Zheng Xie

Zheng Xie (1693-1765) Calligraphy in Running Script, 1750 Ink on paper, mounted, framed and glazed, dated Qianlong gengwu （1750), and signed Banqiao Zheng Xie followed by one rectangular relief seal of the artist Zheng Xie yinxin along with two collectors seals reading Li Wei Luo Jian Cangyin , and Lantang Shu Wu . 68 x 38 1/2in (172.2 x 97.8cm) Provenance: purchased at Sotheby's New York, December 5, 1984, lot 48 鄭燮 行書詩 水墨紙本 鏡面 一七五零年作 款識： 曲江才子漢枚皋， 御試憑軒錦帕高。 姓字璧人夸計吏， 文章金粉壓詞曹。 堂餐夜割黃羊炙， 閣帖春揮紫色毫。 裘馬翩翩正少年， 憶君風度勝醇醪。 乾隆庚午新槴板橋鄭燮 鈐印： [鄭燮印信] 藏印： [李維絡鑒藏印][藍塘書] 來源： 紐約蘇富比，1984年12月5日，拍品48號

ZHENG XIE (1693-1765) Chrysanthemum and Rock Inscribed with a poem and signed, with two seals of the artist Dated autumn, xinwei year of the Qianlong era (1751) Hanging scroll, ink on paper 132 x 63.5 cm. (52 x 25 in.) Lot 457, 6 July 2003, Fine Chinese Classical Paintings and Calligraphy, Christie's Hong Kong.

ZHENG XIE (1693-1765) Ink Bamboo Hanging scroll, ink on paper 153 x 42.2 cm. (60 1/4 x 16 5/8 in.) Inscribed with a poem and signed, with two seals of the artist Two collectors' seals One collector seal on the mounting Lot 127, 30 November 1994, Fine Chinese Paintings and Calligraphy, Christie's New York.

ZHENG XIE (1693-1765) Bamboo Scroll, mounted and framed, ink on paper 138.5 x 77 cm. (54 1/2 x 30 1/4 in.) Inscribed and signed, with two seals of the artist Note: Lin Diqiang, an overseas Chinese residing in Bangkok, completed his Civil Engineering degree in Taiwan in the 1960's and later became a hotel and real estate developer. Although he gained commercial success abroad, Lin missed his homeland and developed great passion towards Chinese art and culture-he regularly visited Hong Kong to buy Chinese paintings and calligraphy to bring back to Thailand. Unfortunately, Lin was forced to stop these trips when illness in the 90's prevented him from travelling. Lin's collection is admirable and exceptional with a great range of variety. Bamboo by Zheng Xie is one of the excellent works in the collection which also includes works by Qi Baishi, Wu Changshou, Lu Yanshao, Wu Guanzhong, Lin Fengmian, Cheng Shifa and Huang Yongyu, to be sold in the auction of Fine Chinese Modern Paintings (Lots 527-545). Part of Lin's collection will also be sold this December at Forever Auction in Beijing. Provenance Property of an Asian Private Collector

ZHENG XIE (1693-1765) ORCHIDS AND BAMBOO measurements note sight: 36 x 67 1/2 in., 91.4 x 171.5 cm framed: 47 1/2 x 79 in., 120.7 x 200.7 cm DESCRIPTION three seals, one of the artist, the other two indecipherable ink and color on paper, framed TECHNICAL ANALYSIS three seals, one of the artist, the other two indecipherable CATALOGUE NOTE Zheng Xie, known as Banqiao, was one of a group of painters active in 18th century Yangzhou, collectively known as the Yangzhou baguai ('Eight Eccentrics of Yangzhou'). Zheng was renowned for his paintings of bamboo, orchids, and rocks. This painting demonstrates his mastery of expressive, calligraphic brushwork. With just a few vigorous strokes of ink--wet and dry, dark and light--he was able to construct a complex scene of bamboo, orchids and rocks, capturing not only their outward form but also their spiritual essence. The lengthy calligraphic inscription written across the top of the page creates a perfect visual counterpoint to the painting. This large-scale work, one of the largest known, is a classic example of 18th century scholar painting. The calligraphy on the painting can be translated as: '... working on painting without any rest or break, then [I] would refrain from chastising others. But after three days of no work, I start concocting the idea of doing a painting of ink on paper, just to relieve the/my sullen and gloomy mood. This is my petty nature. 'This morning, after rising, I idly did chores around the house, sweeping the floors, burning incense, making tea, and cleaning up the ink stones. Out of the blue, a friend's papers unexpectedly arrived. Pleased, I picked up the brush and set to work – several pieces of rocks, a couple stalks of orchid flowers, and a few bamboo leaves here and there – imbued with quite a quality of unworldly grace and purity. Such is the best time when the brush is available and so is the best moment to paint. 'Yet, when being asked to paint, I refuse; when being asked by no one, I simply have to paint. It is indeed a vice on my part. [You] who know human nature so well, then, just bear with me and listen to my rambling with only a smile as response. I present this piece to my long-term senior associate and learned friend Yuhuang. [Signed] Banqiao Zhengxie'