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Landscape of Longqiu by Wen Zhengming (1470-1559)
From the Collection of Mark S. Pratt, Washington D.C.
美國華盛頓班立德總領事珍藏 文徵明〈龍湫圖〉
LOT 913

Bonhams Hong Kong is pleased to offer Landscape of Longqiu by Wen Zhengming, one of the great "Four Masters of Ming" from the collection of Mark S. Pratt. With deep family roots in Salem, Massachusetts, and as a relative of Frederick Townsend Ward (1831-1862), Mark Pratt developed an interest in Chinese culture from an early age. A lifelong art collector, Mr. Pratt's distinguished United States State Department career afforded continuous opportunities for building an important collection over the course of sixty years.

Mr. Pratt made his first Chinese art purchase in 1947 while stationed in Qingdao with the United States Navy. Following his two-year service with the Pacific Fleet, and with academic training at Harvard University, Brown University, The Sorbonne, and Georgetown University, Mark Pratt joined the United States Foreign Service in 1956, his initial posting at the United States Embassy in Tokyo from 1957 to 1959. Moving to Taichung, Taiwan to continue Chinese language study in the years 1959-1960, his next station was Hong Kong, serving as the Mainland Economic Officer at the United States Embassy until 1963. With later posts in Laos and Paris, Mark Pratt was head of the Taiwan desk prior to finishing his career as Consul General at the Guangdong Consulate in 1989, his retirement ending three years of service in that position.

Witnessing the momentous geo-political transformation in Asia during the second half of the twentieth century, Mr. Pratt's keen collector's eye was also perpetually on the lookout for a treasure. Patronizing many of the most hallowed names in the Chinese art market, he discovered outstanding paintings and Song dynasty porcelain at Tokyo's Confucian Temple (Yushima Seido) and purchased works of art from Kusaka Shogado in the 1950's. In the decades that followed, the antique shops and art galleries in Taipei and Hong Kong were frequent haunted, making key purchases of Ming and Qing paintings from Chang Ding-chen and fine huanghuali furniture from Y.K. Ma. Mark Pratt's diplomatic role afforded him in contact with numerous living painters and calligraphers; he met Zhang Daqian on several occasions and formed a lasting bond with Tang Hong (1926-2018), a student of Yu Fei'an who relocated to Taichung after 1949 and later to Hong Kong, concurrent with Mr. Pratt's diplomatic postings.

Bonhams had the honour of offering some magnificent pieces from the Pratt collection in May 2015 in this saleroom, including an outstanding album by the renowned Orthodox School master Wang Hui (1632-1717) that fetched nearly HKD36 million.

班立德總領事出身於馬薩諸賽州塞勒姆望族, 早年即對中國文化產生了濃厚的興趣。作為矢志一生的收藏家,班立德成功的外交官生涯六十年來為他提供許多機遇,其部分珍藏數年前於邦瀚斯香港書畫專場中釋出,得到熱烈迴響。其中清宮舊藏的王翬水墨〈山水冊〉,以近四千萬港元高價成交。邦瀚斯書畫部今季特推出文徵明細筆山水〈龍湫圖〉。

一九四七年,班立德供職美國海軍,駐艦山東青島,購入平生第一件中國藝術品。結束太平洋艦隊兩年的服役後,因其在哈佛大學、布朗大學、索邦大學和喬治城大學接受的中國和日本語言、文化、歷史方面的學術訓練,班立德一九五六年加入美國外交部。旋即於五七至五九年派駐東京美國大使館。繼而轉派香港,擔任美國大使館大陸經濟官,再調任美國在台協會處長。一九八九年遷廣州總領事,三年後於此任上榮休。

目睹二十世紀下半葉亞洲地區地緣政治巨大變革的同時,班立德總領事始終孜孜於蒐集中國藝術精品。二十世紀五十年代,他光顧了諸多中國藝術品領域備受推崇的商家,在東京孔廟(湯島聖堂)購入書畫精品和宋瓷,在 Kusaka Shogado 處買到文玩工藝品。其後數十年間,他頻頻穿梭於台北和香港的古董店以及畫廊,從資深畫商張鼎臣處購入重要的明清字畫,Y. K. Ma處購入精美的黃花梨傢俱。外交官的身份也讓班立德總領事結識了眾多同時代藝術家。他數次和張大千會面,並且和于非闇的學生唐鴻(1926-2018)建立了長期的友誼。後者1949年徙居台中,又移居香港,和班立德總領事的幾次轉任恰恰偶合。
Lot 913

Wen Zhengming (1470-1559)
Landscape of Longqiu

1 June 2021, 11:00 HKT
Hong Kong, Six Pacific Place

HK$500,000 - HK$800,000

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Wen Zhengming (1470-1559)

Landscape of Longqiu
Ink and light colour on paper, hanging scroll
Titled and signed Zhengming, with one seal of the artist
Poetry hall inscribed and signed Wang Wenzhi (1730-1802), dated renzi year (1792), with two seals of his
Colophon on mounted border inscribed and signed Shudou Zhou Mengtai, dated Jiawu year (1834), with one seal of his
58.4 x 28cm (23 x 11in)

Footnotes

Provenance
Acquired in Taipei, 1959

Although undated, it is most likely that the artist painted this composition in the 1540's, judging by the style. It was a period when Wen Zhengming was prolific, his style mature. In this work the picture plane is almost completely composed of competing rock forms, with varietal trees springing from seemingly improbable crevices. A foreground path leads the viewer through the composition to a wash darkened cave, where stalactite-formed rocks hang pendant above the visitors approaching in a small boat. Although the composition is dense, it is very readable, the deftly applied washes in subdued tones giving form and depth to the scene.

