- 521
David Wu Ject-Key
Estimate
280,000 - 380,000 HKD
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Description
- David Wu Ject-Key
- Self-Portrait
- oil on canvas
signed in pinyin and stamped with the artist's seal
Provenance
Important Private American Collection
Condition
This work is overall in good condition. The canvas is relined with wax adhesive. There are abrasions along the borders. Across the surface there are very slight craquelures only visible under close examination.
There is no evidence of restoration under UV light.
"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."
"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."
Catalogue Note
Important Private American Collection
Masterpieces by David Wu Ject-Key
Amongst all the Chinese Artists living in America at the time, David Wu Ject-Key developed the deepest connection with the local arts. Raised in an influential family in Zhongshan, Guangdong, Wu received a traditional Chinese education. After immigrating to Canada at the age of twelve, he was admitted into the Royal Canadian Academy of Arts in Montreal. After graduating from the academy, Wu moved to New York and continued his studies at the Grand Central School of Art and the Art Students League; a notable independent art school that fostered notable artists like Jackson Pollock and Mark Rothko. It was here that Wu became the first Chinese tutor at the academy, thus allowing him to establish a good platform in making his name known in the art world, and letting his talent be thoroughly recognized and exemplified.
Known to be pro-active in a plethora of clubs and exhibitions during his time in America, David Wu remained an influential member of the Salons of America in 1931-34, the Allied Artists of America, the National Academy of Design and the North Shore Arts Association in the 1950’s. His work was also showcased in many touring exhibitions. Furthermore, Wu participated in a sketching tour in Taiwan, as well as an exhibition with the Chinese American Association.
Wu established clear recognition from all walks of life, thoroughly reflected and exemplified in his achievements and prizes gained throughout his life. These include the Salmagundi Club Award in 1956, the Allied Artist of America award in 1958, the Ranger Fund Purchase Award, and consecutive awards in The Artist in 1962. Furthermore, he also received the Knicker Bocker Award three times in 1957, 1961 and 1963, proving to the public and critics alike that his work was thoroughly well-received and anticipated. His piece entitled Desolation was awarded the Medal of Honor by the America Watercolor Society in 1962. His extensive collection of masterpieces were also displayed at the US Navy Museum in Washington D.C., the Norfolk Museum of Arts and Sciences and the Maryhill Museum of Art. Even to this day the American Watercolor Society and the Salmagundi Club annually deliver the "D. Wu" and the "Elsie Ject-Key" memorial awards to talented artists, showing Wu’s legacy to a society which obviously still views him as an influential figure in the American art scene.
The eleven lots on offer at Sotheby’s bear testimony to his influential artistic life, and depict his main genre of landscapes and portraits. Landscapes like A Day in the Village (Lot 528), River with White House (Lot 529), Old Shed on a New England Farm (Lot 529), Inner Harbour in Rockport MA (Lot 530) and River Landscape (Lot 531) epitomize American scenes depicted with Wu's painting style. Portraits like Girl in Red Suit (Lot 522), Norwegian Girl (Lot 523), Young Girl in a Yellow Dress (Lot 524), Seated Nude (Lot 525), Nude (Lot 526) and Reclining Nude (Lot 526) demonstrate the artist’s clear ability in portraiture, particularly in the depiction of the sitter’s personality. Lastly, more meaningful and personal paintings like Wu’s Self-Portrait (Lot 521) and Hometown Memories (Lot 527) embody the artist’s personal feelings, and give the viewer an insight into the artist's past and life – acting as an autobiography of his life.
Self-Portrait
Self-Portraiture has been a major theme in the History of Western Art, dating as far back to the Renaissance period. David Wu Ject-Key began developing his strength as a portraitist, and eventually decided to challenge himself further to different subjects such as self-portraits. Notwithstanding his decade-long departure from his hometown, his Chinese identity was never forgotten. Wu intentionally presents the detail in the corner of the desk as a motif of his Chinese ancestry, represented in the form of a Chinese lady and altar flower. These motifs thoroughly reflect his Chinese background, and act as a reminder to the viewer of his thoroughly significant roots.
