Wang Guangyi

Chinese Contemporary, London
Acquired directly from the above by the present owner

Colour: The colours in the catalogue illustration are fairly accurate although the overall tonality is deeper and richer in the original. The yellow also tends more towards a mustard yellow in the original. Condition: This work is in very good condition. Upon close inspection there is some minor wear in all four corner tips with associated tiny specks of paint loss. There is a minute speck of paint loss to the centre of the bottom edge and several tiny specks 30cm. to the left of this. There is a minute speck of paint loss above the 1st 'f'' of Davidoff. There is a small media accretion adjacent to the centre of the right hand edge. There is a faint vertical line of approximately 15cm. in the yellow paint above the 2nd 'd' of Davidoff which would appear to be original to the work's execution. Examination under ultra-violet light reveals two small touches of retouching at the bottom edge approximately 10cm. in from the lower right corner tip There is a further spot to the lower left corner of the red rectangle; one within the clef of the first 'D' and several further spots to the extreme bottom edge.
"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."

' The dislocation of two iconic images/signs creates a humorous and absurd effect that carries with it a biting satire of both of the ideology of the Mao era and the blind craze for Western consumer products prevalent in today's China, coupled with a frank delight in the silly glamour of cultural Revolution and pop marketing images.'

Chang Tsong-Zung cited in: Post-1989, Hong Kong 2001, p. xxi