LIN Richard (1933-2011) ; Abstract ; 07-SEP-1959 ; oil on canvas ; dimensions 125 x 103 cm (49 1/4 x 40 1/2 in.) ; signed and dated on verso ; Shipping to USA - DHL $735 , National post with tracking service $425 / Shipping to EU, Middle Assia - DHL $545 , National post with tracking service $375
Richard Lin 1933 - 2011 May 1, May 2, May 3, May 4 i. inscribed A/P (lower left) and signed Lin (lower right) signed RICHARD LIN, titled MAY ONE, dated 1971 and inscribed Ed. 70 + 10 AP (on the verso) ii. inscribed A/P (lower left) and signed Lin (lower right) signed RICHARD LIN, titled MAY TWO, dated 1971 and inscribed Ed. 70 + 10 AP (on the verso) iii. inscribed A/P (lower left) and signed Lin (lower right) signed RICHARD LIN, titled MAY THREE, and inscribed Ed. 70 + 10 AP (on the verso) iv. inscribed A/P (lower left) and signed Lin (lower right) signed RICHARD LIN, titled MAY FOUR, dated 1971 and inscribed Ed. 70 + 10 AP (on the verso) screenprints on paper and acetate i-iv.: 50.8 by 50.8 cm.; 20 by 20 in. Executed in 1971, this work is the artist's proof from an edition of 70 with 10 artist's proof. ---------------------------------------------- 林壽宇 1933-2011 五月一日，五月二日，五月三日，五月四日 款識 i. A/P（左下）Lin（右下） RICHARD LIN MAY ONE 1971 Ed.70 + 10 AP（畫背） ii. A/P（左下）Lin（右下） RICHARD LIN MAY TWO 1971 Ed.70 + 10 AP（畫背） iii. A/P（左下）Lin（右下） RICHARD LIN MAY THREE Ed.70 + 10 AP（畫背） iv. A/P（左下）Lin（右下） RICHARD LIN MAY FOUR 1971 Ed.70 + 10 AP（畫背） 絲網版畫膠片紙本 i-iv.: 50.7 x 50.7 cm.; 20 x 20 in. 一九七一年作 版數 藝術家自留版
Richard Lin 1933 - 2011 Untitled signed LIN three times (on the stretcher) oil and aluminum on canvas 46 by 71.3 cm. 18 ⅛ by 28 ⅛ in. Executed circa 1970. This work will be included in the forthcoming Catalogue Raisonné currently being prepared by The Estate of Richard Lin Show Yu. ---------------------------------------------- 林壽宇 1933-2011 無題 款識 LIN （三次）（畫框） 油畫與鋁條畫布 46 x 71.3 cm. 18 ⅛ x 28 ⅛ in. 約一九七〇年作 註：此作品將收錄於林壽宇藝術資產正籌備編纂的〈林壽宇作品編年集〉
Richard Lin 1933 - 2011 You with your white camellia signed RICHARD LIN, titled YOU WITH YOUR WHITE CAMELLIA, dated 1981 - 1982 and inscribed FOUR PANELS, OIL-CANVAS, 31 cm X 31 cm EACH PANEL (on the verso) oil on canvas (set of four) 71.8 by 71.8 cm. 28 ¼ by 28 ¼ in. Executed in 1981 – 1982. Affixed with Jia Art Gallery label on the verso. This work is accompanied by a certificate of authenticity issued by Jia Art Gallery. ---------------------------------------------- 林壽宇 1933-2011 你與你的白茶花 款識 RICHARD LIN YOU WITH YOUR WHITE CAMELLIA FOUR PANELS 1981-1982 OIL-CANVAS 31cm x 31 cm EACH PANEL（畫背） 油畫畫布（四聯作） 71.8 x 71.8 cm. 28 ¼ x 28 ¼ in. 一九八一至一九八二年作 註：畫背附有家畫廊標籤 附：家畫廊開立之作品保證書
LIN Richard (1933-2011) ; Abstract ; 07-SEP-1959 ; oil on canvas ; dimensions 125 x 103 cm (49 1/4 x 40 1/2 in.) ; signed and dated on verso ; Shipping to USA - DHL $735 , National post with tracking service $425 / Shipping to EU, Middle Assia - DHL $545 , National post with tracking service $375
RICHARD LIN (LIN SHOW-YU, 1933-2011) Winter, 1966 Sérigraphie du portfolio 'Four Seasons'. Signée, titréen datée et numérotée 13/70 Zeefdruk uit de 'Four Seasons' portfolio. Getekend, getiteld, gedateerd en genummerd 13/70 Silkscreen print from the 'Four Seasons' portfolio. Signed, titled, dated and numbered 13/70 63 x 70,2 cm (sheet) Framed
