ZHU JINSHI 朱金石 (B.1954) Romance of the West Chamber 3 2012 Oil on canvas Signed and dated 100cm x 80cm x 11 cm 朱金石 西廂記3 2012年作 壓克力畫布 - PROVENANCE: Galerie du Monde, Hong Kong; English Private Collection - NOTE: Please note similar works by the artist sold at: Christie's, Hong Kong, 9 Nov 2024, lot 129; Sotheby's, Beijing, 02 June 2015, lot 48; Sotheby's, Hong Kong, 04 April 2016, lot 812; Sotheby's, Hong Kong, 23 June 2016, lot 567; Sotheby's, Hong Kong, 17 November 2017, lot 541. Zhu Jinshi, born in 1954, is a Chinese-born German artist who stands as a pioneering figure in both Chinese abstract art and installation art. Beginning his journey into abstract painting in the early 1980s, he moved to Berlin in 1986, where he furthered his experimentation with performance, installation, and conceptual art. Zhu returned to China in 1994 and split his time between Berlin and Beijing until 2010. Today, he lives and works in Beijing. Over the past four decades, Zhu’s artistic practice has developed through two distinct but often interwoven paths—abstract painting and conceptual installation art. While his installations are distinct from his paintings, they have profoundly influenced each other. Only by considering both together can one truly grasp the unique aesthetic power of his work. Zhu’s early paintings were influenced by modernism, with three of his pieces featured in China’s first avant-garde exhibition, the Stars Group Exhibition, in 1979. As one of China’s first abstract artists, he began by experimenting with random brushstrokes and limited colors. He gradually refined his style into what is known as his “thick painting” technique, a method characterized by the use of heavy layers of color and thick paint—a style he continues to use today. Unlike the post-1990s Western neo-geometric abstract styles, Zhu’s work reflects a deep consideration of the philosophical and technical differences between Eastern and Western art practices. His exposure to the works of Gerhard Richter, Julian Schnabel, Per Kirkeby, and Kazuo Shiraga during the 1980s left an impression on him, but by the 2000s, Zhu identified more with contemporary artists like Albert Oehlen and Cecily Brown. His focus shifted from traditional abstraction to a more personal and experience-driven approach to painting, eschewing established norms. Art critic and professor Gao Minglu highlights the distinctiveness of Zhu’s approach, noting that “the expressive power of Zhu Jinshi’s ‘thick paintings’ comes not from the rhythm of brushstrokes, but from the stubbornness and fluidity of the materials themselves.” Zhu’s methods are characterized by the use of unconventional tools—palettes, wall trowels, wooden shovels, and large brushes—to apply dense layers of paint. His works are more sculptural than two-dimensional; the gaps, fractures, and varying textures create a self-contained visual system that transforms his paintings into monumental objects, a fusion of spatial and conceptual art. Zhu’s engagement with conceptual art, performance, and installation grew during his time in Germany, beginning in the late 1980s. He sought to break away from formalist approaches and instead incorporated social commentary into his work. In 1988, he initiated the “FANG ZHEN” project, establishing a cubic meter of linen in Berlin and a cubic meter of rice paper in Beijing, linking the two cities through four stages: display, visitation, participation, and barriers. In 1989, he created Exile, a raft made of Chinese soy sauce bottles, reflecting his search for cultural identity. During the 1990s, when public exhibition spaces in China were scarce, Zhu’s home in Beijing became a hub for other artists and a vital part of the local art scene. Zhu gained international recognition for his innovative use of materials like rice paper and bamboo in his installations. In works such as Impermanence, Boat, and Tao of Xuan Paper, he transformed the delicate, soft nature of rice paper into architectural structures, creating complex, tough forms that transcended the paper's cultural and physical properties. In these works, space itself becomes an integral part of the art, shifting from the private to the public, and extending throughout the exhibition space to create a unique, evolving structural landscape. Zhu’s Rice Paper Pagoda, a large-scale installation, was featured at the 60th Venice Biennale in 2024 as part of the China Pavilion’s exhibition Atlas: Harmony in Diversity. As one of China’s earliest practitioners of both abstract and installation art, Zhu Jinshi’s works continue to evolve with great vitality, unaffected by time or medium. His art transcends geographical and cultural boundaries, offering a personal history of artistic evolution set against the backdrop of a globalized, contemporary culture. Zhu’s solo exhibitions include Ganjiakou 303 (2018) at Pearl Lam Galleries, Shanghai; Detached from Colour (2016) at Pearl Lam Galleries, Hong Kong; Zhu Jinshi (2015–16) at the Yuan Art Museum, Beijing; Zhu Jinshi (2016) at Blum & Poe, New York; Performance in Paint: Zhu Jinshi (2015) at the Inside-Out Art Museum, Beijing; and Simplicity (2014) at Pearl Lam Galleries, Singapore, among others. His works have also appeared in numerous group exhibitions, including The Allure of Matter: Material Art from China (2020) at the Smart Museum of Art and Wrightwood 659 in Chicago; A Fairy Tale of Red Times (2019) at the National Museum of Victoria, Melbourne; and 28 Chinese (2015) at the San Antonio Museum of Art and the Asian Art Museum, San Francisco, as well as major exhibitions in New York, Los Angeles, and Istanbul. Zhu Jinshi’s art is part of prestigious public and private collections worldwide.
