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QIAN FENGMING (a. 1850s-70s) Flowers, Finger Citrons and Narcissus Bulbs, 1870s
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New York, New York
Beschreibung
QIAN FENGMING (a. 1850s-70s) Flowers, Finger Citrons and Narcissus Bulbs, 1870s Hanging scroll, ink and color on paper, with an inscription by Zhang Xiong (1803-1886) in 1882. 57 x 15 1/2in (144.8 x 39.4cm) Footnotes: 錢鳳鳴（活躍於十九世紀五十至七十年代） 花果清供 設色紙本 立軸 鈐印：海鶴 張熊（1803-1886）款識：錢梅生老友遺跡，壬午（1882）夏日，八十老人子祥張熊題 鈐印：張熊私印 Provenance: Acquired in Shanghai, 1995 Private collection, Seattle 1995-2014 Bonhams, San Francisco, 2014 來源： 1995年購自上海 西雅圖私人藏品，1995-2014年 舊金山邦瀚斯拍賣行，2014年 *本拍品不設底價 Qian Fengming, whose style name was Meisheng 梅生 and sobriquet was Haihe waishi 海鶴外史, came from Taicang in Jiangsu and belonged to the first generation of Shanghai school painters active in the city during the 1850s through the 1870s, a generation that also included Wang Li 王禮, Hu Yuan 胡遠 and Zhang Xiong, the inscriber here. According to Haishang Molin 海上墨林, Qian started out as a portraitist, studying with his uncle, Li Ziqing 李子卿. Later, however, he abandoned portraiture in favor of flower-and-bird painting in the tradition of the eighteenth-century painter, Hua Yan 華喦. Second-generation Shanghai school artists such as Ren Yi 任頤 and Zhu Cheng 朱偁 drew partly upon Qian Fengming's style of flower-and-bird painting to form their own styles. Collaborative works among Qian and these younger artists survive. This hanging scroll is a fine example of Qian's work from the 1870s, with his spirited brushwork and vivid sense of color on view. It depicts a common display in wealthy Shanghai residences of the time: combinations of crackle-glaze, modern-form flower vases, displayed on different levels. The artist has combined a range of autumnal flowers, with Buddha's hand citrons and narcissus bulbs completing the scene. The auspicious meanings carried by particular combinations of flowers and/or vegetables, made such still lifes widely popular in the city. After a painter's death unsigned works were often left over in the studio. With such works it was common practice to add one of the artist's seals and seek an authenticating inscription from another respected artist. Zhang Xiong, a senior figure in the Shanghai art world of 1880, would have been an obvious choice. As his inscription states, the two men were old friends. 錢鳳鳴，字梅生，號海鶴外史，江蘇太倉人。與王禮（1831-1879）、胡遠（1823-1886）、本卷題跋者張熊同屬海上畫派第一代代表畫家，活躍於1850至1870年代的上海。據《海上墨林》，錢鳳鳴初攻人物肖像，從其戚李子卿學寫真。後舍去，專功花鳥，筆近華喦。海上畫派第二代畫家中便有不少人或多或少沿承了錢鳳鳴花鳥畫的風格，如任頤（1840-1895）、朱偁（1826-1899或1900）等，由錢鳳鳴與這些晚輩畫家合畫的畫作亦有不少傳世。 這張花果立軸是錢鳳鳴1870年代作品中的佳例，筆勢靈動，配色紛呈而不俗艷。所畫為當時海上富貴人家宅中尋常可見的清供之物：錯落有致的冰裂紋花瓶兩只，內插各色秋花秋草如白黃兩色菊花、淡藍小雛菊及木槿等，瓶前置放秋果佛手柑及水仙花苞各一對。不同的清供物品組合往往蘊含不同的吉祥雅意，因而在當時的海上風靡一時。 這件花果為錢鳳鳴辭世前未署名之作，當留存於其畫室。妥善處理這類畫作的常見方法之一是取藝術家印章鈐印，並委托當時有名望之同行題跋以證之。張熊在1880年代的上海畫壇已享相當聲譽，是再好不過的人選，況如其題跋所言，其與錢鳳鳴頗有交情，曾為'老友'。 Lot to be sold without reserve. This lot is subject to the following lot symbols: ¤ ¤ Without reserve For further information on this lot please visit Bonhams.com For further information about this lot please visit the lot listing
