SANYU (1895 or 1901-1966)
Except otherwise stated, all results include the premium.
See also : Modern China Bouquet
Chronology : 1931 1955 1956 1965
See also : Modern China Bouquet
Chronology : 1931 1955 1956 1965
1931 Chrysanthèmes Roses dans une Corbeille
2020 SOLD for HK$ 138M by Christie's
Born in a family of wealthy silk industrialists, Sanyu (Chang Yu) had early skills for black ink and calligraphy. He developed his personal art in Paris at La Grande Chaumière by sketching the nude bodies of the women with a minimalist undulating line that accentuated the erotic invitation.
Beyond his very good understanding of both Asian and Western arts, his approach was highly original : the emotion can come from the balance between the surfaces delimited by the lines. Figurative details, proportions and perspectives are subsidiary. Cézanne was right : art cannot copy nature.
The meeting with the flamboyant collector Henri-Pierre Roché in 1929 is decisive for Sanyu. A friend of Leo and Gertrude Stein, Roché plays a role of discoverer of talents in the avant-garde communities of Montparnasse. He promises Sanyu to buy all his future works. Sanyu experienced also the drypoint engraving under Roché's influence.
Liberated from material constraints, the young Chinese gives free impulse to his creativity. He adds colors according to Roché's recommendation to practice the oil painting. With this technique then new for him, Sanyu explores other artistic possibilities in a three centuries old theme : the bouquet of flowers in a vase.
Oil painting was indeed the best suited technique for his creativity. He will paint directly on the canvas without a sketch, like Chinese calligraphers are doing on paper.
The precision of the line offsets the succinctness. The colors are limited to the extreme. Influenced by the Chinese principle of five inks, he also manages to reduce the contrasts : with a single pigment, the variation in colors is obtained by differences in thickness.
At first the pink color provides the best demonstration of these new theories. It is common to the most beautiful flowers and to the skin of women and its low contrast over the white can achieve great subtlety.
The studies in pink and white are encouraging. Sanyu is then introducing new colors in his pictures of flowers, but always in limited numbers. Non-essential parts of the image are drawn in simplified broad lines. A dark navy blue or a black brings a three-dimensionality.
Chrysanthèmes roses dans une corbeille, an oil on canvas 92 x 60 cm painted in 1931 which had not been owned by Roché, was sold for HK $ 138M from a lower estimate of HK $ 68M by Christie's on December 2, 2020, lot 123. The tight bouquet in a basket is framed in the tall handle and displayed over a black background.
Sanyu already had a temperamental personality. He was jealous of his art which he believed deserved to be better paid. After a phase of high creativity, he had to face great difficulties after the death of his brother in 1931 and soon broke up with Roché.
Beyond his very good understanding of both Asian and Western arts, his approach was highly original : the emotion can come from the balance between the surfaces delimited by the lines. Figurative details, proportions and perspectives are subsidiary. Cézanne was right : art cannot copy nature.
The meeting with the flamboyant collector Henri-Pierre Roché in 1929 is decisive for Sanyu. A friend of Leo and Gertrude Stein, Roché plays a role of discoverer of talents in the avant-garde communities of Montparnasse. He promises Sanyu to buy all his future works. Sanyu experienced also the drypoint engraving under Roché's influence.
Liberated from material constraints, the young Chinese gives free impulse to his creativity. He adds colors according to Roché's recommendation to practice the oil painting. With this technique then new for him, Sanyu explores other artistic possibilities in a three centuries old theme : the bouquet of flowers in a vase.
Oil painting was indeed the best suited technique for his creativity. He will paint directly on the canvas without a sketch, like Chinese calligraphers are doing on paper.
The precision of the line offsets the succinctness. The colors are limited to the extreme. Influenced by the Chinese principle of five inks, he also manages to reduce the contrasts : with a single pigment, the variation in colors is obtained by differences in thickness.
