 2011, he has found a sensible balance in the landscape of plants and nature to rise up on a new level of art career. Created in 2011, Overlooking the Turbulent Clouds has a vast and far-reaching artistic conception, and at the same time connects the two stages of creation of plants and landscapes. The link between the previous and the next is represented in the two important solo exhibitions of Tu Hongtao, and its importance can be seen. In terms of composition, Tu Hongtao abandoned the window-like space structure of oil paintings, and instead used the scattered spots of traditional Chinese scroll paintings. The architectural city and natural scenery are clearly distinguished. It is a dialogue between the artist’s self-spiritual projection and a metaphor of the confusion and confusion under the glitz.
Oil painting on canvas
90×120cm
Signature: Qiu Xiaofei, "Railway Station" 2005 (back)
RMB: 1,200,000-1,800,000
USD: 179,100-268,700
As an important member of the N12 art group, Qiu Xiaofei, who became famous when he was young, represented the avant-garde exploration of the young generation trying to get rid of the academy and became one of the most concerned young Chinese artists in the market. Train Station, created in 2005, is not only a mature representative of Qiu Xiaofei at this stage, but also a hidden change in his later series, which is an important and meaningful creation in the artist system. With cultural thinking about life and creative insights, the theme of the work connects with the hidden level of consciousness expression behind it, but Qiu Xiaofei did not fall into the grand illusory narrative, and his reappearance of the painting ontology finally returned to Train Station daily more In the tranquil painting environment, quietly waiting for a sudden retrospect. The fatalistic intuition strikes reminds people of Qiu Xiaofei's expansion and transformation from personal memory to collective memory after 2006. Train Station as a testimony to everything has already revealed its clues.
