CHINESE AND ASIAN - Amazon AWS

370 Pages·2016·19.47 MB·English

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0 MODERN AND CONTEMPORARY ART
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H 中國及亞洲現當代藝術
K HONG KONG 4 APRIL 2016
S
1 香港 2016年4月4日
7TH FLOOR, ONE PACIFIC PLACE, 88 QUEENSWAY, ADMIRALTY, HONG KONG • 香港金鐘金鐘道88號太古廣場1期7樓 • [phone]
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Lot 191 detaiL 局部
Chinese and asian Modern and ConteMporary art
陳蔭羆
GEORGE CHANN
新浪潮先驅
1947年二次大戰結束後，陳蔭羆短暫返回中國，與書畫家趙少昂和
黃君璧交好，也曾在長老會學習書法。1950年回到美國後，他潛心
研究帕洛克、托比等抽象表現主義藝術家，另於1952年開辦「農夫
市場藝廊」，專營玉石、珠寶與古董字畫，並在創作過程中慢慢尋
書帖入畫 找能與美國抽象表現共鳴的中國文化元素，消解並發展成自身的美
面對中國書法，欣賞時必須同時意識到對「黑」（字）和對「白」 學形式，希望能在創作中凸顯自己的華人身份和文化血緣。
（空間）的感受，走筆時則必須同步注意對此二者的控制。陳蔭羆
50年代初期陳蔭羆以黑白色系為主，從漢字書寫符號出發，表現筆
顯然從中聯結了現代抽象藝術中對空間的運用和想法，50年代至60
勢的韻味並考究畫面質感，隨著他逐漸加入色彩，畫面彷彿受時間
年代間，他創作了大量彷彿崩解於時光中的碑帖意象作品，以紅、
風化，佈滿青苔的石碑，左下角偶現模糊的書畫紅印。接著，陳蔭
綠和黑為主要色調。其後陳蔭羆接續自已的字帖變體構圖，在70與
羆將漢字符號進而解構，編織成綿密的白色網絡，細密厚重，帶有
80年代藉大量的色彩與拼貼，挑戰傳統碑帖中的「留白」空間。
強烈古文明神秘感。此時他的作品讓人聯想到托比30年代起「白色
本次所呈作品《骨文集變》(Lot 107)、《字形一遊走》(Lot 106) 和
書寫」系列風格，傳遞出中國傳統和托比所追求的「寧靜致遠」之
《拼貼藝術I》(Lot 101) 恰為他30年來的創作發展圖解。
氣。
由於碑、磚自身因歲月磨蝕了表面，以及轉印者本身施作技術等因
托比從20年代自身學習書法的經驗和日本刻版畫裡領悟觀察與線條
素，碑、磚拓片常可見文字與圖像刻印線條外的雜紋，陳蔭羆將所有
的使用，在30年代形成自已的代表風格，「白色書寫」，即以白
痕跡留存，轉化每個空白空間，飽滿各時光印記的存在意義。1950年
色或淡彩的線條交錯走筆。自觀察所提取的意象在層層交疊的線條
代作品《骨文集變》可清楚看到早年藝術家從拓片得來的養分。
間產生與簡化。為了使線條的表現更純粹，並追求畫面的和諧感，
50年代，陳蔭羆不只從拓片取得靈感，也由書帖獲得啟發，有許多 托比減少使用色彩的數量，讓白色或亮色調的色彩飄浮在深色背景
作品在左下角處帶著狀似書畫印的模糊圖形。70年代作品《字形一 上。在托貝的圖像中，白色網路包圍的是神祕且靜謐的平和時空。
遊走》顯示其構圖承接自陳蔭羆早期舊作。古云「計白當黑」顯示了
陳蔭羆的畫面雖同樣在解構中見到綿密的白色網絡，但與托比的出
書法中「白」（空間）的重要性。中國書畫思想中，「白」是「虛有