At first the pink color provides the best demonstration of these new theories. It is common to the most beautiful flowers and to the skin of women and its low contrast over the white can achieve great subtlety.
The studies in pink and white are encouraging. Sanyu is then introducing new colors in his pictures of flowers, but always in limited numbers. Non-essential parts of the image are drawn in simplified broad lines. A dark navy blue or a black brings a three-dimensionality.
Chrysanthèmes roses dans une corbeille, an oil on canvas 92 x 60 cm painted in 1931 which had not been owned by Roché, was sold for HK $ 138M from a lower estimate of HK $ 68M by Christie's on December 2, 2020, lot 123. The tight bouquet in a basket is framed in the tall handle and displayed over a black background.
Sanyu already had a temperamental personality. He was jealous of his art which he believed deserved to be better paid. After a phase of high creativity, he had to face great difficulties after the death of his brother in 1931 and soon broke up with Roché.
undated Goldfish
2020 SOLD for HK$ 170M by Christie's
After the termination of his co-operation with Roché in 1931, Sanyu stops dating his artworks, perhaps because he shall give more attention to his creativity than to trade. The chronology of his art is uneasy to analyze.
Goldfish, oil on canvas 74 x 50 cm, is an undated synthesis of Sanyu's artistic quest. Eight fish swim in a transparent glass cylindrical aquarium placed on a tablecloth, in front of a saturated coral-colored wall.
The extreme simplicity of the composition could be compared to the art of Matisse. The other evocations are Chinese. The number 8 and the fish are omen of prosperity. The signs scattered on the tablecloth remind that just before meeting Roché, Sanyu wanted to apply the techniques of calligraphy to his drawings. The varied positions of the fish is similar to the Jiajing jars with an interesting difference in the variety of individual colors.
Goldfish is not dated, as are most of those Sanyu's works after the Roché period. The first known owner of this painting is his friend Robert Frank, whom Sanyu did not meet until 1948, a time when he was concerned with promoting his ping-tennis. It had arguably been painted in an enthusiastic period and kept hidden for many years in his studio. No other eight fish composition is known.
Goldfish was sold for HK $ 67M by Sotheby's on October 5, 2013, lot 7, and for HK $ 170M by Christie's on December 2, 2020, lot 800.
Goldfish, oil on canvas 74 x 50 cm, is an undated synthesis of Sanyu's artistic quest. Eight fish swim in a transparent glass cylindrical aquarium placed on a tablecloth, in front of a saturated coral-colored wall.
The extreme simplicity of the composition could be compared to the art of Matisse. The other evocations are Chinese. The number 8 and the fish are omen of prosperity. The signs scattered on the tablecloth remind that just before meeting Roché, Sanyu wanted to apply the techniques of calligraphy to his drawings. The varied positions of the fish is similar to the Jiajing jars with an interesting difference in the variety of individual colors.
Goldfish is not dated, as are most of those Sanyu's works after the Roché period. The first known owner of this painting is his friend Robert Frank, whom Sanyu did not meet until 1948, a time when he was concerned with promoting his ping-tennis. It had arguably been painted in an enthusiastic period and kept hidden for many years in his studio. No other eight fish composition is known.
Goldfish was sold for HK $ 67M by Sotheby's on October 5, 2013, lot 7, and for HK $ 170M by Christie's on December 2, 2020, lot 800.
1955 Cinq Nus
2019 SOLD for HK$ 304M by Christie's
When he quarreled with Roché in 1932, Sanyu lost his chances of a commercial recognition of his art. After the second world war, his works become more experimental, in search of a perfection that would mix the pictorial traditions of East and West. Most of his paintings from this period are made on masonite, which had the advantage of being cheap.
Cinq Nus, oil on masonite 120 x 172 cm, is one of the largest formats painted by the artist. The style is recognizable with its flat colors delimited by simplified curves. The nonchalant atmosphere is confirmed by a dog and a cat, both sleeping. This work, however, has several unique features.
