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• Lot n° 1073 (1900-1991) 66,5 x 66,3 cm (o.R.) Lady with mirror next to a vase with flowers. Ink and colour on paper. Signed, with a seal of the artist "Lin Fengmian yin". A painting of a woman holding a mirror is a classic and highly representative subject in the work of Lin Fengmian, reflecting both his artistic style and emotional world. Throughout his career, Lin returned frequently to images of solitary women, using them as a vehicle to explore themes of introspection, identity, and quiet melancholy. In these compositions, the female figure is usually placed within a carefully balanced, often square format. The lines are simplified yet expressive, combining the fluidity of traditional Chinese ink painting with the structural clarity of Western modernism. The influence of artists such as Amedeo Modigliani can sometimes be seen in the elongated forms and stylized faces, while the use of color and composition reflects Lin’s engagement with European movements like Fauvism. The mirror itself plays an important symbolic role. Rather than serving as a mere object of vanity, it often suggests reflection in a deeper sense-an inward gaze, a moment of self-awareness, or even a feeling of emotional distance. The woman is frequently depicted alone, absorbed in her own thoughts, which creates a sense of stillness tinged with loneliness. This emotional quality is a hallmark of Lin Fengmian’s work and is closely connected to his own life experiences, including periods of hardship and isolation. Color in these paintings tends to be both restrained and expressive. Soft yet contrasting tones are used to create mood rather than realism, while the brushwork remains economical, avoiding unnecessary detail. The overall effect is one of harmony between East and West: Western compositional techniques are employed, but they are infused with the poetic sensibility and spiritual depth of Chinese art. Such paintings exemplify Lin Fengmian’s broader artistic vision-to bridge cultural traditions and create a modern form of Chinese painting that speaks to universal human emotions. The image of a woman with a mirror, quiet and contemplative, becomes not just a portrait but a meditation on inner life, making it one of the most evocative themes in his body of work. From the collection of the chemist, engineer and director of Merck & Co. Heinrich Georg Johann Harms (3.9.1906-28.6.1975) and his wife Eva Harms (10.11.1905-13.10.1998) - Slightly trimmed, very minor traces of age