Richard Lin (Lin Show-Yu, 1933-2011) Untitled 1957 signed and dated 1957 lower middle oil on cardboard mounted on board 50.5 x 62 cm (19 7/8 x 24 7/16 in)
Richard Lin (Lin Show-Yu, 1933-2011) Painting 1958 1958 signed, titled and dated 1958 on the overlap oil on canvas Waddington Galleries label affixed to the stretcher 91.5 x 71 cm (36 x 27 15/16 in)
RICHARD LIN (LIN SHOW-YU, 1933-2011) Painting 1958 signed, titled and dated 1958 on the stretcher; signed, titled and dated 1958 on the backing board oil on canvas 51 by 46 cm. 20 1/16 by 18 1/8 in.
Richard Lin (British, 1933-2011) Relationships I and II Two screenprints, 1965, on wove paper, each signed, titled and respectively numbered 25/70 and 27/70 in pencil, the full sheets, framed Sheet 441 x 565mm (17 3/8 x 22 1/4in)(2)
RICHARD LIN (1933-2011) March Vermilion, 1972 signed, titled and dated 'Richard Lin 'MARCH VERMILION' 1972' (on the stretcher bar) oil on canvas 25 x 25 in. 63.5 x 63.5 cm. The Estate of Richard LIN Show Yu confirm this work will be included in the forthcoming catalogue raisonnée of the artist. For further information on this lot please visit the Bonhams website
Richard Lin, British 1933-2011, Spring, Summer, Autumn, from The Four Seasons Portfolio, 1966; three screenprints in colours on T H Saunders wove, each signed, dated, titled and numbered 49/70, 49/70 and 29/70 respectively in pencil, each sheet: 68.7 x 91.2 cm, (unframed) (ARR) (3) Provenance: The Thomas Collection. Note: see Tate Britain, accession nos. P04575, P04576 and P04577, for other impressions. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson.
Richard Lin, British 1933-2011, Spring, from The Four Seasons Portfolio, 1966; screenprint in colours on T H Saunders wove, signed, dated, titled and numbered 70/70 in pencil, sheet: 68.7 x 91.2 cm, (unframed) (ARR) Provenance: The Thomas Collection. Note: see Tate Britain, accession no. P04575, for another impression. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson.
Richard Lin, British 1933-2011, Spring, from The Four Seasons Portfolio, 1966; screenprint in colours on T H Saunders wove, signed, dated, titled and numbered 59/70 in pencil, sheet: 68.7 x 91.2 cm, (unframed) (ARR) Note: see Tate Britain, accession no. P04575, for another impression. Provenance: The Thomas Collection.
Richard Lin, British 1933-2011, May 3; May 4, from the May series, 1971; two screenprints on wove and acetate sheets, each signed and numbered 15/70 and 51/70 in pencil, printed by Kelpra Studio, with their inkstamp on the reverse, each sheet: 50.8 x 50.8 cm, (unframed) (ARR) (2) Provenance: The Thomas Collection. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson.
Richard Lin, British 1933-2011- May 4, 1971; screenprint on wove and acetate sheets, signed and numbered 33/70 in pencil, printed by Kelpra Studio, with their inkstamp on the reverse, each sheet: 50.8 x 50.8 cm, (unframed) (ARR) Provenance: The Thomas Collection. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson.