發與企圖不同。如《激盪》(Lot 102) 一作所示，在拙樸的暗褐色背
妙境」，不過，西方繪畫中卻總是將畫面填滿，避免「虛」的空白。
景前，黑、白二色在中央湧動，給人安全感的綠色與緊張燥進的紅
《字形一遊走》可見陳蔭羆巧妙處理了中西方認知上的不同。
褐色在畫面周圍與底層較勁，同時引人聯想到青銅器上的腐蝕銅錄
陳蔭羆更進一步地思考中國字形、圖形，以及西方抽象形式間的概 和黃土中的頹圮遺跡。不同媒材的使用塑造了畫面肌理，加深隨之
念轉換。書法是順著時間推移，通過一次性揮毫完成的書寫活動。 漫延的歷史文明消逝感。這是延續陳蔭羆50年代初期風格而後解構
它本質上不像繪畫允許在畫面中無謂先後地四處增修，因此，筆調 的典型作品表現。陳蔭羆從中國古老文字與文化所汲取的不只是線
的動勢包含了當下作者的態度與個性，反映了情緒與節奏，從線條 條，更多的是自已的文化源流。他試圖利用這樣的隱喻取代直述，
可見不卑不亢、有力或優雅有度等。「形式（線條與色彩等）本身 去掉雜象，強調更深一層的「感覺」。先民記憶和智慧內化並積累
即有意味」，以及「將線條本身視為審美情感的物化」，這樣觀點 成陳蔭羆心中意象，任情恣性，然後書之。
實際上與現代西方形式主義美學相通。形式主義美學為法國後印象
派影響的擴大和抽象藝術的發展提供了理論基礎，30年代求學訓練 中西之間的自由之息
時期浸濡於印象派和後印象派，並歷經40至50年代美國藝壇抽象表 1950年，陳蔭羆返美時，美國藝術界主流為抽象表現主義，且由於
現主義興起的陳蔭羆想來應不陌生於此。相較於50年代作品，《字 第二次世界大戰和冷戰的影響，戰後存在主義和東方哲學盛行，影
形一遊走》中的線條自有性格，更顯奔放活躍。 響著當時的歐美藝文界。在抽象繪畫如火如荼發展之際，不同於其
他以西方角度去理解東方思維的抽象表現藝術家，陳蔭羆直接取法
由於書寫的順序性，書法空間在從上到下，自右接左的剎那走筆間
自中國書畫根本及美學思想，致力脫胎出融合中西的獨特面貌。
立定，佈局一般具開放性，下筆前需預留「天地四方」，即紙張四
邊的些許白邊。傳統上亦講究行間的留白，此外，所謂「匡廓之白 作品《爍》(Lot 105) 運用了黑色鋪底，大面積的藍、綠線條作為主
手布均齊，散亂之白眼布均齊」，強調的就是需注意字裡字外的空 軸，輔以紅、黃等暖色系參差其中，鋪陳出一個混沌的世界。恣意行
間。每個字被視為一個單位空間，亦是一種圖形，能喚起觀者特殊 走於畫面中的白色線條，於其中茲養出生氣與活力。藝術家在畫布上
的心理感受，將張旭《肚痛帖》與漢宴樂畫像磚拓片並置，可見這 回到天地初創時的混沌，將無形且無實質的力量以有實體的顏料轉變
種字形與圖形間的共通性。通常篆、隸和楷書的單元空間會呈現出 成萬物，轉生成自然。這種自我與自然忘我交融的概念，恰與帕洛克
比較規則的形狀，而行、草書的單元空間則多為不規則。 為其作《一九五○年三十一號》改名為《一》的初衷相似 ：「天人
合一」。據帕洛克友人所述，帕洛克言談間喜引用些老子等東方哲
《拼貼藝術I》裡，陳蔭羆直接引用古人拓帖和文書，打散傳統行
學，帕洛克自已也擁有林語堂所編譯的《老子的智慧》一書，道家
文順序和方向性，拔除可閱性，但保留各字單位空間的完整，讓觀
思想對他有一定程度的影響。
者直視圖形，感受線條性格。字句拓片也如同斷裂的石碑，將四周
天地塞得密不透風。中心應為帖文的位置被豔如桃花的粉紅和其他 但陳蔭羆畫筆下的白色線條並非如帕洛克利用自動性技巧滴濺而
藍、黃色點層層遮掩，只隱隱透出如字跡般的黑色線條。葉般的綠 成，而是有意識地受經過長久歷史淬煉的鐘鼎、碑刻等漢字字體啟
色偶現於畫面中央，亦出現在四周，讓這作品像是獻給歷史的花 發，把中國文化與文明沈澱在畫面之中。中國文字由「象形」出
圈，頌歌並追念那些隨時光消逝在風中的前人細語。
