Zhu Dequn (Chu Teh-Chun)

Collection particulière, Genève

The colours are fairly accurate in the catalogue illustration although the overall tonality is less flashy and more natural in the original. The work is executed on its original canvas and is not relined. Under UV light, no trace fluoresces. The work is in very good condition. A loss of paiting (approx. 3mm) is visible upon very close inspection. In the lower right corner, regular traces of use are visible upon very close inspection.
"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, dated; signed and dated on the back; oil on canvas. Executed in 1971.

C'est un spectacle extraordinaire. Du cœur d'une lave en fusion cerné d'un anneau aux jaunes stridents, s'échappent des volées de braises rougeoyantes qui se figent très vite, comme en un chaos original.  Des colonnes de basaltes déjà éclatées, fracassées, sont projetées dans l'espace pour s'immobiliser ensuite lentement en des formes plus claires qui s'organisent le long d'une ligne de fond, la ligne de crête.
(...) Le spectacle est extraordinaire, oui. Cette multiplication de feux, de braises et de cristaux changés en météorites brusquement figés ou en taches de lumière, est devenue un ciel qu'on a vu se développer en un fulgurant diaporama. 
(Pierre-Jean Rémy, Chu Teh-Chun, Paris, 2006, p.13)