Chu Teh-Chun (Zhu Dequn)

signed in pinyin and Chinese; signed in pinyin and Chinese, titled and dated 1960 on the reverse

Acquired directly from the artist
Thence by descent to the present owner
Important Private American Collection

The work is overall in good condition. There is a paint loss at the upper middle area. There is a paint loss near the middle of the bottom border. There is a minor paint loss near the middle of the upper edge. There are some tiny molds on the middle left part of the work. There is no evidence of restoration under UV light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Composition No. 61 is a representative work in Chu Teh-Chun’s Composition Series. The beige background is reminiscent of rice paper and scrolls in Chinese traditional painting. In the center of the work, a ruby-like gemstone is mounted, surrounded by free-flowing black lines. In modern art, when an artist stops putting an emphasis on the figurative subjects, the abstract form and structure become the leading character. For artists living in post-war Paris such as Hans Hartung and Pierrer Soulages, lines have been an inspiration in their artistic developments. It was an epochmaking moment when Chu Teh-Chun fused calligraphic lines into his abstract paintings. Chu has a keen interest in calligraphy and also writes calligraphy. However, in Composition No. 61, the lines no longer have any meanings as Chinese characters. Instead, they have been transformed into abstract forms with new interpretations. Compositionally, the long diagonal lines enhance the strength of the work, while the short and abrupt lines give the work a sense of movement. With the leisurely yet vibrating brushstrokes, the painting creates an intensification of space.