Richard Lin, British 1933-2011- May 1; May 2; May 3; May 4, 1971; the complete series of four screenprints on wove and acetate sheets, each signed and numbered variously from the edition of 70 in pencil, printed by Kelpra Studio, with their inkstamp on the reverse, each sheet: 50.8 x 50.8 cm, (unframed) (ARR) Provenance: The Thomas Collection Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson.
Property from a Private European Collection Richard Lin 1933 - 2011 Painting Relief 13.9.1962 signed Lin Show Yu, dated 13.9.1962 and inscribed (on the stretcher bar); titled, dated 13.9.1962 and inscribed (on a label affixed to the backboard) oil and aluminum on canvas unframed: 102 by 128cm.; 40 by 50½in. framed: 107 by 133cm.; 42 by 52½in. Executed in 1962. The Estate of Richard LIN Show Yu confirm this work will be included in the forthcoming catalogue raisonné of the artist.
LIN Richard (Lin Show-Yu 1933-2011) ; Abstract ; 07-SEP-1959 ; oil on canvas ; dimensions 125 x 103 cm (49 1/4 x 40 1/2 in.) ; signed and dated on verso ; Shipping to USA - DHL $735 , National post with tracking service $425 / Shipping to EU, Middle Assia - DHL $545 , National post with tracking service $375
Richard Lin (Lin Show-Yu, 1933-2011) Two Square Series 1960 signed, titled and dated 3 - MARCH - 1960 on the reverse oil on canvas 167.6 x 152.4 cm (66 x 60 in) This work will be included in the forthcoming catalogue raisonné currently being prepared by The Estate of Richard Lin Show Yu.
RICHARD LIN (1933 Taichung 2011) Painting Relief 13 September 1965. 1965. Oil, aluminium and perspex on canvas. Signed on the overlap: LIN. Also signed, dated, with measurements and directional arrows on the stretcher: LIN 13-SEPTEMBER-1965 50×60. 127 × 152.5 cm. The Estate of Richard Lin Show Yu confirm that this work will be included in the forthcoming Catalogue Raisonné of the artist. We thank the artist’s Estate for their kind assistance. Provenance: - Marlborough Gallery, London (verso with the label). - Purchased from the above by the previous owner, private collection Switzerland. - By descent to the present owner, also private collection Switzerland. Exhibition: London 1966, Richard Lin. Marlborough Fine Art Gallery, March-April 1966, p. 2, no. 18 (with b/w ill.). “White is the most mundane of colors, and the greatest of all colors: it is the most colorless and the most colorful: it is the most noble color and the most common color: it is the most tranquil color, and the saddest color too ... white in and of itself is many colors: it can be thicker, thinner, heavier, lighter, transparent, semi-transparent ... which means that with white and white, you can construct many strange and wonderful relationships of shapes and shapes, or spaces and spaces.” Richard Lin pei in 1985. Richard Lin left England in 1981 and lived in Taiwan again until his death in 1988. Richard Lin became famous for his predominantly white "relief paintings". He painted several layers on top of one another, allowing each layer to dry before applying the next, so that the white, monochrome canvas nevertheless showed colour differences and edges. With the canvas prepared in this way, he would then apply his reliefs. In the present work from "13 September 1965", there are 2 vertical bars in the upper third of the canvas: on the left, an elongated piece of aluminium with a narrow black stripe painted on its right side; on the right, a white piece of Plexiglas, complemented on the right by a narrow strip of aluminium. They border a white square on the right, left and bottom, created by the multiple application of paint. Lin skilfully plays with the viewer's perception. Both the canvas, which is not uniformly white, and the different materials of the reliefs unsettle us and cause us to check our assumptions about our visual experience. Looking at the work, we suppose that it is a monochrome white painting and also that the reliefs are identical — but neither is true; the individual reliefs are the same length, but differ in width, height and material. Recognising this is unsettling and challenges the viewer to check and adjust their preconceptions. "Relief Painting 13 September 1965" is an outstanding example of Richard Lin's expert handling of the relationship between painting and architecture, and at the same time between Western and Eastern art traditions. --------------- RICHARD LIN (1933 Taichung 2011) Painting Relief 13 September 1965. 