太湖 Tai Lake 簽名右下：澄波 一九三四 Signed lower right Cheng-po and dated 1934 in Chinese 此幅作品畫面的右下方有「澄波」落款及「三四」題識，研判是陳澄波創作於1934年的作品，畫作並無標題，就其所描繪的山勢與湖景，類似於1929年的《太湖別墅》以及1931年《五里湖》兩幅油畫作品，因此判斷主要取景的地點應該是江蘇無錫的太湖流域。五里湖，位於無錫西南，狀如葫蘆，亦屬於太湖所延伸出的一座內陸湖泊。相傳春秋時期范蠡與西施曾經泛舟湖上，後人為了紀念范蠡，改稱五里湖為蠡湖。 陳澄波出生於1895年，父親是前清的秀才。陳澄波自幼曾受漢文書房教育。1913年開始受日本水彩畫家石川欽一郎指導，對西洋美術有初步認識，1924年考進東京美術學校師範科。他雖然透過日本近代教育接受近代化事物，然其文化根源與生活習慣仍承襲自中國文化，二十世紀初期台灣的知識分子對於中國其實是有所嚮往的，1928年他首次到上海、杭州旅行，此後連續以中國江南風光為素材的作品參加台展及其他畫展，例如錢塘江、蘇州、普陀山、西湖、上海。1929年的《早春》、1931年的《西湖春色》都是以描繪西湖風景入選日本帝展。 《太湖》作品仍帶有濃厚的後印象派風格，山景色彩層次分別，極富生命力；近景以墨綠色勾勒樹梢，厚塗的油彩突顯大自然豐富的色階變化：而明亮的藍天與鳥瞰的湖水，光影變化相映成趣，整幅作品顯示藝術家的熱情進取及旺盛生命力的性格，也將1930年代富饒的中國江南水鄉景象盡現無遺。 回到台灣之後，陳澄波仍難忘情江南美景，翌年1934年他跟就寫生稿或記憶所及，創作有《西湖春色》、《西湖遠眺》、《西湖泛舟》等膾炙人口的作品；此幅《太湖》油畫亦是於類似情況下所作。《太湖》一作描繪太湖流域附近的風光，與上述的《太湖別墅》及《五里湖》構圖相近，擁有傳統的「之字形構圖」的坡岸山勢，結構簡約而有力度，表現粗獷大膽。蓊鬱的綠樹有誇張的圓弧形筆觸，強勁的筆鋒，具有毛筆撇捺揮灑的意味，使畫面呈現奔放不羈的動勢。 客居上海五年的時間，教學與創作忙碌，陳澄波以異鄉人身分在十里洋場的畫壇走出一片天地，受到元朝倪雲林及清朝八大山人的畫風啟發，結合中國畫線條的表現力以及西方寫生造型概念，1930年代前後他的油畫創作中融合高古的東方韻味。1932年上海爆發一二八事變，他先將家人遣送回台灣，自己觀望一年後也於1933年6月返台定居。 1929年陳澄波從東京美術學校畢業，為了成為專業的藝術家，應允中國畫家王濟遠的邀請，前往上海發展，任教於私立新華藝術專科學校，兼任昌明藝術專科學校教師，並在藝苑繪畫研究所社團任教。抵達上海不久後，即獲邀擔任「第一屆全國美術展覽會」的審查員，以描繪西湖風景的《清流》及蘇州風景的《蘇州》兩幅油畫作品參展；其中《清流》曾於1931年代表中國參加芝加哥博覽會。可以想見，陳澄波當時對江南風景之熱愛及重視。 The signature "Cheng-po” in the lower right and the inscription "34” suggest that this untitled painting was made by Chen Cheng-po in 1934. The lake and mountain scenery are reminiscent of two of Chen’s oil paintings, namely the 1929 "Tai Lake Villas” and the 1931 "Wuli Lake.” We can therefore assume that the landscapes depicted in Chen’s paintings are around Tai Lake in Wuxi, Jiangsu Province. Located to the southwest of Wuxi, Wuli Lake is shaped like a bottle gourd and is an inland lake that extends from Tai Lake. Legends speak of the statesman Fan Li and the beautiful Hsi Shih rowing on the lake during the Spring and Autumn Period, and subsequent generations called Wuli Lake "Li Lake” in memory of Fan Li. Chen, whose father had been a scholar in the Qing imperial civil service, was born in 1895 and received an education in Chinese literature and the traditional arts during his formative years. In 1913 at the age of 18, he began receiving instruction from the Japanese watercolor painter Kinichiro Ishikawa, which gave him his initial exposure to Western art. He gained admission to the normal division of Tokyo School of Fine Arts in 1924. Although he encountered modernity via his contemporary Japanese education, his cultural roots and lifestyle were inherited from traditional Chinese culture. Taiwanese intellectuals in the early 20th century retained a yearning for China, and Chen visited Shanghai and Hangzhou for the first time in 1928. Afterwards, he entered works in the Taiwan Fine Arts Exhibition and other art exhibitions depicting southern Chinese scenery. For instance, many of his paintings from this period feature the Qiantang River, Suzhou, Mt. Putuo, West Lake, and Shanghai. His 1928 "Early Spring” and 1931 "Spring Scenery at West