Zao Wou-Ki

Frank Perls, Beverly Hills
Collection particulière, New York
Vente: Ader-Picard-Tajan, Paris, 19 juin 1989, lot 105
Collection particulière, Paris

San Fransisco, Museum of Art, Paintings by Zao Wou-Ki, 1968
Los Angeles, Franck Perls Gallery, Zao Wou-Ki, 1968

Jean Leymarie, Zao Wou-Ki, 1979, p.293, no.358, illustré
Jean Leymarie, Zao Wou-Ki, 1986, p.333, no.390, illustré

The colours are fairly accurate in the catalogue illustration although the overall tonality is lighter in the original. The work is executed on canvas and is not relined. Under UV light, there is no evidence of any retouching. This work is in excellent condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

signed; signed, titled and dated on the back. Executed in 1967.

Zao Wou-Ki peint 12-12-67 vingt ans après avoir quitté la Chine natale. Cette année-là, il rencontre Barnett Newman, le chef de file des artistes du mouvement Colored Field Painting.  Comme l'artiste américain, devenu son ami, depuis près de vingt ans Zao Wou-Ki a fait de l'abstraction le champ privilégié de son exploration. Mais à la géométrie des œuvres de Barnett Newman,  Zao Wou-Ki oppose un lyrisme diffus et rayonnant. Avec ses teintes mordorées, brossées en tous sens et rehaussées d'éclats de blanc, 12-12-67 est un vibrant exemple de la manière dont l'artiste pare ses paysages imaginaires. Dans l'extraordinaire lumière qui irise la toile, l'or des laques chinoises resurgit. La toile s'embrase d'un feu à nul autre pareil.

Barnett Newman, The Word I, 1946 © Bruce White

Cèdres, paravent en laque, attribué à Kano Eitoku, XVIe siècle © D.R. Musée Guimet