The five women form the largest group painted by Sanyu in his career, and the only example with more than two characters in standing position. They are displayed side by side with a different attitude of the legs that evokes four successive phases of a dance before a final turning back. The bodies are not deformed although the heads are small.
The four hair colors of European women are displayed : blond, black, brunette, red. The faces are different from each other. Otherwise, nothing prevents from imagining five images in a row from a single model.
The exceptional size suggests that Sanyu wanted to make it a reference work that could be compared to the most famous paintings of modern art. The Demoiselles d'Avignon by Picasso and La Danse by Matisse are the two historical examples that stage five naked women, impossible to differentiate from each other in Matisse's case.
The Cinq Nus by Sanyu are made in three colors, pale for the flesh, dark red for the background and bright yellow for the carpet, which also evoke the work of Matisse on the expression of colors. Matisse died in 1954. Antoine Chen, author of a monograph on Sanyu, dates the Cinq Nus of 1955.
Cinq Nus was sold for HK $ 128M by Ravenel on May 30, 2011 and for HK $ 304M from a lower estimate of HK $ 250M by Christie's on November 23, 2019, lot 7. Please watch the video shared by Christie's.
Cinq Nus, oil on masonite 120 x 172 cm, is one of the largest formats painted by the artist. The style is recognizable with its flat colors delimited by simplified curves. The nonchalant atmosphere is confirmed by a dog and a cat, both sleeping. This work, however, has several unique features.
The five women form the largest group painted by Sanyu in his career, and the only example with more than two characters in standing position. They are displayed side by side with a different attitude of the legs that evokes four successive phases of a dance before a final turning back. The bodies are not deformed although the heads are small.
The four hair colors of European women are displayed : blond, black, brunette, red. The faces are different from each other. Otherwise, nothing prevents from imagining five images in a row from a single model.
The exceptional size suggests that Sanyu wanted to make it a reference work that could be compared to the most famous paintings of modern art. The Demoiselles d'Avignon by Picasso and La Danse by Matisse are the two historical examples that stage five naked women, impossible to differentiate from each other in Matisse's case.
The Cinq Nus by Sanyu are made in three colors, pale for the flesh, dark red for the background and bright yellow for the carpet, which also evoke the work of Matisse on the expression of colors. Matisse died in 1954. Antoine Chen, author of a monograph on Sanyu, dates the Cinq Nus of 1955.
Cinq Nus was sold for HK $ 128M by Ravenel on May 30, 2011 and for HK $ 304M from a lower estimate of HK $ 250M by Christie's on November 23, 2019, lot 7. Please watch the video shared by Christie's.
1950s Quatre Nus
2020 SOLD for HK$ 260M by Sotheby's
The 1950s were very difficult for Sanyu. Returning to Paris in 1950, he lived with small jobs : painting of furniture, carpentry, promotion of ping pong. He does not forget that he is mostly an artist. He no longer has a customer, but he feels a new maturity in him. Eroticism succeeds innocence. He is much isolated and his works from this period are generally impossible to date with precision.
Sanyu died of gas poisoning in August 1966. He had no heir and his workshop was dispersed in the following month at the Hôtel Drouot. Fortunately, a regular in that auction room named Yves Bideau had the right feeling : he bought the top lots. This event marks the start of the posthumous fame of this artist who had introduced Chinese sensibility into Western art.
Bideau bought in particular Léopard rose, Cinq nus and the ultimate Nu dated 4.1965. The recent results recorded on these lots were respectively HK $ 49M by Sotheby's on March 31, 2018, HK $ 304M by Christie's on November 23, 2019 and HK $ 198M by Sotheby's on October 5, 2019.
On July 8, 2020, Sotheby's sold as lot 1024 for HK $ 260M Quatre nus, oil on masonite 100 x 122 cm originally purchased by Bideau at the same Drouot sale.