1965. Öl, Aluminium und Plexiglas auf Leinwand. Auf der überlappenden Leinwand signiert: LIN. Zudem auf dem Keilrahmen signiert, datiert, mit Mass - und Richtungsangaben: LIN 13-SEPTEMBER-1965 50×60. 127 × 152,5 cm. Der Nachlass von Richard Lin Show Yu bestätigt, dass dieses Werk in den kommenden Catalogue Raisonné des Künstlers aufgenommen wird. Wir danken dem Nachlass des Künstlers für die freundliche Unterstützung. Provenienz: - Marlborough Gallery, London (verso mit dem Etikett). - Vom Vorbesitzer bei obiger Galerie erworben, Privatsammlung Schweiz. - Durch Erbschaft an den heutigen Besitzer, ebenfalls Privatsammlung Schweiz. Ausstellung: London 1966, Richard Lin. Marlborough Fine Art Gallery, März-April 1966, S. 2, Nr. 18 (mit s/w-Abb.). „White is the most mundane of colors, and the greatest of all colors: it is the most colorless and the most colorful: it is the most noble color and the most common color: it is the most tranquil color, and the saddest color too ... white in and of itself is many colors: it can be thicker, thinner, heavier, lighter, transparent, semi-transparent ... which means that with white and white, you can construct many strange and wonderful relationships of shapes and shapes, or spaces and spaces.“ Richard Lin Berühmt wird Richard Lin durch seine überwiegend weissen „Relief Paintings“. Er malt diverse Schichten übereinander, lässt jede Schicht vor dem Auftrag der Nächsten trocknen, wodurch die weisse, monochrome Leinwand doch Farbunterschiede und -kanten aufweist. Auf der so präparierten Leinwand bringt er seine Reliefs an. Im vorliegenden Werk vom „13. September 1965“ befinden sich im oberen Drittel der Leinwand 2 vertikale Balken: links ein längliches Aluminiumstück, auf dessen rechter Seite ein schmaler schwarzer Streifen gemalt ist; rechts ein weisses Plexiglasstück, das rechts durch einen schmalen Aluminiumstreifen ergänzt ist. Sie grenzen rechts, links und unten an ein weisses Quadrat an, welches durch den mehrfachen Farbauftrag entstanden ist. Eindrücklich spielt Lin mit der Wahrnehmung des Betrachters. Sowohl die nicht einheitliche weisse Leinwand als auch die unterschiedlichen Materialien der Reliefs irritieren uns und lassen uns unser angenommenes Seherlebnis überprüfen. Beim Betrachten des Werkes gehen wir davon aus, dass es sich um ein monochrom weisses Gemälde handelt und auch, dass die Reliefs identisch sind - beides trifft aber nicht zu. Die einzelnen Reliefs sind zwar gleich lang, aber abweichend in Breite, Höhe und Material. Die Erkenntnis dieser Beobachtung führt zur Irritation des Betrachters und fordert ihn heraus, seine vorgefasste Wahrnehmung zu kontrollieren und anzupassen. „Relief Painting 13. September 1965“ ist ein herausragendes Beispiel für Richard Lins meisterhaften Umgang mit den gleichzeitigen Einflüssen von Malerei und Architektur und von westlicher und östlicher Kunsttradition. ---------------