The physical location of Longqiu is on Mount Yandang in eastern Zhejiang province. The pool, fed by two waterfalls, is surrounded by cliffs with odd-shaped rock formations. Despite the fact that the site is nearly inaccessible, travellers have made the arduous journey to appreciate the fantastic scenery since at least the Song dynasty, as dated by inscriptions on the cliff face. Traveling to difficult destinations to take in natural wonders has been a longstanding theme of literati culture, and such journeys are intended to be read as an expression of the traveller's unencumbered spirit.

For more on the site and its connection with literati paintings, see: Steven D. Owyoung, "Viewing the Waterfall at Longqiu," Chinese Paintings: The Saint Louis Art Museum Bulletin, The Saint Louis Art Museum: 1985, pp. 20–21

文徵明 龍湫圖 淡設色紙本 立軸
王文治題詩堂
周夢台跋裱邊

詩堂:
明四家中,文畫最易得。贋者無論矣,真而不佳亦無取也。此軸乃衡山致佳之筆,雖染色稍黝,而沉厚古澹之韻,能兼宋元兩代之長。吾友花農於法書名畫另具精鑒,宜其愛翫弗置也。壬子(1792)嘉平幾望,漢陽寓齋王文治記。

款識:
龍湫圖。徵明作。

裱邊跋:
文待詔翰墨當時已極寳貴,而流傳三百年來,似莫與爭長者,以其士氣最勝也。蓋植品卓絕,攄褱冲素,故克臻此。此幅層巒叠嶂,而深厚之氣蓄之有餘。夢樓太守獨具精鑒,不輕許可,而謂為致佳之筆,信然。孫君松泉携以見示,偶為加墨,道光甲午(1834)孟夏二十有五日,書於大願舩叔斗周夢臺。

鈐印:徵明印
(王)王氏禹卿、夢樓
(周)叔斗

來源:
一九五九年購自台北,或自張鼎臣處。

註:龍湫,與靈峰、靈岩被稱為「雁蕩三絕」。位於浙江東部的雁蕩山乃三山五嶽之一,山水奇秀,素有「寰中絕勝」之譽。自古至今,令無數文人墨客傾倒,明代徐霞客在考察雁蕩後讚嘆曰:「欲窮雁蕩之盛,非飛仙畸人不能瞰其肺腑」,歷代吟詠描繪雁蕩——特別是大龍湫——的詩篇與畫作攝人心魄者,多不勝數。

本幅以大龍湫為主題,用近乎滿幅的構圖,寫峰巒高聳,連綿不絕,礬石堆疊,陡峭的岩壁中間,一泓清泉,一葉扁舟,上坐高士三人,望向岸邊,岸上兩位高士,著灰布長衫者正與著暗紅長衫的友人依依話別。岸邊、巖上叢樹茂盛,樹葉與苔點濃淡層次分明,溫雅秀婉之氣息浸透紙背。其筆意、皴染乃至滿幅構圖這一形式,皆可從台北故宮所藏〈千巖競秀〉(作於嘉靖庚戌,1550)、〈松聲一榻圖〉及〈春林策杖〉等晚年佳作中,找到呼應,加上款識書法特徵,推斷〈龍湫圖〉作於相若時期,應不致過謬。有學者認為〈千巖競秀〉在文氏作品中尤其重要,蓋因「文徵明晚年喜作此類繁景細筆之作,對吳派晚期畫風影響甚鉅。」(見《明四大家特展:文徵明》,台北,故宮博物院,2014,頁329)

此外,畫面中景山石造型奇特,筍形石柱林立,似與雁蕩岩洞特徵迥異,雖然徐霞客遊記中有雁蕩山「銳峰疊嶂,左右環向,奇巧百出」、「層崖怪峰,變換闔闢」之描寫,但石筍無疑令人聯想到江蘇宜興的風景勝地張公洞。張公洞因傳說中道教創始人漢代張天師道陵和唐代「八仙」之一張果老相繼在此隱居修行,而得盛名。其為石灰岩洞穴,多鐘乳石和石筍,洞中有洞是顯著特色。文徵明曾到此訪友幽居,其師沈周也有〈遊張公洞記〉和〈遊張公洞圖〉卷傳世,石筍出現在雁蕩,是畫筆的蒙太奇,也是畫家一生「搜盡奇峰」的明證吧!

裱邊題跋者周夢台(?-1899),字叔斗,號柳初。吳江諸生。擅書,有蘇長公筆意。據周氏題跋,此幅乃孫松泉所攜來,孫氏生平資料寥寥,吳江平望人,與嘉興金石考據家、收藏家張廷濟(1768-1848)友善,曾為叔未繪明遺民隱士徐枋(1622-1694)小像。

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