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QIAN FENGMING (a. 1850s-70s) Flowers, Finger Citrons and Narcissus Bulbs, 1870s Hanging scroll, ink and color on paper, with an inscription by Zhang Xiong (1803-1886) in 1882. 57 x 15 1/2in (144.8 x 39.4cm) Footnotes: 錢鳳鳴（活躍於十九世紀五十至七十年代） 花果清供 設色紙本 立軸 鈐印：海鶴 張熊（1803-1886）款識：錢梅生老友遺跡，壬午（1882）夏日，八十老人子祥張熊題 鈐印：張熊私印 Provenance: Acquired in Shanghai, 1995 Private collection, Seattle 1995-2014 Bonhams, San Francisco, 2014 來源： 1995年購自上海 西雅圖私人藏品，1995-2014年 舊金山邦瀚斯拍賣行，2014年 *本拍品不設底價 Qian Fengming, whose style name was Meisheng 梅生 and sobriquet was Haihe waishi 海鶴外史, came from Taicang in Jiangsu and belonged to the first generation of Shanghai school painters active in the city during the 1850s through the 1870s, a generation that also included Wang Li 王禮, Hu Yuan 胡遠 and Zhang Xiong, the inscriber here. According to Haishang Molin 海上墨林, Qian started out as a portraitist, studying with his uncle, Li Ziqing 李子卿. Later, however, he abandoned portraiture in favor of flower-and-bird painting in the tradition of the eighteenth-century painter, Hua Yan 華喦. Second-generation Shanghai school artists such as Ren Yi 任頤 and Zhu Cheng 朱偁 drew partly upon Qian Fengming's style of flower-and-bird painting to form their own styles. Collaborative works among Qian and these younger artists survive. This hanging scroll is a fine example of Qian's work from the 1870s, with his spirited brushwork and vivid sense of color on view. It depicts a common display in wealthy Shanghai residences of the time: combinations of crackle-glaze, modern-form flower vases, displayed on different levels. The artist has combined a range of autumnal flowers, with Buddha's hand citrons and narcissus bulbs completing the scene. The auspicious meanings carried by particular combinations of flowers and/or vegetables, made such still lifes widely popular in the city. After a painter's death unsigned works were often left over in the studio. With such works it was common practice to add one of the artist's seals and seek an authenticating inscription from another respected artist. Zhang Xiong, a senior figure in the Shanghai art world of 1880, would have been an obvious choice. As his inscription states, the two men were old friends. 錢鳳鳴，字梅生，號海鶴外史，江蘇太倉人。與王禮（1831-1879）、胡遠（1823-1886）、本卷題跋者張熊同屬海上畫派第一代代表畫家，活躍於1850至1870年代的上海。據《海上墨林》，錢鳳鳴初攻人物肖像，從其戚李子卿學寫真。後舍去，專功花鳥，筆近華喦。海上畫派第二代畫家中便有不少人或多或少沿承了錢鳳鳴花鳥畫的風格，如任頤（1840-1895）、朱偁（1826-1899或1900）等，由錢鳳鳴與這些晚輩畫家合畫的畫作亦有不少傳世。 這張花果立軸是錢鳳鳴1870年代作品中的佳例，筆勢靈動，配色紛呈而不俗艷。所畫為當時海上富貴人家宅中尋常可見的清供之物：錯落有致的冰裂紋花瓶兩只，內插各色秋花秋草如白黃兩色菊花、淡藍小雛菊及木槿等，瓶前置放秋果佛手柑及水仙花苞各一對。不同的清供物品組合往往蘊含不同的吉祥雅意，因而在當時的海上風靡一時。 這件花果為錢鳳鳴辭世前未署名之作，當留存於其畫室。妥善處理這類畫作的常見方法之一是取藝術家印章鈐印，並委托當時有名望之同行題跋以證之。張熊在1880年代的上海畫壇已享相當聲譽，是再好不過的人選，況如其題跋所言，其與錢鳳鳴頗有交情，曾為'老友'。 Lot to be sold without reserve. This lot is subject to the following lot symbols: ¤ ¤ Without reserve For further information on this lot please visit Bonhams.com For further information about this lot please visit the lot listing
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