Richard Lin, British 1933-2011- May 4, 1971; screenprint on wove and acetate sheets, signed and numbered 33/70 in pencil, printed by Kelpra Studio, with their inkstamp on the reverse, each sheet: 50.8 x 50.8 cm, (unframed) (ARR) Provenance: The Thomas Collection. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Linâs work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- Summer, from The Four Seasons Portfolio, 1966; screenprint in colours on T H Saunders wove, signed, dated, titled and numbered 38/70 in pencil, sheet: 68.7 x 91.2 cm, (unframed) (ARR) Provenance: The Thomas Collection. Note: see Tate Britain, accession no. P04575, for another impression. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Linâs work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- May 3; May 4, from the May series, 1971; two screenprints on wove and acetate sheets, each signed and numbered 15/70 and 51/70 in pencil, printed by Kelpra Studio, with their inkstamp on the reverse, each sheet: 50.8 x 50.8 cm, (unframed) (ARR) (2) Provenance: The Thomas Collection. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Linâs work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- May 1; May 2; May 3; May 4, 1971; the complete series of four screenprints on wove and acetate sheets, each signed and numbered variously from the edition of 70 in pencil, printed by Kelpra Studio, with their inkstamp on the reverse, each sheet: 50.8 x 50.8 cm, (unframed) (ARR) Provenance: The Thomas Collection Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Linâs work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- Spring, from The Four Seasons Portfolio, 1966; screenprint in colours on T H Saunders wove, signed, dated, titled and numbered 70/70 in pencil, sheet: 68.7 x 91.2 cm, (unframed) (ARR) Provenance: The Thomas Collection. Note: see Tate Britain, accession no. P04575, for another impression. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Linâs work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- Spring, Summer, Autumn, from The Four Seasons Portfolio, 1966; three screenprints in colours on T H Saunders wove, each signed, dated, titled and numbered 58/70, 39/70 and 21/70 respectively in pencil, each sheet: 68.7 x 91.2 cm, (unframed) (ARR) (3) Note: see Tate Britain, accession nos. P04575, P04576 and P04577, for other impressions. Provenance: The Thomas Collection. Please refer to department for condition report
Richard Lin, British 1933-2011- Spring, Summer, Autumn, from The Four Seasons Portfolio, 1966; three screenprints in colours on T H Saunders wove, each signed, dated, titled and numbered 49/70, 49/70 and 29/70 respectively in pencil, each sheet: 68.7 x 91.2 cm, (unframed) (3) (ARR) Provenance: The Thomas Collection. Note: see Tate Britain, accession nos. P04575, P04576 and P04577, for other impressions. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Linâs work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- Summer, from The Four Seasons Portfolio, 1966; screenprint in colours on T H Saunders wove, signed, dated, titled and numbered 37/70 in pencil, sheet: 68.7 x 91.2 cm, (unframed) (ARR) Note: see Tate Britain, accession no. P04575, for another impression. Provenance: The Thomas Collection. Please refer to department for condition report
Richard Lin, British 1933-2011- Spring, from The Four Seasons Portfolio, 1966; screenprint in colours on T H Saunders wove, signed, dated, titled and numbered 59/70 in pencil, sheet: 68.7 x 91.2 cm, (unframed) (ARR) Note: see Tate Britain, accession no. P04575, for another impression. Provenance: The Thomas Collection. Please refer to department for condition report
Richard Lin, British/Taiwanese 1933-2011 - Untitled, 1961-3; pencil and oil on paper, signed and dated lower left 'Lin 1961/3', 45 x 56 cm (ARR) Provenance: Christie's, London, 7th October 2008, lot 224; private collection, purchased from the above Note: This early work was made between 1961 and 1963, shortly after the artist’s first solo show at the iconic Gimpel Fils Gallery, London in 1959. As is characteristic of all his mature work, the present work demonstrates a minimalist approach, based on pure line and colour, highly innovative in Britain at the time, inspired by his understanding of Eastern philosophies and his training in architecture, and its focus on carefully composed form. His work is comparable with that of American artist Agnes Martin, for its deeply contemplative nature, and was exhibited in important exhibitions such as ‘documenta III’ in Kassel in 1964.