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發，書寫時，本身即傳達意思，藉由線條呈現的文字形體，也表達出書寫者的感
覺。換言之，有別於西方思維裡承載抽象形式的線條，在淵遠流長的中國文化中，
文字線條包含的是更多精神層面的訴求。 Lot 101
陳蔭羆與趙無極同為華人抽象先驅，均自中國古文字傳統汲取養分和靈感，發展出
屬於自身的抽象表現之路。唯不同於趙無極饒富詩意的空靈意象，陳蔭羆讓更多的
色彩進入畫面，產生碰撞，由50-60年代沉謐淳厚之氣漸轉為釋放出繽紛的活力旋
律。
在自然界，光線創造色彩；在繪畫中，色彩創造光線。《爍》一作中，紅、黃等暖
色系，加上白色線條從繪畫裡面照明。觀者視線於暗色裡停歇或退縮，亮色裡馳騁
或前進，如同樂譜中的音符與休止符，產生時間感。這樣的交響樂同樣出現在《夜
空之聯想》(Lot 103)。幽深蒼穹裡肆意舞動的綠、橘和白色色點是照亮夜晚的信
號，傳遞神祕古老的黑色訊息。抽象主義藝術家蓋特列伯曾言：「現實在一幅畫中
Lot 102
完全可以由色彩、線條和形式表現出來。」陳蔭羆指揮色彩，濃縮時間與空間，交
織出自我、自然與中國文化共鳴的宇宙。
60年代起，陳蔭羆允許大量色彩和拼貼的運用進入畫面。創作時序繼續走到70-80
年代，這時陳蔭羆已隨心所欲地遊走在中西創作思維與技巧間，他對於色彩和多媒
材的掌握更加成熟，也更為大膽，讓畫面一改平和寧靜之氣，轉向帶出不同文化體
系融合時迸射的衝突，以及隨之而來的生命力。作品《交錯縱橫》(Lot 104) 見證
了他一路走來基於自我身份意識、文化認同以及異鄉見聞所轉換出來的特殊創作歷 Lot 103
程。
陳蔭羆畫面常見的紅、綠對比兩色系在《交錯縱橫》更見糾纏與騷動，黃、橘等暖
色線穿梭其中，細碎的藍色冷調則若隱若現。線條的層層疊疊，以及色彩本身前進
與後退的色系性質，讓畫面向內製造出空間感。大大小小的白色方形線條則像是從
畫面中心迸射出去，使本作亂中有序，如同湧現萬千世界的萬花筒。
Lot 104
值得一提的是，陳蔭羆在《交錯縱橫》之中納入了更為強烈的金石之氣。畫面中白
色方折線性圖形來自於篆書的線條和篆刻的運刀，筆觸樸拙，蒼勁老辣，傳遞出的
雄健力量與憾人色彩結合，不只交織出懾人的藝術感染力，亦演繹了陳蔭羆自已的
創作人生。做為一個早年移居的異鄉人，陳蔭羆的抽象繪畫根源自「中國經驗」的
追尋和挖掘，但他融合西方現代創作的前進思惟，不斷超越。汲取了雙方養分的陳
氏，終發展出他獨特的抽象藝術，顯影與確立了他自身的文化身份。
Lot 105
Lot 106
傑克森•帕洛克《一（一九五○年三十一號）》 1950年作 美國 紐約 現代美術館藏
Jackson Pollock, One (Number 31, 1950), 1950, Collection of the Museum of Modern Art, New York, USA
Lot 107
Chinese and asian Modern and ConteMporary art
Impressionism. After going through the rise of Abstract Expressionism
in America during the 40s and 50s, Chann is no stranger to this era -
陳蔭羆 Compared to his works from the 50s, the lines in Chinese Character -
Parade have their own nature and are more active and imaginative.