The four women are reclining side by side on an emerald green background which evokes a quiet nap on the grass on a hot summer day. Two of them chat, breaking away from the usual inactivity of Sanyu's women.
Compared to the standing women of the Cinq nus referred above, the skin color is warm. The same desire to show the diversity of hair colors for European women indicates that these two artworks were conceived for the same series. The eyes are awkward : Sanyu could not convincingly explain why so many of his women are one eyed. These two pieces are to be compared with the desire for an easy life pushed by the cinema in the 1950s.
Sanyu died of gas poisoning in August 1966. He had no heir and his workshop was dispersed in the following month at the Hôtel Drouot. Fortunately, a regular in that auction room named Yves Bideau had the right feeling : he bought the top lots. This event marks the start of the posthumous fame of this artist who had introduced Chinese sensibility into Western art.
Bideau bought in particular Léopard rose, Cinq nus and the ultimate Nu dated 4.1965. The recent results recorded on these lots were respectively HK $ 49M by Sotheby's on March 31, 2018, HK $ 304M by Christie's on November 23, 2019 and HK $ 198M by Sotheby's on October 5, 2019.
On July 8, 2020, Sotheby's sold as lot 1024 for HK $ 260M Quatre nus, oil on masonite 100 x 122 cm originally purchased by Bideau at the same Drouot sale.
The four women are reclining side by side on an emerald green background which evokes a quiet nap on the grass on a hot summer day. Two of them chat, breaking away from the usual inactivity of Sanyu's women.
Compared to the standing women of the Cinq nus referred above, the skin color is warm. The same desire to show the diversity of hair colors for European women indicates that these two artworks were conceived for the same series. The eyes are awkward : Sanyu could not convincingly explain why so many of his women are one eyed. These two pieces are to be compared with the desire for an easy life pushed by the cinema in the 1950s.
1950s Nu avec un Pékinois
2021 SOLD for HK$ 105M by Sotheby's
On April 18, 2021 in Hong Kong, Sotheby's sold for HK $ 105M Nu avec un Pékinois, oil on masonite 84 x 122 cm by Sanyu, lot 8004. Please watch the video shared by the auction house.
The picture features a nude woman and a dog. Both are reclining on the same creamy carpet laid on a dark red floor. Interestingly the position of the dog does not match a tridimensional perspective, demonstrating that the stylized impression is superseding the realism.
The young woman is quietly snoozing, pillowing on an elbow. She is nude but her vulnerable attitude is totally confident in her environment. This impression is reinforced by the little languid dog, acting as a guardian while looking at her. An inactive nude is for Sanyu an artwork in her own right.
The staging of the woman with a foot slightly overlapping the carpet is not unique in the scenes of nudes painted circa the mid 1950s by Sanyu, but this expression of total quietness under the watching of the pet dog is possibly unique. It indeed confirms the inspiration of the artist in his masterpiece of four nudes reclining side by side on a carpet in a similar format, 199 x 122 cm, sold for HK $ 260M by Sotheby's in 2020.
The dog is identified as a pékinois which is a reference to China in that moment of absolute happiness.
The picture features a nude woman and a dog. Both are reclining on the same creamy carpet laid on a dark red floor. Interestingly the position of the dog does not match a tridimensional perspective, demonstrating that the stylized impression is superseding the realism.
The young woman is quietly snoozing, pillowing on an elbow. She is nude but her vulnerable attitude is totally confident in her environment. This impression is reinforced by the little languid dog, acting as a guardian while looking at her. An inactive nude is for Sanyu an artwork in her own right.
The staging of the woman with a foot slightly overlapping the carpet is not unique in the scenes of nudes painted circa the mid 1950s by Sanyu, but this expression of total quietness under the watching of the pet dog is possibly unique. It indeed confirms the inspiration of the artist in his masterpiece of four nudes reclining side by side on a carpet in a similar format, 199 x 122 cm, sold for HK $ 260M by Sotheby's in 2020.
