'Dual-Rivulet 8'. An Elizabeth II monumental silver bowl, Hiroshi Suzuki, London, 2006

hammer raised and chased with wavy-flutes, double-skinned, chemically-toned surface, Britannia 958 standard

Timothy Schroder, Hiroshi Suzuki, London, 2010, p.37

Heavy gauge. Clear marks. Nice patina. Good 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."

Born in Japan, Hiroshi Suzuki came to the United Kingdom and completed his MA at the Royal College of Art in 1999. Fascinated by nature and its 'imperfection,' he takes inspiration from its fluent expressions, trying to 'achieve that same imperfection.' His first aim was to 'destroy the metal' and pull the silver into shape, as if he were using his fingertips, that led him to develop his own hammering method without beating the metal over a cast iron stake. In this way, every one of Hiroshi Suzuki's pieces is a unique creation. Suzuki currently has works in over thirty major public collections across the globe including the Victoria and Albert Museum, London and the Museum of Arts and Design, New York. Another bowl from this Dual-Rivulet III series, of which there are thought to be under ten examples, can be found in the National Museum of Scotland, Edinburgh.

At his one-man selling exhibition,'Hiroshi Suzuki - Silver Waves' at Goldsmiths' Hall, London in 2010, he described his own work as 'the embodiment of an intuitive sense of organic abstraction, whilst alluding to functional tradition.' During the same exhibition Rosemary Ransome-Wallace, curator at Goldsmiths' Hall, commented, 'I was immediately struck by the dynamic presence of his work. His subsequent success and considerable contribution to contemporary silver is that ultimately it is Hiroshi’s poetry which defines his work. Working within the Japanese tradition of the spirituality of natural elements such as wind, fire and water, Hiroshi makes these abstractions accessible to Western eyes through his sculptural approach to his vessels.'