GEORGE CHANN
Because of the sequential nature of writing, the space in calligraphy is
instantly filled with rapid brush strokes, starting from the top left and
halting at the bottom right. The composition is usually open in nature
and "the four directions of heaven and earth" need to be preserved,
meaning that there should be a white margin on all four edges.
Traditionally, particular attention is paid to blank spacing between
ImplementIng ChInese CallIgraphy grId paper Into the rows. In addition, the so-called "white within the frame is evenly
paIntIngs distributed by hand, while the white around cursive writing is evenly
When appreciating Chinese calligraphy, one must be simultaneously distributed by looking", stressing the need of space between and
conscious of the feeling of "black" (characters) versus "white" (space). outside of the characters. Each character is used as a unit of space,
When writing, attention must be paid to the synchronous control and they are figures that can evoke special psychological emotions in
of both. From this, George Chann clearly links uses and ideas that the viewer. By putting together Zhang Xu's Letter about a Stomachache
modern abstract art has towards space. Between the 50s and 60s, he (Du tong tie) and stone rubbing images of ease and comfort during
created a many stone inscription rubbing images that are seemingly the Han dynasty, the commonality between the letter's character
disintegrated in time, with red, green, and black as the main colours. shape and the images' figures is visible. The typical units of space for
Thereafter, Chann continued with structures containing his own style seal characters, official script, and regular script will often appear in
variants. In the seventies and eighties, his large number of colours and a relatively regular form, whereas the units of space for running hand
collages challenged the "blank" space of traditional stone inscription script and cursive script are more irregular.
rubbings. The works Oracle-Bone Script Variations (Lot 107), Chinese
Character - Parade (Lot 106), and Collage Art I (Lot 101) are exactly In Collage Art I, Chann directly references to inscriptions and
illustrations of his 30 years of creative development. documents of old, breaking with the traditional style of writing which
stresses order and direction, removing legibility but also preserving
Due to the natural erosion of the surface and material, as well as the the integrity of the unit of space, allowing viewers to directly observe
various factors related to the printing process, the text and images of the figures and perceive the nature inherent in the lines. The writing's
the inscription rubbings from these tablets and stones often appear incomplete fragments are also like broken stone tablets, tightly closing
mottled. Chann preserves all traces and transforms each blank space, up the four directions of heaven and earth. The center that should be
giving full meaning to the existence of each print's time impression. In filled with characters are covered in layers of colourful peach blossom
the 1950s work Oracle - Bone Script Variations, the nutrients the artist pink and other blue and yellow dots. The black lines of the writing only
derived at an early age from stone inscription rubbings can be clearly reveal themselves as faint traces. Images of leaf-like green appear
seen. at the center and on all sides. In all aspects, they make the work
like a wreath dedicated to history, praising and remembering those
In the 50s, Chann not only took inspiration from stone inscription predecessors' whispers in the wind that have disappeared in time.
rubbings, but he was also inspired by Chinese calligraphy grid paper.
There are many works which have a blurry image that looks like a a pIoneer In the new wave
signature seal at the lower left corner. The 70s work Chinese Character After World War II ended in 1947, George Chann briefly returned
- Parade, in its composition shows a continuation of Chann's old works. to China, where he befriended calligraphers, Chao Shao-An and
The old saying "counting white as black" glorifies the importance of Huang Jun-Bi, and learned calligraphy at a Presbyterian church. After
"white" (space) in calligraphy. In Chinese calligraphy, "white" is an returning to the United States in 1950, he concentrated his efforts in
"empty wonderland." However, in Western painting, the whole canvas researching Mark Tobey and other Abstract Expressionist artists. In
is filled up, avoiding "empty" blanks. In Chinese Character - Parade, 1952, he started the Farmer's Market Art Gallery which specialized
Chann's ingenious handling of the cognitive differences between the in jade, jewelry, and antique paintings and calligraphy. During the
East and the West can be seen. creative process, he slowly found Chinese cultural elements that
created resonance with American Abstract Expressionism, dispelling
Chann goes one step further when thinking about the conceptual and developing his own aesthetic form. Chann hoped to highlight
transformation between the Chinese character shape and figure and the kinship with his Chinese identity and cultural background in his
the Western abstract form. Calligraphy evolved over time through the creative process.