The dog is identified as a pékinois which is a reference to China in that moment of absolute happiness.
1950s Chrysanthème Blanc
2020 SOLD for HK$ 192M by Christie's
Sanyu has always maintained his link between east and west. Chrysanthemum is the best theme to express the cultural difference. In China, it is a symbol of longevity. The ancient Chinese extracted from it a wine which they drank to celebrate autumn. In the same season Europeans sadly use it as a temporary blossom on their graves.
A bouquet of pink chrysanthemums in a white vase, oil on canvas 100 x 76 cm painted in 1931, was sold for HK $ 55M by Poly on April 3, 2017.
In the very difficult years after the war, Sanyu dealt extensively with the theme of the potted chrysanthemum, which undoubtedly brought him comfort. The division of the single trunk into a multitude of branches that rise in parallel towards the ceiling is a mark of vitality and therefore of hope.
The examples below are oils on panel, the main technique used after the war by Sanyu. The works are not dated, and many of them had not been shown during his lifetime, preventing a chronology from being established :
RMB 77M by Poly on December 3, 2019 (74 x 53 cm).
HK $ 81M by Sotheby's on April 5, 2014 (130 x 74 cm).
HK $ 53M by Christie's on November 27, 2010 (120 x 90 cm).
The white chrysanthemum is a very rare variant within this series. In the blue and white pot, which as ever symbolizes Chinese art, the plant is entirely white : flowers, leaves and stems. The soil is also white. This color is the symbol of mourning : the Chinese wear white clothes to accompany the deceased towards the supreme purity. The artist probably used it in critical circumstances, either to overcome despair or for a specific mourning.
Chrysanthème blanc, oil on panel 110 x 60 cm, was sold for HK $ 192M by Christie's on July 10, 2020 from a lower estimate of HK $ 60M, lot 121.
A bouquet of pink chrysanthemums in a white vase, oil on canvas 100 x 76 cm painted in 1931, was sold for HK $ 55M by Poly on April 3, 2017.
In the very difficult years after the war, Sanyu dealt extensively with the theme of the potted chrysanthemum, which undoubtedly brought him comfort. The division of the single trunk into a multitude of branches that rise in parallel towards the ceiling is a mark of vitality and therefore of hope.
The examples below are oils on panel, the main technique used after the war by Sanyu. The works are not dated, and many of them had not been shown during his lifetime, preventing a chronology from being established :
RMB 77M by Poly on December 3, 2019 (74 x 53 cm).
HK $ 81M by Sotheby's on April 5, 2014 (130 x 74 cm).
HK $ 53M by Christie's on November 27, 2010 (120 x 90 cm).
The white chrysanthemum is a very rare variant within this series. In the blue and white pot, which as ever symbolizes Chinese art, the plant is entirely white : flowers, leaves and stems. The soil is also white. This color is the symbol of mourning : the Chinese wear white clothes to accompany the deceased towards the supreme purity. The artist probably used it in critical circumstances, either to overcome despair or for a specific mourning.
Chrysanthème blanc, oil on panel 110 x 60 cm, was sold for HK $ 192M by Christie's on July 10, 2020 from a lower estimate of HK $ 60M, lot 121.
1950s Fleurs dans un Pot Bleu et Blanc
2020 SOLD for HK$ 187M by Sotheby's
In the 1950s, while times are hard for him, Sanyu uses the Potted chrysanthemum as a recurring theme for his oil paintings on masonite. Mixing the Chinese traditional symbols with the trends of the abstract expressionism, he endeavors to express the basic human moods by combinations of colors without further researches on the form.
Fleurs dans un pot bleu et blanc, oil on masonite 91 x 62 cm, is typical of that style. The blue and white decoration of the pot is the reference to the classical cobalt blue on white of the Ming porcelains. The single lush blossoming chrysanthemum plant with three main branches is an allegory of vitality.