Richard Lin, British 1933-2011- Summer, 1966; screenprint in colours on T H Saunders wove, signed, dated, titled and numbered 38/70 in pencil, from The Four Seasons Portfolio, sheet 68.7 x 91.2cm (unframed) (ARR) Provenance: The Thomas Collection. Note: see Tate Britain, accession no. P04575, for another impression. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- Spring, 1966; screenprint in colours on T H Saunders wove, signed, dated, titled and numbered 70/70 in pencil, from The Four Seasons Portfolio, sheet 68.7 x 91.2cm (unframed) (ARR) Provenance: The Thomas Collection. Note: see Tate Britain, accession no. P04575, for another impression. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- Spring, Summer, Autumn, 1966; three screenprints in colours on T H Saunders wove, each signed, dated, titled and numbered 49/70, 49/70 and 29/70 respectively in pencil, from The Four Seasons Portfolio, each sheet 68.7 x 91.2cm (unframed) (3) (ARR) Provenance: The Thomas Collection. Note: see Tate Britain, accession nos. P04575, P04576 and P04577, for other impressions. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- Relationships I and II, 1965; two screenprints on British Hand Made 37 wove, each signed and numbered 63/70 and 4/70 in pencil, each sheet 43.9 x 56.5cm (unframed) (2) (ARR) Note: see Tate Britain, accession no. P04574 and P04573 , for other impressions. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Provenance: The Thomas Collection Please refer to department for condition report
Richard Lin, British 1933-2011- May 4, 1971; screenprint on wove and acetate sheets, signed and numbered 33/70 in pencil, printed by Kelpra Studio, with their inkstamp verso, each sheet 50.8 x 50.8cm (unframed) (ARR) Provenance: The Thomas Collection. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- May 3; May 4, 1971; two screenprints on wove and acetate sheets, each signed and numbered 15/70 and 51/70 in pencil, from the May series, printed by Kelpra Studio, with their inkstamp verso, each sheet 50.8 x 50.8cm (unframed) (2) (ARR) Provenance: The Thomas Collection. Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
Richard Lin, British 1933-2011- May 1; May 2; May 3; May 4, 1971; the complete series of four screenprints on wove and acetate sheets, each signed and numbered variously from the edition of 70 in pencil, printed by Kelpra Studio, with their inkstamp verso, each sheet 50.8 x 50.8cm (unframed) (ARR) Provenance: The Thomas Collection Note: Taiwan-born Richard Lin graduated with a degree in architecture from Regent St Polytechnic in 1958 and subsequently continued to work in the UK under the name Lin Show Yu. Lins work presents deceivingly simple and minimalist compositions, which take inspiration from traditional Chinese and Taiwanese paintings, as well as modern abstraction including the work of Ben Nicholson. Please refer to department for condition report
RICHARD LIN (1933 Taichung 2011) Painting Relief 13 September 1965. 1965. Oil, aluminium and perspex on canvas. Signed on the overlap: LIN. Also signed, dated, with measurements and directional arrows on the stretcher: LIN 13-SEPTEMBER-1965 50×60. 127 × 152.5 cm. Provenance: - Marlborough Gallery, London (verso with the label). - Purchased from the above by the previous owner, private collection Switzerland. - By descent to the present owner, also private collection Switzerland. Exhibition: London 1966, Richard Lin. Marlborough Fine Art Gallery, March-April 1966, p. 2, no. 18 (with b/w ill.). “White is the most mundane of colors, and the greatest of all colors: it is the most colorless and the most colorful: it is the most noble color and the most common color: it is the most tranquil color, and the saddest color too ... white in and of itself is many colors: it can be thicker, thinner, heavier, lighter, transparent, semi-transparent ... which means that with white and white, you can construct many strange and wonderful relationships of shapes and shapes, or spaces and spaces.” Richard Lin The British Minimalist Richard Lin was born in 1933, in Taiwan, which at the time was under Japanese control. From 1939 to 1944 he attended Japanese schools, but in 1944 switched to a Chinese secondary school which he attended for four years, and then in 1949 moved to Hong Kong to study English. In 1952 he emigrated to England, where he became a British subject in 1963. In 1958, Lin graduated in art, architecture, and art history from Regent