action of a one-touch finish with a calligraphy brush. In essence, it
is not the same as painting, with its successive, pointless additions. In the early 1950s, Chann's works were mainly black and white.
Therefore, the movement of the writing contains the author's current Based on written Chinese characters, Chann manifested the rhythm
attitude and character, reflecting the mood and rhythm. From the of brushstrokes as well as the elegant texture of his works. As he
lines, one can see, among others that the author is neither haughty gradually added colour, his works seemed to get weathered by time.
nor humble, he has a fierce power, or has a certain degree of elegance. Blurry red seals of calligraphy were imprinted on the lower left corner
"The form (the lines, colours, etc.) itself has meaning" and "the lines of the mossy stones. Afterwards, Chann further deconstructed Chinese
themselves are seen as a materialization of aesthetics." This idea is characters, weaving them into dense white webs. Heavy and exquisite,
actually in line with Western Aesthetic Formalism. Aesthetic Formalism, they harboured the intense mysterious sense of ancient civilization.
which provided a theoretical basis for the expansion and development At that time, his works reminded people of the style of Tobey's White
of abstract art influenced by French Post-Impressionism. Chann's Writing series that started in the 1930s. They conveyed the energy of
formal training in the 30s was drenched with Impressionism and Post- "quiet attitude" pursued by both Tobey and Chinese tradition.
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From Tobey's study of calligraphy in the 1920s and the observation long history of Chinese culture, the lines of text contain more spiritual
of Japanese woodblock prints and line usage, Tobey formed his own aspirations.
representative style "White Writing", an overlay of white or light-
coloured interwoven brushstrokes. Images extracted from observations As Chinese abstract pioneers, Chann and Zao Wou-Ki both drew
are produ ced and simplified among overlapping layers of lines. To nutrients and inspiration from ancient Chinese texts, and developed
make the expressions of lines purer while pursuing the harmony of their own way of abstract expressionism. However, unlike Zao's poetic
picture, Tobey reduced the number of colours used, enabling white or and ethereal imagery, Chann's works allow more colours into the
light colours to float on a dark background. In Tobey's images, white picture. The colours collided with each other, transforming the tranquil
webs envelop a mysterious, quiet, and peaceful time and space. and pure energy of the 1950s and 1960s into a vitality of melody that
releases colours.
Although dense white webs can also be seen in the deconstruction
of Chann's works, Chann's base and intentions are different. For In nature, the rays of light create colours. In paintings, the colours
example, in the work, Drastic Motion (Lot 102), the colours of black create the rays of light. In Sparkle, red, yellow, and other warm colours,
and white inundate the center of the austere brown background. The as well as white lines illuminate from inside the painting. The viewer's
green which provides a sense of security, competes with the tense line of sight stop or retreat in the dark, and gallop or advance in the
and impatient reddish-brown around and on the bottom of the screen. light. Like how notes and rests generate a sense of time in sheet
At the same time, it makes people think of the corrosion marks on music, this symphony is also found in The Sky of Night Associate (Lot
bronze and the crumbling remains of loess. The use of different media 103). Among the deep vault of heaven, the wantonly dancing green,
shaped the texture of his works, deepening the drawn out sense of orange, and white dots serve as signals that illuminate the night,
disappearing in the history of civilization. This continues Chann's transmitting mysterious and ancient black messages. Abstract artist
initial style in the 1950s, and deconstructs the typical manifestation Adolph Gottlieb once said, "Reality can be fully demonstrated in a
of his works. Chann did not just extract lines from ancient Chinese painting by colours, lines and forms." Chann commands colours,
text and culture, but also his cultural origin. He attempted to use this concentrating time and space, interweaving a universe that resonates
metaphor to replace direct narration, emphasizing a deeper level of with self, nature, and Chinese culture.