Lake,” both of which portray the scenery around West Lake, were finalists at Japan’s Imperial Exhibition. After graduating from the Tokyo School of Fine Arts in 1929, Chen moved to Shanghai at the invitation of Chinese painter Wang Qiyuan in order to further his career as a professional artist. There, Chen taught at the Xinhua College of Art, a private school, while concurrently teaching at Changming College of Art and the Yiyuan Painting Academy. Not long after arriving in Shanghai, he was invited to serve as a reviewer for the "1st National Fine Art Exhibition.” His oils "Stream,” portraying West Lake scenery, and "Suzhou,” portraying a Suzhou scene, were both entered in this exhibition, "Stream” was exhibited at the 1931 Chicago Exposition as a representative work of China. It is clear that Chen Chengpo was already infatuated with the scenery of southern China. After five years of teaching and painting in Shanghai, the outsider Chen Cheng-po had carved out a niche for himself in the Shanghai painting community. His work was inspired by that of the Yuan Dynasty painter Ni Yunlin (1306-1374) and the Qing Dynasty painter Bada Shanren (Chu Ta, 1624/1626- 1705), and combined the expressive lines of Chinese painting with Western realistic styling. His oil paintings from around 1930 incorporate age-old Eastern notions of refined taste. When the January 28 Incident broke out in 1932 between Chinese and Japanese forces, Chen first sent his family to Taiwan, and himself returned to Taiwan in 1933 after observing the situation for another year. Chen did not forget the southern Chinese landscape after his return to Taiwan. Relying on sketches or memory, during 1934 he painted such appealing works as "Spring Scenery at West Lake,” "Distant View of West Lake,” and "Boating on West Lake.” The current oil painting "Tai Lake” was made under similar circumstances. "Tai Lake” depicts the landscape in the Tai Lake basin, and its composition resembles those of the aforementioned "Tai Lake Villas” and "Wuli Lake.” The shore and hills in "Tai Lake” are in accord with the traditional "zig-zag” principle of composition, and the painting as a whole is uncluttered, powerful, and full of bold, rough-hewn expressiveness. The luxuriant trees are portrayed using exaggerated circular strokes, and the brushwork is evocative free-flowing strokes made with a Chinese writing brush. As a result, the painting contains a vibrant sense of energy and movement. "Tai Lake” is also characterized by a palpable post-impressionist style. The hillsides have clearly-defined colors and are rich in vitality. The branches of the trees in the near scenery are sketched in dark green, and the thick oils highlights nature’s rich color scale – the lake waters below provide an interesting reflection of the bright blue sky, and the work as a whole displays the artist’s enthusiastic and hearty personality. The painting thus encapsulates the beauty of southern China’s lake country during the 1930s.
