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† Attributed to Kim Deuk-sin (金得臣, 1754-1822), Guo Ziyi's Banquet (Gwakbunyang Haengnakdo), a fine eight-panel screen, ink and colour on silk, with two seals of the artist, picture size 452cm x 130.5cmBIDDING FOR THIS LOT WILL BE BY TELEPHONE ONLY AND ONLINE BIDS WILL NOT BE ACCEPTED. IF YOU ARE INTERESTED IN THIS LOT PLEASE CONTACT DREWEATTS TO ARRANGE A TELEPHONE BID (+ 44 (0) 1635 553 553 | ytao@deweatts.com) 本件拍品仅接受电话竞价，网上竞价无效，如您有兴趣，请联系陶映雯博士（ytao@dreweatts.com） Provenance: From a private West Coast collection in the US and first purchased in Tokyo when the family ran the US occupying forces entertainment program in 1946. This eight-panel folding screen depicts a banquet honouring Guo Ziyi (697-781), a famed general of China's Tang dynasty (618-907). In addition to his individual achievements, he lived a long life until the age of 85 with a big family of eight sons and seven daughters who were all quite successful. Thus he became a paragon of Confucian loyalty and fortitude, and even deified in popular religion as a god of wealth and happiness. By the 17th century in China, Guo's reception had become a metaphor for auspicious birthday celebrations in general and was depicted in various media, e.g., blue and white porcelain, embroidery and lacquer, conveying a wish for longevity, wealth, and rank. See a set of twelve embroidered 'Celebration Scene' hanging scrolls, 17th century, at the Metropolitan Museum (accession number 2019.445.1a-I).As such, screen paintings illustrating similar themes delivered a didactic message and emphasised the Joseon admiration for and imitation of Ming imagery. Based on the Chinese prototypes, Joseon's paintings of Guo Ziyi were newly composed in the style of court painting in splendid dark colours, and were mainly produced as folding screens.Kim Deuk-sin (1754-1822) was the son of a royal court painter, Kim Eungri (金印履), and followed in his father's footsteps. He entered royal service as a member of the Dohwaseo (圖畵署), the official painters of the Joseon court. His work showed the influence of Kim Hong-do(金弘道), and excelled at landscape and genre paintings in particular. Scattered worldwide in major museums such as the Metropolitan Museum, Philadelphia Museum of Art and National Palace Museum of Korea, there are about 47 screens of the same topic remaining today but mostly painted by unknown artists. Only very few examples are signed and stamped. Compare with a similar screen depicting the banquet by Kim Deuk-sin at the National Museum of Korea (accession number Deoksu 1508). Guo is depicted in the present work at centre of the banquet in his honour, enjoying a dance performance surrounded by his large family in a palatial residence with flowering trees, cranes, deer, and birds. His sons and sons-in-law (八子七婿) standing by his sides are all dressed in official costumes, and his grandsons frolicking in front of him. Covered with auspicious clouds on top, the painting also features cranes, deer, and pine trees wishing for longevity, and peonies symbolising wealth and prosperity are in full bloom. Screens like this would have been used at celebrations and given as congratulatory gifts to distinguished individuals and royal families.김득신 곽분양행락도 8폭병풍朝鮮王朝 （傳）金得臣（1754-1822）《郭汾陽行樂圖八開屏風》設色絹本款識：兢齋，金得臣印 拍品來源：美國西海岸私人家族收藏，其於1946年於日本錄製美軍娛樂節目時購自東京