"feeling". The memories and internalized wisdom of ancestors have
From the 60s onward, George Chann allowed a great number of
accumulated into images in Chann's heart, where he uninhibitedly let
colours and collages to be applied onto his canvas. This creative
out his emotions and wrote them down.
period continued into the 70s and 80s. At this time, Chann freely
a Free spIrIt weavIng Between east and west traversed between Eastern and Western styles of creative thinking and
When Chann went back to the U.S. in 1950, Abstract Expressionism techniques. He had a more mature grasp of colours and multimedia,
had become the mainstream of the American art scene. Furthermore, and he was also more daring. He allowed a complete change in the
due to the impact of World War II and the Cold War, postwar image's sense of peace and tranquility, and this change of direction
Existentialism and Eastern philosophy were in vogue, influencing brought with it an eruption of conflict in the process of integrating
the artistic communities in Europe and America at the time. With the different cultural systems, resulting in subsequent vitality. In his
development of abstract painting in full swing, Chann understood work Arranged in a Crisscross Pattern (Lot 104), you can witness that
Eastern thoughts unlike other Abstract Expressionist artists who Chann's special creative process is based on self-awareness, cultural
viewed them from a Western perspective. He drew inspirations identity, and a transformation brought about by experiences in a
directly from the fundamental and aesthetics of Chinese painting and foreign land.
calligraphy.
The contrast of red and green, often seen in Chann's paintings, is
The work, Sparkle (Lot 105), uses a black base with a large area of increasingly entangled and restless in Arranged in a Crisscross Pattern,
blue and black lines as the focus, coupled with a mix of red, yellow, and accompanied by the zigzag lines of warm yellow and orange, and the
other warm colours to lay out a chaotic world. The white lines arbitrarily hidden dots of cold blue. The layering of lines, as well as the nature
placed on the screen cultivate energy and vitality. On the canvas, the of the colours themselves advancing and retreating, gives the image
artist returns to the chaos in the beginning of time, utilizing invisible a sense of inflowing space. Large and small squares of white seem to
and insubstantial power to turn tangible pigments into everything, erupt from the image, creating order within the chaos, like the myriad
and into nature. This concept of blending self and nature is similar worlds emerging through a kaleidoscope.
to the original intention of Jackson Pollock's Number 31, 1950 (later
Worth mentioning is that Chann inserted a stronger impression of
renamed One), "nature and man as one". Friends of Pollock stated that
inscription into Arranged in a Crisscross Pattern. The broken white
he liked to quote the words of Laozi and other eastern philosophers in
squares in the image are derived from the lines and engravings of
conversation. Pollock himself also had the book, The Wisdom of Laozi,
signature seals. The simple but forceful brushstrokes conveys a
which was translated by Lin Yutang. Taoism had a certain amount of
combination of vigorous strength and striking emotions, showing both
influence on him.
great artistic appeal and a reflection of Chann's own creative path.
The white lines made by Chann's brush differ from those composed As a person who moved to a foreign land at a young age, Chann's
by Pollock's automatic skills. They are consciously inspired by the abstract paintings have their origin in the pursuit and excavation of
Chinese fonts from bronze tripods, old inscriptions and others forms of the "Chinese experience". However, he integrated, and continuously
examples throughtout the history. Chann embeds Chinese culture and transcended, the advanced thought of Western modern creative work.
cultivation in his paintings. Chinese characters start from "pictograms". Deriving nutrients from two cultures, Chann eventually developed his
They in themselves convey meanings. The word forms presented by own unique abstract art, realizing and establishing his own cultural
lines also express the feelings of the writer. In other words, they differ identity.