Street Polytechnic in London. One year later he had his first solo show at Gimpel Fils gallery in London. In 1964 he took part in documenta III and began teaching at Ravensborne College in 1965. Lin was represented by the influential Marlborough Gallery. In 1966 he won the Arts Council of Ireland Painting Exhibition Prize, followed by the William Frew Memorial Prize in Pittsburgh in 1967 and the Prize for Sculpture from the Museum of Fine Arts in Taipei in 1985. Richard Lin left England in 1981 and lived in Taiwan again until his death in 1988. Richard Lin became famous for his predominantly white "relief paintings". He painted several layers on top of one another, allowing each layer to dry before applying the next, so that the white, monochrome canvas nevertheless showed colour differences and edges. With the canvas prepared in this way, he would then apply his reliefs. In the present work from "13 September 1965", there are 2 vertical bars in the upper third of the canvas: on the left, an elongated piece of aluminium with a narrow black stripe painted on its right side; on the right, a white piece of Plexiglas, complemented on the right by a narrow strip of aluminium. They border a white square on the right, left and bottom, created by the multiple application of paint. Lin skilfully plays with the viewer's perception. Both the canvas, which is not uniformly white, and the different materials of the reliefs unsettle us and cause us to check our assumptions about our visual experience. Looking at the work, we suppose that it is a monochrome white painting and also that the reliefs are identical — but neither is true; the individual reliefs are the same length, but differ in width, height and material. Recognising this is unsettling and challenges the viewer to check and adjust their preconceptions. "Relief Painting 13 September 1965" is an outstanding example of Richard Lin's expert handling of the relationship between painting and architecture, and at the same time between Western and Eastern art traditions. --------------- RICHARD LIN (1933 Taichung 2011) Painting Relief 13 September 1965. 1965. Öl, Aluminium und Plexiglas auf Leinwand. Auf der überlappenden Leinwand signiert: LIN. Zudem auf dem Keilrahmen signiert, datiert, mit Mass - und Richtungsangaben: LIN 13-SEPTEMBER-1965 50×60. 127 × 152,5 cm. Provenienz: - Marlborough Gallery, London (verso mit dem Etikett). - Vom Vorbesitzer bei obiger Galerie erworben, Privatsammlung Schweiz. - Durch Erbschaft an den heutigen Besitzer, ebenfalls Privatsammlung Schweiz. Ausstellung: London 1966, Richard Lin. Marlborough Fine Art Gallery, März-April 1966, S. 2, Nr. 18 (mit s/w-Abb.). „White is the most mundane of colors, and the greatest of all colors: it is the most colorless and the most colorful: it is the most noble color and the most common color: it is the most tranquil color, and the saddest color too ... white in and of itself is many colors: it can be thicker, thinner, heavier, lighter, transparent, semi-transparent ... which means that with white and white, you can construct many strange and wonderful relationships of shapes and shapes, or spaces and spaces.“ Richard Lin Der britische Minimalist Richard Lin wird 1933 in Taiwan, das zu dieser Zeit unter japanischer Herrschaft steht, geboren. Von 1939 - 1944 besucht er japanische Schulen, wechselt 1944 für vier Jahre auf eine chinesische Oberschule, um dann 1949 zum Englisch-Studium nach Hongkong zu ziehen. 1952 emigriert er nach England, wo er 1963 eingebürgert wird. Im Jahr 1958 schliesst Lin sein Studium der Kunst, Architektur und Kunstgeschichte am Regent Street Polytechnikum in London ab. Ein Jahr später folgt seine erste Einzelausstellung in der Galerie Gimpel Fils, London. 1964 nimmt er an der documenta III teil und beginnt 1965 seine Lehrtätigkeit am Ravensborne College. Lin wird durch die einflussreiche Marlborough Gallery vertreten. 1966 gewinnt er den Preis der Malerei Ausstellung vom Arts Council Ireland, 1967 folgt der William-Frew-Gedächtnis Preis in Pittsburgh und 1985 der Preis für Skulptur des Museums für Schöne Künste in Taipeh. 