Signed in Chinese and English on bottom right; signed in English and Chinese, dated, and titled in French on the reverse. Chu Teh-Chun’s lifelong body of work is challenging to categorize chronologically, but two outstanding periods, the "Iron-Wire Period" (1956-1962) and the "Snowscape Series" (1985-1990), stand out. These periods represent his classic works, both scarce in quantity and highly sought after in the market. During the "Iron-Wire Period," the rich black ink of traditional Chinese ink painting and the flowing lines of calligraphy entered his oil paintings. With vigorous brushstrokes, he incorporated flying wild grass and majestic Chinese rubbing techniques into his work. Through the bold application of oil paints, he sought to develop the essence of Chinese brushwork and ink aesthetics, giving ancient brush and ink a modern and global significance. This paved the way for the revival of Chinese art on the global stage and solidified his monumental position in the history of East-West art. The maturity of this period culminated in 1958, producing masterpieces such as Fantasia and Composition No. 25 - Autumn. That same year, he held his first exhibition at the Galerie du Haut-Pavé in Paris, marking a remarkable debut in the abstract art scene. The exhibition attracted Galerie Henriette Legendre, where he signed a six-year contract, marking the peak of his artistic career in his first period in France. The painting Composition No. 19 - Lumière Obscure, completed in 1959, stands as a representative work of his artistic career during the "Iron-Wire" Period.