Wu once stated that the portrait of a character should correctly incorporate facial features according to the sitters’ identity in order to strengthen their temperament. In comparison to Wu’s own photo, the self-portrait not only suggests the artist has adjusted his face to be narrower, but has also depicted himself in a contemplative frown with closed lips that seem to convey a strong sense of confidence. As a whole, his posture and general appearance display the true style of an artist.
Masterpieces by David Wu Ject-Key
Amongst all the Chinese Artists living in America at the time, David Wu Ject-Key developed the deepest connection with the local arts. Raised in an influential family in Zhongshan, Guangdong, Wu received a traditional Chinese education. After immigrating to Canada at the age of twelve, he was admitted into the Royal Canadian Academy of Arts in Montreal. After graduating from the academy, Wu moved to New York and continued his studies at the Grand Central School of Art and the Art Students League; a notable independent art school that fostered notable artists like Jackson Pollock and Mark Rothko. It was here that Wu became the first Chinese tutor at the academy, thus allowing him to establish a good platform in making his name known in the art world, and letting his talent be thoroughly recognized and exemplified.
Known to be pro-active in a plethora of clubs and exhibitions during his time in America, David Wu remained an influential member of the Salons of America in 1931-34, the Allied Artists of America, the National Academy of Design and the North Shore Arts Association in the 1950’s. His work was also showcased in many touring exhibitions. Furthermore, Wu participated in a sketching tour in Taiwan, as well as an exhibition with the Chinese American Association.
Wu established clear recognition from all walks of life, thoroughly reflected and exemplified in his achievements and prizes gained throughout his life. These include the Salmagundi Club Award in 1956, the Allied Artist of America award in 1958, the Ranger Fund Purchase Award, and consecutive awards in The Artist in 1962. Furthermore, he also received the Knicker Bocker Award three times in 1957, 1961 and 1963, proving to the public and critics alike that his work was thoroughly well-received and anticipated. His piece entitled Desolation was awarded the Medal of Honor by the America Watercolor Society in 1962. His extensive collection of masterpieces were also displayed at the US Navy Museum in Washington D.C., the Norfolk Museum of Arts and Sciences and the Maryhill Museum of Art. Even to this day the American Watercolor Society and the Salmagundi Club annually deliver the "D. Wu" and the "Elsie Ject-Key" memorial awards to talented artists, showing Wu’s legacy to a society which obviously still views him as an influential figure in the American art scene.
The eleven lots on offer at Sotheby’s bear testimony to his influential artistic life, and depict his main genre of landscapes and portraits. Landscapes like A Day in the Village (Lot 528), River with White House (Lot 529), Old Shed on a New England Farm (Lot 529), Inner Harbour in Rockport MA (Lot 530) and River Landscape (Lot 531) epitomize American scenes depicted with Wu's painting style. Portraits like Girl in Red Suit (Lot 522), Norwegian Girl (Lot 523), Young Girl in a Yellow Dress (Lot 524), Seated Nude (Lot 525), Nude (Lot 526) and Reclining Nude (Lot 526) demonstrate the artist’s clear ability in portraiture, particularly in the depiction of the sitter’s personality. Lastly, more meaningful and personal paintings like Wu’s Self-Portrait (Lot 521) and Hometown Memories (Lot 527) embody the artist’s personal feelings, and give the viewer an insight into the artist's past and life – acting as an autobiography of his life.
Self-Portrait
Self-Portraiture has been a major theme in the History of Western Art, dating as far back to the Renaissance period. David Wu Ject-Key began developing his strength as a portraitist, and eventually decided to challenge himself further to different subjects such as self-portraits. Notwithstanding his decade-long departure from his hometown, his Chinese identity was never forgotten. Wu intentionally presents the detail in the corner of the desk as a motif of his Chinese ancestry, represented in the form of a Chinese lady and altar flower. These motifs thoroughly reflect his Chinese background, and act as a reminder to the viewer of his thoroughly significant roots.
Wu once stated that the portrait of a character should correctly incorporate facial features according to the sitters’ identity in order to strengthen their temperament. In comparison to Wu’s own photo, the self-portrait not only suggests the artist has adjusted his face to be narrower, but has also depicted himself in a contemplative frown with closed lips that seem to convey a strong sense of confidence. As a whole, his posture and general appearance display the true style of an artist.