- 5019
龐薰琹
估價
200,000 - 300,000 HKD
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招標截止
描述
- Pang Xunqin
- 我欲乘風歸去
- signed and titled in Chinese, stamped with two artist's seals
- 彩墨絹本
款識：
我欲乘風歸去 龐薰琹 藝術家鈐印（右下）
我欲乘風歸去 龐薰琹 藝術家鈐印（右下）
來源
北京中國嘉德（一九九八年十月二十七日，拍品編號一一六）
亞洲私人收藏
台北沁得居畫廊
現亞洲私人收藏家直接得自上述來源
亞洲私人收藏
台北沁得居畫廊
現亞洲私人收藏家直接得自上述來源
Condition
The work is overall in good condition except minor foxing at top and very minor pigment loss on the figure's face.
"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."
"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."
拍品資料及來源
「家父之所以取材唐人舞蹈用勾勒方式作畫，以我淺見，一則是他曾於1939年在昆明研究歷代服飾紋樣，同時任中央博物館研究員，研究西南少數民族民間工藝，接觸漢、唐文物考察紋樣，其中對歌舞、雜技、飛天紋樣造型深受感動與啟發。二則是他本人對用線條特別感興趣，曾多次表示：畫速寫不學盎格爾不可，他欣賞那種不依靠明暗手法的準確線條本身的美和說服力…作品多半畫於1942年至1946年，即38年歲至40歲之間，這是他繪畫生涯非常成熟的高峰時間，每日作畫六小時以上，從不見客，而獨自關在房內或閣樓間作畫…唐人舞蹈作品，他一生只有三十幅左右，此類作品幾乎全部由我母親作模特兒。作畫先畫人體草稿，解決動態，臉、手，但不畫衣服草稿。衣服、衣紋、飄帶全是在用筆筆勾勒時，自由地一氣呵成，倘若小有敗筆即棄之。只因我當時年幼而不知父親到底丟棄多少不滿之作才留下這幾十幅作品。」 龐均， 2003年