- 488
Takashi Murakami
Estimate
220,000 - 280,000 USD
bidding is closed
Description
- Takashi Murakami
- Jellyfish Eyes (Skin Ball)
- signed and dated 02, stamped and inscribed by the studio artists on the reverse
- acrylic on canvas mounted on wood
- Diameter: 27 1/2 in. 69.9 cm.
Provenance
Blum & Poe, Los Angeles
Acquired by the present owner from the above
Acquired by the present owner from the above
Condition
This work is in excellent condition. There are no apparent condition problems with this work. Not examined under ultra violet light. Framed under Plexiglas.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
"The great number of eyes on the piece gives the impression that those living eyes are looking at the viewer who is himself looking at the work from different angles. If we connected all those eyes to a video camera or a computer, then on the control screen, we would be able to visualise a reality that is completely different from that of single-point perspective. And that is no doubt the visual reality of our time." - Takashi Murakami (Exh Cat., Paris, Foundation Cartier pour l'art contemporain; London, Serpentine Gallery, Kaikai Kiki: Takashi Murakami, June 2002 - January 2003, p. 83)