from the lines of abstract form present in Western thinking. In the
Chinese and asian Modern and ConteMporary art
1 0 1
GEORGE CHANN
(CHINESE-AMERICAN, CHEN YINPI, 1913-1995)
Collage Art I
陳蔭羆  拼貼藝術I
Executed in the 1970-1980s 1970-1980 年代作
oil and collage on canvas 油彩 拼貼 畫布
73 x 58 cm. (28 3/4 x 22 3/4 in.) 款識：GEO. CHANN（右下）
signed 'GEO. CHANN' (lower right)
出版
litERatuRE 《陳蔭羆》大未來畫廊藝術有限公司 台北 台灣 2006年（圖版，第142頁）
George Chann, Lin & Keng Gallery Inc., Taipei, Taiwan, 2006 (illustrated, p. 142). 《時光積累的風華─陳蔭羆海外珍藏精品展》保利香港拍賣有限公司
Elegance Transcendent of Time - An Oversea Collection of George Chann, Poly Auction 香港 中國 2015年（圖版，第60頁）
(Hong Kong) Ltd., Hong Kong, China, 2015 (illustrated, p. 60).
附台灣 台北 大未來畫廊開立之原作保證書
This work is to be sold with a certificate of authenticity issued by Lin & Keng
Gallery, Taipei, Taiwan.
HK$ 300,000 - 500,000
US$ 38,500 - 64,100
6 poly auction hong kong
1 0 2
GEORGE CHANN
(CHINESE-AMERICAN, CHEN YINPI, 1913-1995)
Drastic Motion
陳蔭羆  激盪
Executed in the 1950-1960s 1950-1960 年代作
oil and collage on canvas 油彩 拼貼 畫布
77 x 51 cm. (30 1/4 x 20 in.) 款識：GEO CHANN（左下）
signed 'GEO CHANN' (lower left)
出版
litERatuRE 《陳蔭羆》大未來畫廊藝術有限公司 台北 台灣 2006年（圖版，第130頁）
George Chann, Lin & Keng Gallery Inc., Taipei, Taiwan, 2006 (illustrated, p. 130). 《時光積累的風華─陳蔭羆海外珍藏精品展》保利香港拍賣有限公司
Elegance Transcendent of Time - An Oversea Collection of George Chann, Poly Auction 香港 中國 2015年（圖版，第21頁）
(Hong Kong) Ltd., Hong Kong, China, 2015 (illustrated, p. 21).
附台灣 台北 大未來畫廊開立之原作保證書
This work is to be sold with a certificate of authenticity issued by Lin & Keng
Gallery, Taipei, Taiwan.
HK$ 300,000 - 500,000
US$ 38,500 - 64,100
Chinese and asian Modern and ConteMporary art
1 0 3
GEORGE CHANN
(CHINESE-AMERICAN, CHEN YINPI, 1913-1995)
The Sky of Night Associate
陳蔭羆  夜空之聯想
Executed in the 1970s
oil and collage on canvas
117 x 114 cm. (46 x 44 3/4 in.)
signed 'GEO CHANN' (lower left)
litERatuRE
Elegance Transcendent of Time - An Oversea Collection of George Chann, Poly Auction
(Hong Kong) Ltd., Hong Kong, China, 2015 (illustrated, p. 55).
This work is to be sold with a certificate of authenticity issued by Lin & Keng
Gallery, Taipei, Taiwan.
1970 年代作
油彩 拼貼 畫布
款識：GEO CHANN（左下）
出版
《時光積累的風華─陳蔭羆海外珍藏精品展》保利香港拍賣有限公司
香港 中國 2015年（圖版，第55頁）
附台灣 台北 大未來畫廊開立之原作保證書
HK$ 900,000 - 1,200,000
US$ 115,400 - 153,800
馬克•托比《無垠大地之上的書寫》 1950年作 美國 舊金山
舊金山現代美術館藏
Mark Tobey, Written All Over the Plains, 1950, Collection of San
Francisco Museum of Modern Art, San Francisco, USA
8 poly auction hong kong