- 530
YAMAGUCHI TAKEO | Sequence of Squares
Estimate
800,000 - 1,000,000 HKD
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Description
- Yamaguchi Takeo
- Sequence of Squares
- oil on board, in artist's original frame
- 60 by 45 cm; 23⅝ by 17¾ in.
signed, titled and dated October 1956 in Japanese on the reverse
Provenance
Mudo Gallery, Tokyo
Private Collection, Japan
Private Collection, Japan
Exhibited
Japan, Gunma, The Museum of Modern Art; Ehime, The Museum of Art, Through a Collector's Eye: Japanese Art after 1945, September 2001-January 2002, p. 67, cat. no. 48 (illustrated in colour)
Literature
Yamaguichi Takeo Sakuhin-Shu, Kodansha, Tokyo, 1981, no. 121
Condition
This work is in very good condition overall. Upon very close examination, very fine striated craquelures are observed throughout the work and primarily on thickly painted areas which is consistent with the artist's chosen medium and method of execution. No evidence of retouching observed when examined under ultraviolet light. Please note that this work was examined within its frame. Framed.
"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
PROPERTY FROM A DISTINGUISHED
PRIVATE JAPANESE COLLECTION
Lots 530 to 535 hail from an important and distinguished private Japanese collection that amassed a first-class assemblage of Post-War Japanese Art from the 1970s onwards. The historically significant collection encompasses eminent established names from the immediate post-war period through to then-emerging artists in the 1980s, featuring rare and highly representative works that reflect the cutting-edge artistic views and creative inclinations of Japan’s dynamic post-war era. With impeccable provenance, bearing the hallmark of a passionate and pioneering Japanese connoisseur, many works in the collection have been on loan to and exhibited at major museums in Japan and beyond and contributed to the development of art and criticism worldwide.
The current selection presents an ambitious abstract lexicon of six works by pioneering post-war Japanese artists. Highlights include first-class works by Imai Toshimitsu, Domoto Hisao and Yamaguchi Takeo that bear distinguished exhibition records. Pioneers of their time, Domoto and Imai were amongst the first to venture to Paris in the early 1950s, each developing their own signature abstract styles by synthesizing aesthetic philosophies from the East and the West. Enamoured and influenced by the city and its art, Imai’s monumental work Sole Nascence, 1963, created three years after the artist was selected to represent Japan at the reputed Venice Biennale, is exemplary of Imai’s signature brand of thickly impastoed abstraction featuring rounded forms that recall the rising sun. Domonto’s Peinture, on the other hand, displays the artist’s renowned lyricism that evokes the swirling energy of winds and waves – a work that exhibits to full effect Domoto’s nimble calligraphic brushwork which sets him apart from European Informel. Rounding up the selection is an archetypal geometric monochrome painting by Yamaguchi – Sequence of Squares, 1956, created in the same year the artist represented Japan at the 28th Venice Biennale. Unlike the flat surfaces of the American Color Field painters, Yamaguchi’s heavy impasto possess a palpable sculptural presence, articulating a profound emphasis on tangible perception and the structural integrity of physical reality. Manifesting a sublime synthesis of remote traditions, histories and cultures, such leading post-war Japanese artists enriched not only the art of their own lands but the entire global stage of abstraction.
PRIVATE JAPANESE COLLECTION
Lots 530 to 535 hail from an important and distinguished private Japanese collection that amassed a first-class assemblage of Post-War Japanese Art from the 1970s onwards. The historically significant collection encompasses eminent established names from the immediate post-war period through to then-emerging artists in the 1980s, featuring rare and highly representative works that reflect the cutting-edge artistic views and creative inclinations of Japan’s dynamic post-war era. With impeccable provenance, bearing the hallmark of a passionate and pioneering Japanese connoisseur, many works in the collection have been on loan to and exhibited at major museums in Japan and beyond and contributed to the development of art and criticism worldwide.
The current selection presents an ambitious abstract lexicon of six works by pioneering post-war Japanese artists. Highlights include first-class works by Imai Toshimitsu, Domoto Hisao and Yamaguchi Takeo that bear distinguished exhibition records. Pioneers of their time, Domoto and Imai were amongst the first to venture to Paris in the early 1950s, each developing their own signature abstract styles by synthesizing aesthetic philosophies from the East and the West. Enamoured and influenced by the city and its art, Imai’s monumental work Sole Nascence, 1963, created three years after the artist was selected to represent Japan at the reputed Venice Biennale, is exemplary of Imai’s signature brand of thickly impastoed abstraction featuring rounded forms that recall the rising sun. Domonto’s Peinture, on the other hand, displays the artist’s renowned lyricism that evokes the swirling energy of winds and waves – a work that exhibits to full effect Domoto’s nimble calligraphic brushwork which sets him apart from European Informel. Rounding up the selection is an archetypal geometric monochrome painting by Yamaguchi – Sequence of Squares, 1956, created in the same year the artist represented Japan at the 28th Venice Biennale. Unlike the flat surfaces of the American Color Field painters, Yamaguchi’s heavy impasto possess a palpable sculptural presence, articulating a profound emphasis on tangible perception and the structural integrity of physical reality. Manifesting a sublime synthesis of remote traditions, histories and cultures, such leading post-war Japanese artists enriched not only the art of their own lands but the entire global stage of abstraction.