T'ang Haywen, Abstract Composition, 1960s, Ink

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Description

T'ang Haywen (曾海文) - a.k.a. Tang Haywen, Zeng Haiwen (1927-1991)

Abstract Composition

Original Colour Monotype on Cardboard
70 x 50 … Read more T'ang Haywen (曾海文) - a.k.a. Tang Haywen, Zeng Haiwen (1927-1991)

Abstract Composition

Original Colour Monotype on Cardboard
70 x 50 cm
ca. 1960-70
Official stamp of S.C.P. Asselin-Samain, Huissiers de Justice (bailiffs) in the back

Great condition

Important:
Sold with a Certificate of Authenticity by Cabinet d’expertise Ansas, Papillon & de Léry, one of the premier expert studios in Paris for Asian art. They collaborate with leading auctioneers across France, Belgium, Hong Kong, Portugal, and Canada, are accredited to the Paris Court of Appeal, and are members of the French Syndicate of Professional Art Experts.

Provenance:
Artist's studio
Sold after the artist's death through the Court
Private collection, Toulouse

Offered unframed, unless otherwise requested
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About this Painting

In this exceptional monotype, T’ang Haywen steps away from his traditional monochromatic ink to embrace a rare, vibrant palette. Monotypes are considered one of the most challenging techniques because the artist paints directly onto a non-porous plate; once the paper is pressed, only a single, unique impression is born. This "all-or-nothing" process is also the most expressive, capturing the raw, textured immediacy of his touch in a way standard painting cannot.

Colorful works are remarkably rare in T’ang’s oeuvre, as he remained primarily dedicated to the "paramount medium" of ink. While exact archive percentages fluctuate, estimates suggest that exuberant, multi-colored compositions make up less than 15-20% of his total production. This scarcity, combined with the technical difficulty of the monotype, makes such a piece a prized "holy grail" for serious collectors.
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The Artist

Born in 1927 in Xiamen, T’ang Haywen lived as a true aesthetic nomad, eventually settling in Paris in 1948.

Unlike Zao Wou-Ki or Wu Guanzhong, who were academically trained in the rigours of both Chinese and French academies, T’ang was largely self-taught. This independence allowed him to bypass the formal structures that defined his contemporaries.
While Sanyu distilled Western figuration into minimalist, calligraphic lines and Zao Wou-Ki transformed the canvas into explosive, cosmic abstractions of oil, T’ang remained fiercely devoted to paper.
Stylistically, T’ang’s work is a spiritual dance of spontaneity.
While Wu Guanzhong meticulously balanced the architectural beauty of Jiangnan landscapes with Western composition, T’ang leaned into the Taoist concept of the "void," using ink and watercolour to capture energy rather than form.

His signature inks offer a sense of boundless movement, lacking the heavy, dramatic textures often found in Zao’s late-period masterpieces
Today, T’ang’s market is ascending rapidly as collectors recognise him as the final "hidden master" of this group. His works are increasingly sought after in major auction houses, with his top price reaching approximately $438,000 (HK$3.4 million) for an exceptional untitled diptych.
This surge reflects a growing realisation that his "nomadic" art is just as pivotal to modernism as that of his peers. I have official proof of authenticity such as vintage catalogs,
designer records,
or other literature sources and take full responsibility for any authenticity issues arising
from
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