Beschreibung:

Property from an Important Private CollectionZao Wou-Ki1920 - 201318.12.69 signed and signed in Chinese; signed, titled and dated 18.12.69 on the reverseoil on canvas116 x 89 cm; 45⅔x 35 in.Executed in 1969. The authenticity of the work has been confirmed by the Fondation Zao Wou-Ki The work will be included in the forthcoming Catalogue Raisonné currently being prepared by Madame Françoise Marquet and Monsieur Yann Hendgen. The work is accompanied by a certificate of authenticity.__________________________________________________________________________ Provenant d'une Importante Collection ParticulièreZao Wou-Ki1920 - 201318.12.69 signé et signé en chinois; signé, titré et daté 18.12.69 au doshuile sur toile116 x 89 cm; 45⅔x 35 in.Exécuté en 1969. L'authenticité de cette oeuvre a été confirmée par la Fondation Zao Wou-Ki L'oeuvre sera incluse dans le catalogue raisonné actuellement en préparation par Madame Françoise Marquet et Monsieur Yann Hendgen. L'oeuvre est accompagnée d'un certificat d'authenticité.Condition reportFor further information on the condition of this lot please contact joelle.koops@sothebys.com ProvenanceCollection of the artistPrivate Collection, Paris (acquired directly from the artist in 2011)__________________________________________________________________________ Collection de l'artiste Collection Particulière, Paris (acquis directement auprès de l'artiste en 2011)LiteratureJean Leymarie, Zao Wou-Ki Paris, 1978, p.194, no.144, illustrated in colourJean Leymarie, Zao Wou-Ki New York, 1979, p.194, no.144, illustrated in colourJean Leymarie, Zao Wou-Ki Paris, 1986, p.194, no.144, illustrated in colourJing Feng Yu, François Cheng, Zao Wou-Ki Hong Kong, 1988, p.26, illustrated in colourDaniel Abadie, Martine Contensou, Zao Wou-Ki Barcelone, 1988, no.32, illustrated in colourThe Lecture notes of Zao Wou-Ki in China, Nanning, 2000, p.111, illustrated in colour__________________________________________________________________________ Jean Leymarie, Zao Wou-Ki Paris, 1978, p.194, no.144, illustré en couleurs Jean Leymarie, Zao Wou-Ki New York, 1979, p.194, no.144, illustré en couleurs Jean Leymarie, Zao Wou-Ki Paris, 1986, p.194, no.144, illustré en couleurs Jing Feng Yu, François Cheng, Zao Wou-Ki Hong Kong, 1988, p.26, illustré en couleurs Daniel Abadie, Martine Contensou, Zao Wou-Ki Barcelone, 1988, no.32, illustré en couleurs The Lecture notes of Zao Wou-Ki in China, Nanning, 2000, p.111, illustré en couleursExhibitedParis, Galerie de France, Oeuvres récentes de Zao Wou-Ki 1970Chécy, Château du Croc (likely exhibited), Zao Wou-Ki; catalogue, p.4, illustrated in colour__________________________________________________________________________ Paris, Galerie de France, Oeuvres récentes de Zao Wou-Ki 1970 Chécy, Château du Croc (probable), Zao Wou-Ki; catalogue, p.4, illustré en couleursCatalogue note18-12-69 is a work of exceptional quality within Zao Wou-Ki's oeuvre, not least because it falls within the famous ‘Hurricane Period’ between 1959 and 1972. At the age of fourteen, Zao Wou-Ki entered the Hangzhou School of Fine Arts in his native China and was introduced to traditional artistic techniques. He was particularly inspired by the work of the Song landscape painters, whose gradations of colour and arrangement of empty and full spaces he reproduced in his compositions. At the same time, the young man developed a strong interest in the great names of Western art such as Picasso, Matisse and Cézanne, discovered by way postcards sent from Paris by his uncle. This combination of influences resulted in a series of works in the realist vein from portraits, to landscapes, to still lifes, produced between 1935 and 1949. In spring of 1948, Zao Wou-Ki left China for Paris, resettling to the Montparnasse district and meeting artists with whom he became close friends. Among these were Jean-Paul-Riopelle, Nicolas de Staël Pierre Soulages Maria Vieira da Silva and Hans Hartung This new environment rei