The colors of moonlight in front of a dark indigo background let suppose that is was painted by night, like the opus that was sold for HK $ 119M by Christie's on May 24, 2021, lot 26.
This painting was sold for HK $ 187M from a lower estimate of HK $ 50M by Sotheby's on October 5, 2020, lot 1015.
Fleurs dans un pot bleu et blanc, oil on masonite 91 x 62 cm, is typical of that style. The blue and white decoration of the pot is the reference to the classical cobalt blue on white of the Ming porcelains. The single lush blossoming chrysanthemum plant with three main branches is an allegory of vitality.
The colors of moonlight in front of a dark indigo background let suppose that is was painted by night, like the opus that was sold for HK $ 119M by Christie's on May 24, 2021, lot 26.
This painting was sold for HK $ 187M from a lower estimate of HK $ 50M by Sotheby's on October 5, 2020, lot 1015.
1950s Potted Chrysanthemums
2021 SOLD for HK$ 119M by Christie's
A Potted Chrysanthemum 92 x 48 cm in rare colors was sold twice by Christie's : for HK $ 46M from a lower estimate of HK $ 18M on May 24, 2014, lot 23, and for HK $ 119M from a lower estimate of HK $ 78M on May 24, 2021, lot 26.
The single plant has its leaves and upper stems in various shades of cyan, an unfrequent feature that refers to the intimacy of a moonlight. This impression is reinforced by the dark indigo and the saffron of background and floor. The assumption that it has indeed been painted by night is plausible.
Sanyu made most of his paintings for the needs of his pictural researches. The opus of this sale is an exception. It was purchased to Sanyu at an unidentified date by a former younger classmate at the Grande Chaumière who was desiring to help him. The friend, identified in the catalogue by his initials, was also keen of sketching figures of young women, another preferred theme of Sanyu.
The single plant has its leaves and upper stems in various shades of cyan, an unfrequent feature that refers to the intimacy of a moonlight. This impression is reinforced by the dark indigo and the saffron of background and floor. The assumption that it has indeed been painted by night is plausible.
Sanyu made most of his paintings for the needs of his pictural researches. The opus of this sale is an exception. It was purchased to Sanyu at an unidentified date by a former younger classmate at the Grande Chaumière who was desiring to help him. The friend, identified in the catalogue by his initials, was also keen of sketching figures of young women, another preferred theme of Sanyu.
1965 Nu
1
2019 SOLD for HK$ 198M by Sotheby's
The female nude is a favorite theme to Sanyu. His art is profoundly authentic but integrates also within the Art Déco trends of his youth. The drawings are often erotic but the oil paintings are studies of forms with a deliberately minimalist palette, same as in his potted plants and animals of the same period.
Sanyu was not tempted by total abstraction. The flesh is contained in a black outline which thickens over time. Under the influence of photography, his compositions are freed from the three dimensional space, displaying from the early 1930s an exaggerated preponderance to the legs and narrowing the head.
Throughout his life, Sanyu was exercising his creativity without succeeding in pushing his career. In 1964 the project of a solo exhibition at the National Museum of History in Taipei brought hope for an international recognition. He sent 42 artworks, including a new 47 x 50 cm Nu in oil on paper.
The project is going badly and Sanyu has no longer access to his own works. In April 1965 he compensates for this frustration by making a larger version of his Nu, an oil on masonite 123 x 135 cm. The simplicity of the forms and the monochrome body on a white background bring a fine readability to this work, like a wall poster. It is the central element of a private exhibition in Paris in December 1965.
A pathetic autograph inscription on the back of the masonite testifies that the aging artist felt with this composition the maturity which he had been seeking for several decades and regretted the time lost during the years of poverty. It was too late. He died accidentally in his workshop in August 1966.
This ultimate Nu on masonite was sold for HK $ 198M by Sotheby's on October 5, 2019, lot 1029. Please watch the video shared by the auction house.
