Pencil and charcoal on paper

50 × 30 cm. 19 3/4 × 11 3/4 in.

LITERATURE
2014, Sanyu Catalogue Raisonné Drawings and Watercolours, Rita Wong, The Li Ching Cultural and Educational Foundation, Taipei, electronic version p.118, plate No. D3035
PROVENANCE
Previous collection of the family of art historian Chen Yen-Fon's friend and French writer Michel Habart
Private Collection, Asia

The Treasures of Captivating Beauty
Sanyu's Delicate Figures on Paper

"Whoever will eventually shake the world will remain silent for a long time; Whoever will eventually light the lightning will be drifting like clouds for a long time."
——German philosopher Friedrich Nietzsche

Sanyu is hailed as the most accomplished and famous Chinese artist living in France before World War II. Born in Nanchong, Sichuan, he learned painting from his father during his childhood and studied calligraphy with the famous calligrapher Zhao Xi. Blessed with a prosperous family and the support of his elder brother Junmin, he went to Paris under the government-sponsored work- study program in his 20s. Ten years later, his brother passed away. Sanyu also experienced the departure of his beloved and faced poverty yet remained pursue his dream of art in Paris. His innate humour and spirit of not compromising for material gain allowed him to persevere with a pure heart, even though he was unrecognized during his lifetime. In 1966, he passed away unexpectedly as a wanderer without a penny, leaving behind a legendary story.

In September 1966, after Sanyu's passing, the works in his studio became relics and were auctioned off in bundles by the Drouot auction house in Paris. French collector Michel Habart chanced upon Sanyu's works and was instantly captivated. Without hesitation, he purchased hundreds of exquisite paper works. His daughter, Doris Habart, recalled, "I remember the beaming face of my father when he came home with his treasure under his arm…… My father saw in these works inspired from Matisse, Maillol sculptures and Henry Moore." Ten years later, art historian Chen Yen-Fon, came across Sanyu's sketches and through mutual friends, met Habart. They became close acquaintances, piecing together Sanyu's life story and organizing solo exhibitions for him, allowing the world to witness the exquisite charm hidden for a hundred years. This autumn auction, China Guardian Hong Kong presents four delicate paper works by Sanyu from the Habart Family's collection, with a well-documented provenance that is sought-after.

Amidst the Fusion of Chinese and Western Cultures, a Unique Charm and Elegance Emerged

"The more Sanyu painted and delved more deeply into things, the more he rediscovered the peculiarities of his race as new truths…… He knows how to depict the essence and often humour of things with astonishingly little means."
——Johan Franco, a close friend and important patron of Sanyu, a Dutch composer

In the 1920s, when Sanyu first arrived in France, he was unrestrained. He eschewed the rigid art academy and chose to study independently at the Académie de la Grande Chaumière in Montparnasse. He focused on studying sketching and quick sketching. This dashing young gentleman, who appreciated Western techniques while remaining true to his roots, often used a traditional Chinese brush to sketch and frequently drew a crowd of curious fellow students. He specialized in drawing female figures, using the "hook lines and washes" techniques he learned in China to portray the contours of the figures. He then shaded them with pencils and charcoal, creating bold and accurate strokes with concise and vigorous lines. Under his gentle strokes, regardless of age or gender, the models were instantly transformed into nude figures. This distinctive painting style received even more acclaim as it became more extravagant. At the time, nude painting was highly controversial and "inappropriate" in China, but Sanyu, living in Paris, had the freedom to express himself and enriched the subject matter. According to available records, Sanyu created nearly two thousand nude and portrait sketches throughout his life. Xu Zhimo, Pan Yuliang, and Shao Xunmei praised his works highly, with Shao referring to him as "a treasure in the world of modern art."

Looking back on Sanyu's life, his sketches were created during his prime, carefree and unrestrained youth time. With a passion for the beauty of the human body and a love for photography, Sanyu's female perspectives were rich and varied: profiles, back views, front views, and close-up details, all displaying a graceful agility. They stood alone, mostly voluptuous, with diverse postures full of rhythm. At that time, minimalist aesthetics were prevalent in Paris, and this concept aligned with Bada Shanren's concept of "Sheng" (control/restraint). Sanyu perfectly integrated the Eastern calligraphic and painting traditions he accumulated in his youth into Western composition, "not in a confused, sacrilegious way, but with an elevated awareness." His compositions were elegant and his paintings were pure and lively, resulting in figures with distinctive elegance. Many areas of his artworks were left blank, and his lines were "simplified" to the point of being almost "invisible." A few bold curves outlined exaggerated proportions of thighs, and his brushstrokes shaped comb-like fingertips, capturing the lifelike gestures of his subjects. Scholar Rita Wong generally divided Sanyu's sketches into two categories to distinguish a fundamental difference in his drawing style: some with shading or outline silhouettes and the others with just unembellished line. The former were created using a combination of pencils and charcoal, while the latter were mostly depicted using a traditional Chinese brush. The works in this auction embody both styles.