Tan Ting-pho (1895-1947) Chen Cheng-Po Vue des toits à Tamsui Huile sur panneau contre-collé Signée en bas à gauche Dim. à vue : 51 x 62,5 cm. Encadrée Provenance : Acquis par le père de l’actuel propriétaire à Taipei vers 1955. Roof view inTamsui, oil on panel. Signed lower left. Framed Provenance: Acquired by the father of the current owner in Taipei around 1955. 陳澄波(1895-1947) 《淡水風景》 木版油畫 款識：陳澄波（左下） 51 x 62,5 cm 來源：現藏家之父於1955年左右得於台灣。
CHEN CHENG-PO (CHEN CHENGBO, Chinese, 1895-1947) Reclining Nude; & The Back of a Nude signed in Chinese; dated '1931.10.27' (upper left) two charcoal on paper each: 25.5 x 35 cm (10 x 13 3/4 in.) Executed in 1931 (2)
CHEN CHENG-PO (CHEN CHENGBO, Chinese, 1895-1947) Lying Nude-32.1 (38) signed in Chinese; dated '1932.1.'; inscribed 'C.T.P.' in English (lower left) watercolour on paper 25.8 x 36 cm (10 1/8 x 14 1/8 in.) Painted in 1932
Cheng-Po Chen (1895-1947) Summer Morning signed in Chinese; dated '1940' (lower left); inscribed in Chinese; dated '1940' (side of the canvas) oil canvas 91 x 117 cm. (35 7/8 x 46 1/8 in.) 20th Century 1
CHEN CHENG-PO (CHEN CHENGBO, Chinese, 1895-1947) Seated Nude 32.1 (104) signed in Chinese; dated '1932.1' (lower right) watercolour on paper 37 x 29 cm. (14 1/2 x 11 3/8 in) Painted in 1932
CHEN CHENG-PO (CHEN CHENGBO, Chinese, 1895-1947) At Leisure below the Pagoda Hill signed and dated in Chinese (lower left); signed, titled and dated in Chinese (side of canvas) oil on canvas 41 x 32 cm. (16 1/8 x 12 5/8 in.) Painted in 1933
CHEN CHENG-PO (CHEN CHENGBO, Chinese, 1895-1947) Studio 32.3.22 (7) signed in Chinese; dated '1932.5.22' (lower left) watercolour on paper 27 x 37 cm. (10 5/8 x 14 1/2 in.) Painted in 1932
CHEN CHENG-PO (CHEN CHENGBO, Chinese, 1895-1947) Lying Nude 32.1 (31) signed and dated in Chinese (middle left) watercolour on paper 29.5 x 37 cm. (11 5/8 x 14 1/2 in.) Painted in 1932
CHEN CHENG-PO (CHEN CHENBO, Chinese, 1895-1947) Sin-Lau Girls School, Taiwan signed and dated in Chinese (lower left) oil on canvas 91 x 115.8 cm. (35 7/8 x 45 1/2 in.) Painted in 1941
CHEN CHENG-PO (CHEN CHENBO, 1895-1947) Villa by Lake Tai signed and dated in Chinese (lower right); inscribed and dated '50F 1929'; signed and titled in Chinese (side of canvas); signed and titled in Chinese (on the reverse) oil on canvas 91 x 116.5 cm. (35 3/4 x 45 7/8 in.) Painted in 1929
CHEN CHENGBO (CHEN CHENGPO) 1895-1947 MAOBITOU CAPE (THE SOUND OF THE WAVES) signed in Chinese and dated 1939 (lower left) Executed in 1939 THIS IS A PREMIUM LOT. CLIENTS WHO WISH TO BID ON PREMIUM LOTS ARE REQUESTED TO COMPLETE THE PREMIUM LOT PRE-REGISTRATION 3 WORKING DAYS PRIOR TO THE SALE. BIDnow ONLINE BIDDING SERVICE IS NOT AVALIABLE. oil on canvas 91 by 116.5cm; 35 7/8 by 45 7/8 in.
CHEN CHENG-PO (CHEN CHENBO, 1895-1947) A Nude Study signed in Chinese; dated '1932.1' (lower left) watercolour on paper 47.3 x 36.7 cm. (18 5/8 x 14 3/8 in.) Painted in 1932
CHEN CHENG-PO (CHEN CHENBO, 1895-1947) Alishan in Spring signed in Chinese; dated '1935' (lower left) oil on canvas 80 x 128.5 cm. (31 1/2 x 50 5/8 in.) Painted in 1935
CHEN CHENG-PO (CHEN CHENBO, 1895-1947) Spring in the West Lake signed and dated 'Chen Cheng Po; 1934' in Chinese (lower left) oil on canvas 90 x 116 cm. (35 1/4 x 45 1/2 in.) Painted in 1934
(CHEN CHENBO, 1895-1947) Scenery of Tai Wu Fei Yun Ke signed and dated 'Ch'en Ch'eng-po hua; 1931; ' in Chinese (lower right) oil on canvas 41 x 32 cm. (16 x 12 1/2 in.) Painted in 1931
PINE FOREST A DUSK PINE FOREST A DUSK measurements note 50 by 61 cm. 19 3/4 by 24 in. Signed Chengbo, dated 1932 oil on canvas, framed Condition Note: Art Treasures Collection-Chen Cheng-Po, Taipei, Respectable Art Center, 20056, p. 94-95 We are pleased to provide you with a general report of the condition of the property described in our catalogue. 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. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.