Sanyu was not tempted by total abstraction. The flesh is contained in a black outline which thickens over time. Under the influence of photography, his compositions are freed from the three dimensional space, displaying from the early 1930s an exaggerated preponderance to the legs and narrowing the head.
Throughout his life, Sanyu was exercising his creativity without succeeding in pushing his career. In 1964 the project of a solo exhibition at the National Museum of History in Taipei brought hope for an international recognition. He sent 42 artworks, including a new 47 x 50 cm Nu in oil on paper.
The project is going badly and Sanyu has no longer access to his own works. In April 1965 he compensates for this frustration by making a larger version of his Nu, an oil on masonite 123 x 135 cm. The simplicity of the forms and the monochrome body on a white background bring a fine readability to this work, like a wall poster. It is the central element of a private exhibition in Paris in December 1965.
A pathetic autograph inscription on the back of the masonite testifies that the aging artist felt with this composition the maturity which he had been seeking for several decades and regretted the time lost during the years of poverty. It was too late. He died accidentally in his workshop in August 1966.
This ultimate Nu on masonite was sold for HK $ 198M by Sotheby's on October 5, 2019, lot 1029. Please watch the video shared by the auction house.
2
2020 SOLD for HK$ 170M by Sotheby's
To compensate for Sanyu's disillusionment after the cancellation of a solo exhibition in Taipei which could have ensured his international notoriety, Natacha and Etienne Lévy organize a private exhibition in their residence in Paris from December 17 to 21, 1965.
The invitation is illustrated with the artist's most innovative Nu. The nude woman is reclining with her legs in the foreground. The right leg is raised up to the top of the image like a rocky peak in a traditional Chinese landscape. The breasts and the head form a horizon of hills. This metaphor is perceived more clearly when we consider the swaying of the raised leg and the apparent distance of the head.
Inscribed with a nostalgic autograph comment dated April 1965, this 123 x 135 cm oil on masonite was considered as his ultimate masterpiece. It was sold for HK $ 198M by Sotheby's in 2019.
The Lévy family preserved photos of their event. Their friend Sanyu appears in a photo in front of another Nu of the same woman, painted in the same minimalist style and to the same scale, with an almost monochrome skin within thick black outlines over a blank background.
In this image, both legs are raised and the left foot is posed like a finial on the right knee. The outline of legs and buttocks now form a square, in an ultimate Chinese refinement that evokes yin and yang. The breasts and head now appear through a triangular opening between the legs. This undated work is almost certainly in the follow of the April 1965 version.
This oil on masonite 125 x 95 cm was sold for HK $ 170M by Sotheby's in Hong Kong on October 5, 2020, lot 1016.
The invitation is illustrated with the artist's most innovative Nu. The nude woman is reclining with her legs in the foreground. The right leg is raised up to the top of the image like a rocky peak in a traditional Chinese landscape. The breasts and the head form a horizon of hills. This metaphor is perceived more clearly when we consider the swaying of the raised leg and the apparent distance of the head.
Inscribed with a nostalgic autograph comment dated April 1965, this 123 x 135 cm oil on masonite was considered as his ultimate masterpiece. It was sold for HK $ 198M by Sotheby's in 2019.
The Lévy family preserved photos of their event. Their friend Sanyu appears in a photo in front of another Nu of the same woman, painted in the same minimalist style and to the same scale, with an almost monochrome skin within thick black outlines over a blank background.
In this image, both legs are raised and the left foot is posed like a finial on the right knee. The outline of legs and buttocks now form a square, in an ultimate Chinese refinement that evokes yin and yang. The breasts and head now appear through a triangular opening between the legs. This undated work is almost certainly in the follow of the April 1965 version.
This oil on masonite 125 x 95 cm was sold for HK $ 170M by Sotheby's in Hong Kong on October 5, 2020, lot 1016.