Flowing Ink in the Peaceful Years

"My original motivation for learning to paint is curiosity about the secrets of the human body. You say I look poor, yes, I am truly poor, unable to afford food or clothing, but as for models – I just couldn't cut back on that. Appreciation of the beauty of the human body has become a physiological requirement for me, a necessary luxury, an irresistible addiction; I would rather eat less and save a few francs to hire more models..."
——Sanyu

Sanyu had a fondness for models with a sense of strength and height and Standing Nude (Lot 75) is the only nude artwork in Habart's collection that is up for auction this time. It is a classic portrayal of the female form. Using a combination of pencils and charcoal, the artist's lines are soft and agile, like brushstrokes in calligraphy, effortlessly rendering the figure's torso. The main character folds her hands together, with her face pressing against them in a prayer position. The facial features, curly hair, and navel of the figure are sketched with minimalistic circles and curves. The woman's head is deliberately shrunk, while her voluptuous body and exaggerated limbs are displayed gracefully, exuding extraordinary tension. The charcoal smudging on the pencil lines emphasizes the contour lines, creating a balance between reality and illusion. The toes, which resemble a comb shape, are intricately depicted, presenting a sharp contrast with the voluptuous body, highlighting the sensuality of the piece. With her chin slightly lowered, the woman in the painting gazes at the viewer with a variety of expressions, revealing the appreciation of the female form and leaving a lasting impression of the elegant curves that are both complex and simple.

Lady Reading Newspaper (Lot 73) is also an exemplary work of the artist's pencil and charcoal sketching. The main character in the painting is a refined and elegant lady sitting in a café, wearing fashionable cloche hat and a pearl necklace. Her earring is faintly visible on the side of her face, and she holds a newspaper, with her shoulder slightly bent, sitting at a 90-degree angle. Like the technique used in Standing Nude, Sanyu initially sketches the figure with fine pencil lines, then overlays charcoal to create shadows. However, in this piece, the charcoal lines are more intertwined and cover a wider area, presenting the flowing and delicate texture of the woman's clothing in a silken manner, making the composition more full-bodied. The pearl necklace, drawn in a circular manner, adds the finishing touch, with each delicate circle amidst the intricate charcoal strokes revealing the delicacy and indolence of French women. The woman spreads the newspaper on her legs, gently lowering her head, flipping through it gracefully, charming and serene.

Amidst the Boundless River, Only a Single Drop of Ink Is Taken

"As for the form, I have pushed simplicity until indicating only what is strictly essential...... sobriety, with its suggestive force, is richer, more infinite."
——Sanyu

The other two works in the auction feature the same short-haired beauty, drawn with a brush from different angles. Both adopt a diagonal composition, exaggeratedly enlarging the legs of the main character from a low perspective, the woman's side-sitting posture. The figure's movement suggests a hidden chair and pen in hand. The simple yet precise strokes present a woman lost in thought with a calm and focused demeanour, amidst the interplay of curves and straight lines.

In Reclining Lady (Lot 74), dense ink flows from the figure's left shoulder down to the hem of her skirt, outlining the contour of her legs. As the ink colour gradually fades, depicting the thick Mary Jane shoes, straight coat, delicate hands, and finally, using simple yet powerful strokes, outlining the character's facial features and short hair, highlighting the unique proportion of the head and body. The plump calves and restrained posture of the feet are in contrast to the slender body. The main character's left hand is positioned as if holding a pen, exuding a graceful and composed demeanour.

In Lady Profile (Lot 76), Sanyu observes the woman from a side angle, starting from her neck and following the ink flow down to the hem of her dress while concealing the "thighs of the universe" beneath the dress. The strokes are deliberately elongate like floating silk, revealing the exposed calves with elegant and concise lines. She lightly lifts her hand, holding nothing in her hand, yet her movement suggests that she is adjusting the position of the paper on her leg. The interplay between reality and illusion in the artwork creates a sense of harmony evoking new interpretations.

Writer Yang Jiang once said, "The soul is born alone." Sanyu, who lived a life of wandering, remained free and unconstrained, turning his endless love for art into spiritual charm on paper. These women have nothing to do with romance, they exist in their own independent world on the paper. The fleeting shadows of 20th century Paris are vividly captured, and as we gaze at these artworks, it feels as if we could embrace them across time and space. Sanyu devoted his entire life to the lonely pursuit of art, leaving behind a "silence" that resonates with future generations, allowing us to each find our own connection and detachment within the melodious rhythm.

Price estimate:
HKD 160,000 – 260,000
USD 20,500 – 33,300