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10.01.86
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10.01.86
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10.01.86

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About the item

IVAM Centro Julio Gonzalez label affixed to the stretcher on the reverse \nSigned in Chinese and Pinyin; signed in Pinyin and dated 10.1.86 on the reverse \nThe multiple, coexisting perspectives in traditional Chinese painting reflect the influence of the aesthetics of xieyi . Take for example Guo Xis landscape painting Early Spring (1072). Here the painter, in order to encapsulate the infinite beauty of mountains and rivers within a limited space, presents them from multiple viewpointshorizontal, downwards, and upwardsresponding to them in a dynamic manner. The central mountain form, shrouded in mist, thus gains the three distances of height, depth, and level recession, each incorporating the painters own subjectivity. Zao Wou-Ki was vocal about his admiration for the Northern Song landscapists Fan Kuan and Guo Xi, and the verticality composition of 10.01.86 (Lot 1031) clearly responds to Early Spring. In its openness and abstractness, the former recalls the majesty of the Song monumental landscapes. The aesthetics of traditional Chinese landscape painting inheres subtly in Zaos work, which invites the viewer into a formless, transcendental realm that is yet grounded in the experience of nature. During the 1980s, Zao Wou-Ki reached an unencumbered state of being. Never fazed by a large blank canvas, he could summon his creative energy freely and endlessly. When he participated in exhibitions and presentations in China, he would eagerly revisit its scenic sights, whose impressions would inform and nourish his creative work.    In 1981, Zao visited Zhang Daqians studio, where the two painters spoke freely about art and life. Zao probably found Zhangs splashed-ink and splashed-colour techniques resonant with his own sensibilities. All these experiences inform 10.01.86. Here the painters elegant and vitally energetic brushwork, cosmic vision, and channelling of the miracles of nature in his composition all serve to express his untrammelled character and proclaim his allegiance to Chinese literatis ideals of spiritual autonomy and self-sufficiency.\nAs his view on life changed, Zaos painting also transformed. The assertive force of his earlier work has now dissolved into void and mist. His passionate struggles to control space are here replaced by an easy, relaxed sensibility. The painting seems as if created by nature, betraying no sign of human manipulation. The colour and brushwork show no overt assertion of intent.  All these characteristics are related to Zao Wou-Kis reengagement with Chinese ink painting in 1972. The aesthetic sensibilities occasioned by the natural interactions between ink, paper, and the pliant Chinese brush carry over to his oil painting also.\nIn 10.01.86, Zaos foundation in Chinese calligraphy is evident in his letting oil pigments drip freely on his canvas, creating a natural effect of slow accumulation analogous to the aesthetic concept of wulouhen, or traces of rain seeping through the roof, in Chinese calligraphy. The latter concept originated in a dialogue between the Tang-dynasty calligraphers Huaisu and Yan Zhenqing, and refers to the gradually-formed traces of rain seeping through a roof and into a wall.  As the modern calligrapher Shen Yinmo explains, For rain to seep into a wall, it must first accumulate some weight by coalescing into droplets. These droplets flow slowly downwards, not in a straight line but wavering from side to side as they leave their traces on the wall. The pictures thus formed have an untrammelled feeling more than one of restraint. From the above, it is clear that as a calligraphic aesthetics wulouhen emphasise weighty substance and wavering textures in lines. In 10.01.86, Zao applies his oil pigments in free and fluent brushwork and uses diluted off-white, light orange, and light yellow pigments to create translucent, liquid traces on the painting surface. 10.01.86 has the spiritual grandeur of a majestic landscape, but is also highly refined in its details. It invites and rewards endless wandering through its various passages.\n10.01.86 has participated in nine major exhibitions of Zao Wou-Kis works across various cities in Europe and Asia; and it has been illustrated in full in 11 important cataloguesan impressive resume unsurpassed in Zaos oeuvre. An enduring testament to the international recognition and celebration that Zao enjoyed in his later years, 10.01.86 is of inestimable art-historical significance.\n\nThis work will be included in the forthcoming Catalogue Raisonné currently being prepared by Françoise Marquet and Yann Hendgen (Information provided by Fondation Zao Wou-Ki)
HK
HK
HK

notes

Please note the updated provenance: this work was acquired directly from Galerie Jan Krugier by the present important private Asian collector.

medium

Oil on canvas

creator

Zao, Wou-Ki

condition

The work is overall in very good condition. Examination reveals a minor sign of retouching to a tiny area near the upper left edge of the canvas. "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."

dimensions

195 by 130 cm; 76 ¾ by 51 ⅛ in. 

exhibition

Paris, Galerie Artcurial, Zao Wou-Ki, 1988 Luxembourg, Festival international d'Echternach, Zao Wou-Ki, peintures, encres de Chine, estampes, June - July 1992 Taipei, Taipei Fine Arts Museum, Zao Wou-Ki Retrospective, 27 February - 30 May 1993 Saragosse, Centro de exposiciones y congresos, la Iber-Caja de Ahorros, Zao Wou-Ki, Retrospectiva, 14 March - 12 April 1995 Kaohsiung, Kaohsiung Museum of Fine Arts, A Retrospective of Zao Wou-Ki, January - April 1996 Hong Kong, Hong Kong Museum of Art, Infinite Image and Space. A retrospective of Zao Wou-Ki, 3 May - 28 July 1996 Valencia, IVAM Centro Julio Gonzalez, Zao Wou-Ki, 3 May - 1 July 2001 Paris, Galerie nationale du Jeu de Paume, Zao Wou-Ki, 14 October - 7 December 2003 Tokyo, Bridgestone Museum of Art, Ishibashi Foundation, Zao Wou-Ki, 16 October, 2004 - 16 January 2005

literature

Claude Roy, ed., Zao Wou-Ki, Éditions Cercle d'Art, Paris, 1988 / 1992, plate 45, p, 169 Zao Wou-Ki, Galerie Artcurial, Paris, 1988, p. 31 Zao Wou-Ki, peintures, encres de Chine, estampes, Festival international d'Echternach, Luxembourg, 1992, plate 9, p. 24 Zao Wou-Ki Retrospective, Taipei Fine Arts Museum, Taipei, 1993, p. 68 Zao Wou-Ki Retrospectiva, Centro de Exposiciones y Congresos, la Iber-Caja de Ahorros, Saragosse, 1995, plate 13, p. 23 A Retrospective of Zao Wou-Ki, Kaohsiung Museum of Fine Art, Kaohsiung, 1995, p. 192 Infinite Image and Space. A retrospective of Zao Wou-Ki, Hong Kong Museum of Art, Hong Kong, 1996, plate 55, p. 147 Zao Wou-Ki, Galerie nationale du Jeu de Paume, Paris, 2003, p. 139 Zao Wou-Ki, Bridgestone Museum of Art, Ishibashi Foundation, Tokyo, 2004, plate 47, p. 127 Jose' Fre'ches, Zao Wou-Ki : works, writings, interviews, Ediciones Poli'grafa, Barcelona / D.A.P., New York, 2007, p. 95 Dominique de Villepin, Françoise Marquet and Yann Hendgen, ed., Zao Wou-Ki. Oeuvres 1935 - 2010, Editions Flammarion, Paris, 2009-2017, p. 243

provenance

Galerie Jan Krugier, Geneva Acquired directly from the above by the present important private Asian collector 

signedDate

Signed in Chinese and Pinyin; signed in Pinyin and dated 10.1.86 on the reverse 

artist_range_end

2013

artist_range_start

1920

consignmentDesignation

Property from an important private asian collection

creator_nationality_dates

1920 - 2013


*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.

*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.


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