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Lu Shengzhong Sold at Auction Prices

b. 1952 -

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  • LU SHENGZHONG
    May. 30, 2010

    LU SHENGZHONG

    Est: $20,000 - $40,000

    LU SHENGZHONG (B. 1952) Shadow (Left & Right); & Shadow (Up & Down) titled and signed in Chinese; dated '1991' (on each work) two paper-cut, mounted on paper each: 30 x 25 cm. (11 7/8 x 9 7/8 in.) (2) Executed in 1991 one seal of the artist (on each work) (2)

    Christie's
  • LU SHENGZHONG
    May. 30, 2010

    LU SHENGZHONG

    Est: $40,000 - $60,000

    LU SHENGZHONG (B. 1952) Work of Arts signed in Chinese; dated '1991' (on each work) four paper-cut and collage on paper each: 30 x 25 cm. (11 7/8 x 9 7/8 in.) (4) Executed in 1991 (4)

    Christie's
  • LU SHENGZHONG
    May. 30, 2010

    LU SHENGZHONG

    Est: $40,000 - $60,000

    LU SHENGZHONG (B. 1952) Customs in Shaanbei four paper-cut, ink, ballpoint pen and collage on paper each: 30 x 25 cm. (11 7/8 x 9 7/8 in.) (4) Executed in 1991 (4)

    Christie's
  • Shengzhong, Lu: Shape and Shade
    Nov. 28, 2009

    Shengzhong, Lu: Shape and Shade

    Est: €180 - €360

    Shengzhong, Lu: Shape and Shade Shape and Shadow. 5 Scherenschnitte (3 große Positive und 2 kleine Negative) aus rotem dünnem, einseitig eingefärbtem Velin. ca. 17-24 x 13-17 cm (Darstellungs- und Blattgröße). Lu Shengzong studierte 1987 an der Central Academy of Fine Art in Bejing in der Abteilung für außereuropäische Kunst und ist heute dort Professor. Während seines Studiums begann er sich schon dafür zu interessieren, wie ein altes chinesisches Kunsthandwerk wie der Scherenschnitt in das tägliche ländliche Leben Chinas integriert werden kann. Die vier Scherenschnitte stammen aus einer Installation mit Tausenden von Scherenschnitten. Rot symbolisiert Glück und diese Art von Papier wird gewöhnlich zu Feierlichkeiten genutzt wie Hochzeiten und Neujahr. Der Künstler äußert sich dazu folgendermaßen: I use paper to cut this little red figure to demonstrate the delicate fragility of human beings. Ephemeral. A human's life is shorter than a paper's thickness....". "

    Galerie Bassenge
  • Human Brick, 2005
    May. 15, 2009

    Human Brick, 2005

    Est: $60,000 - $80,000

    Human Brick , 2005 Cut paper on matboard and paper bound with silk thread and acrylic glass.   Wall hanging: 39 1/2 x 59 in. (100.3 x 149.9 cm); brick: 6 x 11 3/4 x 4 3/4 in. (15.2 x 29.8 x 12.1 cm).  Signed and dated "Lu Shengzhong [in Chinese] 2005" lower right of the wall hanging element.

    Phillips
  • Shengzhong, Lü Shape and Shade Shape and Shadow. 5
    Nov. 29, 2008

    Shengzhong, Lü Shape and Shade Shape and Shadow. 5

    Est: - €450

    Shengzhong, Lü Shape and Shade Shape and Shadow. 5 Scherenschnitte (3 grosse Positive und 2 kleine Negative) aus rotem dünnem, einseitig eingefärbtem Velin. ca. 17-24 x 13-17 cm (Darstellungs- und Blattgrösse). Lu Shengzong studierte 1987 an der Central Academy of Fine Art in Bejing in der Abteilung für aussereuropäische Kunst und ist heute dort Professor. Während seines Studiums begann er sich schon dafür zu interessieren, wie ein altes chinesisches Kunsthandwerk wie der Scherenschnitt in das tägliche ländliche Leben Chinas integriert werden kann. Die vier Scherenschnitte stammen aus einer Installation mit tausenden von Scherenschnitten. Rot symbolisiert Glück und diese Art von Papier wird gewöhnlich zu Feierlichkeiten genutzt wie Hochzeiten und Neujahr. Der Künstler äussert sich dazu folgendermassen: I use paper to cut this little red figure to demonstrate the delicate fragility of human beings. Ephemeral. A human's life is shorter than a paper's thickness.....