ZHU JINSHI (Peking 1954–lives and works in Beijing) Stone steps in the Imperial Palace in Beihai Park. 1978. Oil on firm paper. 26 × 22 cm. Certificate: Zhu Jinshi (Artist certifcate). Provenance: - Artist's studio. - Private collection Germany, directly received from the artist. * The full tax is charged on this item marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration. ------------------------------------------------- ZHU JINSHI (Peking 1954–lebt und arbeitet in Peking) Stone steps in the Imperial Palace in Beihai Park. 1978. Öl auf Papier. 26 × 22 cm. Gutachten: Zhu Jinshi (Künstlerzertifikat). Provenienz: - Künstlerstudio. - Privatsammlung Deutschland, direkt vom Künstler erhalten. Dieses mit * (Asterisk) bezeichnete Objekte ist vollumfänglich mehrwertsteuerpflichtig, d. h. bei diesen Objekten wird die MWST auf den Zuschlagspreis plus Aufgeld berechnet. Käufer, die eine rechtsgültig abgestempelte Ausfuhrdeklaration vorlegen, erhalten die MWST rückvergütet.
ZHU JINSHI (Peking 1954–lives and works in Beijing) The bell foundry. 1979. Oil on firm paper. 26 × 19.5 cm. Certificate: Zhu Jinshi (Artist certifcate). Provenance: - Artist's studio. - Private collection Germany, directly received from the artist. * The full tax is charged on this item marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration. ------------------------------------------------- ZHU JINSHI (Peking 1954–lebt und arbeitet in Peking) The bell foundry. 1979. Öl auf festem Papier. 26 × 19,5 cm. Gutachten: Zhu Jinshi (Künstlerzertifikat). Provenienz: - Künstlerstudio. - Privatsammlung Deutschland, direkt vom Künstler erhalten. Dieses mit * (Asterisk) bezeichnete Objekte ist vollumfänglich mehrwertsteuerpflichtig, d. h. bei diesen Objekten wird die MWST auf den Zuschlagspreis plus Aufgeld berechnet. Käufer, die eine rechtsgültig abgestempelte Ausfuhrdeklaration vorlegen, erhalten die MWST rückvergütet.
(geboren in Beijing 1954, lebt und arbeitet in Beijing) Ohne Titel. 1982. Öl auf Karton. Verso auf Etikett signiert und datiert. 53,3x39,4 cm. Ohne Rahmen. - Ecken und unterer Rand bestossen.
(geboren in Beijing 1954, lebt und arbeitet in Beijing) Ohne Titel. 1982. Öl auf Karton. Verso auf Etikett signiert und datiert. 53,3x39,4 cm. Ohne Rahmen. - Ecken und unterer Rand bestossen.
Zhu Jinshi Chinese b.1954 The Era of Contagious Contact signed (on the reverse) 40 by 50cm., 15¾ by 19¾in. (each, four works) Executed in 2023 Please note this work will ship from Hong Kong.
ZHU JINSHI (Peking 1954–lives and works in Beijing)) Wall of the Qing Dynasty Imperial Palace. 1979. Oil on firm paper. 21.9 × 24.4 cm. With the artist's confirmation of authenticity. Provenance: - Artist's studio. - Directly received from the artist by the present owner, since then private collection Germany. --------------- ZHU JINSHI (Peking 1954–lebt und arbeitet in Peking) Wall of the Qing Dynasty Imperial Palace. 1979. Öl auf festem Papier. 21,9 × 24,4 cm. Mit der Bestätigung der Authentizität durch den Künstler. Provenienz: - Atelier des Künstlers. - Vom heutigen Besitzer direkt vom Künstler erhalten, seitdem Privatsammlung Deutschland. ---------------
ZHU JINSHI (Peking 1954–lives and works in Beijing) Former Brothel. 1978. Oil on firm paper. 22.4 × 22.5 cm. With the artist's confirmation of authenticity. Provenance: - Artist's studio. - Directly received from the artists by the present owner, private collection Germany. --------------- ZHU JINSHI (Peking 1954–lebt und arbeitet in Peking) Former Brothel. 1978. Öl auf festem Papier. 22,4 × 22,7 cm. Mit der Bestätigung der Authentizität durch den Künstler. Provenienz: - Atelier des Künstlers. - Vom heutigen Besitzer direkt vom Künstler erhalten, seitdem Privatsammlung Deutschland. ---------------
(geboren in Beijing 1954, lebt und arbeitet in Beijing) Ohne Titel. 1982. Öl auf Karton. Verso auf Etikett signiert und datiert. 53,3x39,4 cm. - Ohne Rahmen. - Ecken und unterer Rand bestossen.