1981 verlässt Richard Lin England und lebt bis zu seinem Tod 1988 wieder in Taiwan. Berühmt wird Richard Lin durch seine überwiegend weissen „Relief Paintings“. Er malt diverse Schichten übereinander, lässt jede Schicht vor dem Auftrag der Nächsten trocknen, wodurch die weisse, monochrome Leinwand doch Farbunterschiede und -kanten aufweist. Auf der so präparierten Leinwand bringt er seine Reliefs an. Im vorliegenden Werk vom „13. September 1965“ befinden sich im oberen Drittel der Leinwand 2 vertikale Balken: links ein längliches Aluminiumstück, auf dessen rechter Seite ein schmaler schwarzer Streifen gemalt ist; rechts ein weisses Plexiglasstück, das rechts durch einen schmalen Aluminiumstreifen ergänzt ist. Sie grenzen rechts, links und unten an ein weisses Quadrat an, welches durch den mehrfachen Farbauftrag entstanden ist. Eindrücklich spielt Lin mit der Wahrnehmung des Betrachters. Sowohl die nicht einheitliche weisse Leinwand als auch die unterschiedlichen Materialien der Reliefs irritieren uns und lassen uns unser angenommenes Seherlebnis überprüfen. Beim Betrachten des Werkes gehen wir davon aus, dass es sich um ein monochrom weisses Gemälde handelt und auch, dass die Reliefs identisch sind - beides trifft aber nicht zu. Die einzelnen Reliefs sind zwar gleich lang, aber abweichend in Breite, Höhe und Material. Die Erkenntnis dieser Beobachtung führt zur Irritation des Betrachters und fordert ihn heraus, seine vorgefasste Wahrnehmung zu kontrollieren und anzupassen. „Relief Painting 13. September 1965“ ist ein herausragendes Beispiel für Richard Lins meisterhaften Umgang mit den gleichzeitigen Einflüssen von Malerei und Architektur und von westlicher und östlicher Kunsttradition.
Richard Lin (Lin Show-Yu, 1933-2011) All Grey 1970 signed, titled and dated 1970 on the backing board oil on canvas 64 x 64 cm (25 x 25 in) Marlborough Fine Art label affixed to the backing board For further information on this lot please visit the Bonhams website
Richard Lin (Taiwanese/British, 1933-2011). Aluminum and oil on canvas titled "Vermillion and Yellow," 1969, depicting a minimalist composition of thin bands of color and aluminum on a white and gray ground. Signed, titled, and inscribed with the medium along the verso. A label from Marlborough Gallery, London, England, is affixed to the verso. "Stillness is very important to me. Painting is my religious expression. It's my altarpiece, something untouched by human hands. Therefore, all gestures disappeared." - Richard Lin Richard Lin's bold style of minimalism took the mid-20th century art world by storm, throughout Europe and Asia. Born in Taiwan in 1933 to a wealthy family, Lin was raised with the expectation that he would one day become heir to the fortune. As a child, he was trained in the traditional arts of calligraphy and garden design, at which he excelled. When he came of age, his family sent him to England for college. While he studied architecture during the day, he was unwilling to give up art, and studied painting by night. Upon his graduation in 1958, he shocked his family by renouncing his fortune and deciding to paint full time. He soon found success as an artist, first within Britain and soon internationally. He had his first solo show within a year of graduating, at Gimpel Fils. His work drew the respect and praise of his contemporaries, such as Joan Miro. While his work bears some similarities to the American Minimalism Movement of the time, his philosophical grounding was based in Taoist spirituality, which informed many of his choices. After several decades of success in London, Lin moved to the countryside of Wales, where the tranquility and beautiful landscape inspired him. The present artwork shows Lin's mastery of serenity and simplicity. The narrow lines of red and yellow mirror the applied piece of aluminum, standing out from the white and pale gray ground. His use of space and of unusual materials such as aluminum reflect his background in architecture. However, his choice of colors has its roots in something far less industrial: his minimalist compositions are often evocations of the landscapes around him. The bright yellow and vermilion are more than simply pigments; they are the color of the autumn leaves or perhaps vibrant summer flowers in Lin's adopted home in Wales. With incredibly subtlety and restraint, Lin renders his religious expression in his art and the world around him.
RICHARD LIN (1933-2011) Aluminium / Brown / Yellow, 1969 Huile et aluminium sur toile Signé, titré et daté août/septembre 1969 au dos. Olieverf en aluminium op doek Gesigneerd, getiteld en gedateerd augustus/september 1969 op de achterkant. 71 x 101 cm Provenance / Herkomst : Malborough Gallery, Londres. Collection privée, Belgique Lot présenté par Cornette de Saint Cyr Bruxelles.