    Galerie Bassenge
  • Lu Shengzhong B. 1952 , Human Brick
    Oct. 07, 2007

    Lu Shengzhong B. 1952 , Human Brick

    Est: $250,000 - $350,000

    with acrylic glass shelf, the collage framed Brick: paper, acrylic glass, silk thread; Collage: paper mounted on cardstock, with pencilled outlines

    Sotheby's
  • Lü Shengzhong , Shape and Shadow I painted steel
    Sep. 20, 2007

    Lü Shengzhong , Shape and Shadow I painted steel

    Est: $70,000 - $90,000

    painted steel

    Sotheby's
  • LÜ SHENGZHONG
    Mar. 21, 2007

    LÜ SHENGZHONG

    Est: $40,000 - $60,000

    B. 1952 POETRY OF HARMONY (4 PANELS) POETRY OF HARMONY (4 PANELS) each: 90 by 25 in. 228.6 by 63.5 cm. paper-cut panels Executed in 2000. EXHIBITED New York, Chambers Fine Art, First Encounter, November 11-January 12, 2001, p. 62, similar works exhibited and illustrated

    Sotheby's
  • LÜ SHENGZHONG
    Mar. 31, 2006

    LÜ SHENGZHONG

    Est: $25,000 - $35,000

    B. 1952 HUMAN BRICK (A PAIR) HUMAN BRICK (A PAIR) measurements bricks: 4 3/4 by 9 1/2 by 3 1/8 in. 12 by 24 by 8 cm alternate measurements collages: 39 3/8 by 59 in. 100 by 150 cm Bricks: signed in Chinese and numbered 003 and 004; Collages: titled in Chinese and numbered 003 and 004 Bricks: paper, Plexiglas, silk thread; Collages: paper mounted on cardstock Executed in 2004. EXHIBITED New York, Chambers Fine Art, Lü Shengzhong's Book of Humanity, 2004

    Sotheby's
  • LU SHENGZHONG B. 1952
    Oct. 24, 2005

    LU SHENGZHONG B. 1952

    Est: $130,000 - $180,000

    AFTER-EFFECTS OF TIANANMEN AFTER-EFFECTS OF TIANANMEN measurements note each 137.5 by 35 cm. 54 1/8 by 13 3/4 in. (8) paper cut glued on a set of eight panels NOTE "I did not invent the shape of the Little Red Figure. The Little Red Figure stretches out its four limbs symmetrically-its feet touch the earth as its hands support the sky. Similar figures from early civilizations have been found in various areas of the world. As the earliest form of a self-portrait, and the first evidence of self-awareness, the figure illustrates many similarities among early civilizations. With advances in scientific technology, and a general decline in religious beliefs, it is probable that few people any longer believe that souls exist inside human bodies as little figures. Nor do people perform rituals to callback departed souls. However, materialism and lack of concern for the world beyond the here and now have left the modern man spiritually and mentally damaged...as I cut paper with my scissors and remove the shapes that result from my activity, I make a statement against the separation of soul and body in contemporary thought. I summon the detached forms of the souls so that they can be reunited with their bodies. This can be compared to the juxtaposition of positive and negative forms, or the perfect coexistence of the curves of yin and yang. From the start, I felt an inner obligation to understand this simple yet complicated mission." Reference: L¨¹ Shengzhong, "The Way Forward," First Encounter L¨¹ Shengzhong, New York, Chambers Fine Art, 2001, p. 6.

    Sotheby's
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