(geboren in Beijing 1954, lebt und arbeitet in Beijing) Ohne Titel. 1982. Öl auf Karton. Verso auf Etikett signiert und datiert. 53,3x39,4 cm. - Ohne Rahmen. - Ecken und unterer Rand bestossen.
(geboren in Beijing 1954, lebt und arbeitet in Beijing) Ohne Titel. 1982. Öl auf Karton. Verso auf Etikett signiert und datiert. 53,3x39,4 cm. - Ohne Rahmen. - Ecken und unterer Rand bestossen.
ZHU JINSHI (Peking 1954–lives and works in Beijing)) Iron Fence. 1978. Oil on firm paper. 22.4 × 26.2 cm. With the confirmation of authenticity by the artist, September 2022. We thank the artist for this kind assistance. Provenance: - Artist's studio. - Purchased directly from the artist by the present owner, since then private collection Germany. --------------- ZHU JINSHI (Peking 1954–lebt und arbeitet in Peking) Iron Fence. 1978. Öl auf festem Papier. 22,4 × 26,2 cm. Mit der Bestätigung der Authentizität durch den Künstler, Septemer 2022. Wir danken dem Künstler für seine freundliche Unterstützung. Provenienz: - Atelier des Künstlers. - Vom heutigen Besitzer direkt beim Künstler erworben, seitdem Privatsammlung Deutschland. ---------------
ZHU JINSHI (Peking 1954–lives and works in Beijing)) Lan Bridge. 1979. Oil on firm paper. 27 × 22 cm. With the confirmation of authenticity by the artist, September 2022. We thank the artist for his kind assistance. Provenance: - Artist's studio. - Purchased directly from the artist by the present owner, since then private collection Germany. --------------- ZHU JINSHI (Peking 1954–lebt und arbeitet in Peking) Lan Bridge. 1979. Öl auf festem Papier. 27 × 22 cm. Mit der Bestätigung der Authentizität durch den Künstler, Septemer 2022. Wir danken dem Künstler für seine freundliche Unterstützung. Provenienz: - Atelier des Künstlers. - Vom heutigen Besitzer direkt vom Künstler erworben, seitdem Privatsammlung Deutschland. ---------------
JINSHI (1614-1680) Calligraphy Hanging scroll, ink on paper, inscribed by the artist and signed Jinshi with two artist's seals Dangui and cuo cuo liu shi. 71¼ x 18in (181 x 45.5cm) For further information on this lot please visit the Bonhams website
Born 1954 Beijing, lives and works in Beijing. Untitled. Grey - White. Oil on strong cardboard. Monogramed lower right and dated (19)88. H 24, W 24,5 cm (support). Framed. «When I see the structure of a painting, I pay attention to the guidance of the brush, to the density of the applied colours, to the relationships between colours and empty spaces and to the seams between colours and canvas. These formal elements determine the quality of my paintings.» Zhu Jinshi, Berlin, 25.03.1990. Authentication: We would like to thank Ms Qin Yufen, wife of the artist, for the authentication via E-Mail, based on photos, 13.09.2021. Provenance: gift of the artist; since then private collection High Rhine. Beschreibung Geb. 1954 Beijing, lebt und arbeitet in Beijing. Ohne Titel. Grau - Weiß. Öl auf festem Karton. U.r. monogr. und (19)88 dat. H. 24, B. 24,5 cm (Bildträger). Gerahmt. «Wenn ich die Struktur eines Bildes sehe, dann achte ich auf die Führung des Pinsels, auf die Dicke der aufgetragenen Farben, auf die Beziehungen zwischen Farben und Leerstellen und auf die Nahtstellen zwischen Farben und Leinwand. Diese formellen Elemente bestimmen den Wert meiner Bilder.» Zhu Jinshi, Berlin, am 25.03.1990. Echtheitsbestätigung: Wir danken Frau Qin Yufen, Ehefrau des Künstlers, für die Bestätigung der Echtheit via E-Mail, anhand von Photos, 13.09.2021. Provenienz: Geschenk des Künstlers; seitdem Privatsammlung Hochrhein.
Born 1954 Beijing, lives and works in Beijing. «Box in the corner». Acrylic on canvas. Verso on the stretcher signed, dated 2002 and titled in Chinese. H 40, W 30 cm (support). Framed. «When I see the structure of a painting, I pay attention to the guidance of the brush, to the density of the applied colours, to the relationships between colours and empty spaces and to the seams between colours and canvas. These formal elements determine the quality of my paintings.» Zhu Jinshi, Berlin, 25.03.1990. Zhu Jinshi's works are pictures that do not linger on their canvas: Mountains and valleys rise from the flat ground and let the eye wander between the heights and depths. With his painting style, the artist refers to the works of the Expressionists, who had a lasting influence on him during his years living in Berlin. With the title, the artist refers to his first Berlin studio, where his supply of acrylic paints was stored in a «box in the corner», the only luggage he had brought with him from China to Germany, as he had been told that acrylic paints were very expensive in Germany. Authentication: We would like to thank Ms Qin Yufen, wife of the artist, for the authentication via E-Mail, based on photos, 13.09.2021. Provenance: gift of the artist; since then private collection High Rhine. Beschreibung Geb. 1954 Beijing, lebt und arbeitet in Beijing. «Kiste in der Ecke». Acryl auf Leinwand. Verso auf dem Keilrahmen sign., 2002 dat. und in Chinesisch bet. H. 40, B. 30 cm (Bildträger). Gerahmt. «Wenn ich die Struktur eines Bildes sehe, dann achte ich auf die Führung des Pinsels, auf die Dicke der aufgetragenen Farben, auf die Beziehungen zwischen Farben und Leerstellen und auf die Nahtstellen zwischen Farben und Leinwand. Diese formellen Elemente bestimmen den Wert meiner Bilder.» Zhu Jinshi, Berlin, am 25.03.1990. Die Werke von Zhu Jinshi sind Bilder, die nicht auf ihrer Leinwand bleiben wollen: Berge und Täler erheben sich vom flachen Malgrund und lassen den Blick zwischen den Höhen und Tiefen wandern. Der Künstler verweist mit seiner Malweise auf die Werke der Expressionisten, die ihn während seiner Lebensjahre in Berlin nachhaltig beeinflusst haben. Mit dem Titel erinnert der Künstler an sein erstes Berliner Atelier, wo in einer «Kiste in der Ecke» sein Vorrat an Acrylfarben lagerte, die er als einziges Gepäck von China nach Deutschland mitgenommen hatte, da ihm gesagt worden war, dass Acrylfarben in Deutschland sehr teuer seien. Echtheitsbestätigung: Wir danken Frau Qin Yufen, Ehefrau des Künstlers, für die Bestätigung der Echtheit via E-Mail, anhand von Photos, 13.09.2021. Provenienz: Geschenk des Künstlers; seitdem Privatsammlung Hochrhein.
ZHU JINSHI born 1954 Beam. 1990. Oil on primed canvas. Titled, dated and signed on the reverse: Beam 1990 Liang Zhu Jinshi, as well as with hanging information on the stretcher. 70.5 x 211.5 cm (3 parts). Provenance: Bought at Galerie Rafael Vostell, Berlin; since then privately owned, Switzerland.
ZHU JINSHI (*1954). White stroke, 1983. 55x40 cm. Oil on canvas on cardboard. ZHU JINSHI (*1954). White stroke, 1983. 55x40 cm. Öl auf Leinwand auf Karton. Has been exhibited in the show: Kunstgepäck eines Diplomaten, Die Sammlung Hans und Hildi Müller, Bündner Kunstmuseum Chur 1990. According to the daughter of Hans Müller this is an abstract representation of her fathers white hair. Listed in the catalogue.
ZHU JINSHI (*1954). No title, 1985. 100x75cm. Oil on canvas. ZHU JINSHI (*1954). Ohne Titel, 1985. 100x75cm. Öl auf Leinwand. Has been exhibited in the show: Kunstgepäck eines Diplomaten, Die Sammlung Hans und Hildi Müller, Bündner Kunstmuseum Chur 1990. Illustrated in the catalogue.
Jinshi, Zhu Born 1954 Peking, lebt und arbeitet in Peking und Berlin. «o.T.». India ink on rice paper. Signed lower right and dated (19)98. Provenance: purchased in 1998 at Gallery Hartwig, Bremen; since then private collection Freiburg i.Br. Invoice: Gallery Hartwig, Bremen, 22.12.1998. Geb. 1954 Peking, lebt und arbeitet in Peking und Berlin. «o.T.». Tusche auf Reispapier. U.r. sign. und (19)98 dat. H. 31, B. 24 cm. Provenienz: erworben 1998 in der Galerie Hartwig, Bremen; seitdem Privatsammlung Freiburg i.Br. Rechnung: Galerie Hartwig, Bremen, 22.12.1998.
