- 103
Zao Wou-Ki (Zhao Wuji)
Estimate
4,000,000 - 6,000,000 HKD
Log in to view results
bidding is closed
Description
- Zao Wou-Ki (Zhao Wuji)
- Chargement d'un cargo (Loading a Cargo)
- oil on board
signed in Chinese and Pinyin; signed in Pinyin, titled and dated I. 1953 on the reverse
Provenance
Galerie Pierre, Paris
Private Collection, Ontario, 1953
Heffel, Toronto, 27 October, 2007, lot 16
Acquired by the present owner from the above sale
Private Collection, Ontario, 1953
Heffel, Toronto, 27 October, 2007, lot 16
Acquired by the present owner from the above sale
Exhibited
Paris, Galerie Pierre, 1953
Condition
This work is in good condition. There is evidence of minor wear along four edges as well as minute specks of paint loss scattered across the surface, only visible under very close examination. Under UV light, there are few spots of fluorescence in the lower central part of the work.
"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."
"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."
Catalogue Note
Zao Wou-Ki’s Chargement d'un cargo
A vision open and clear, filled with a vigorous life force
In April 1948, Zao Wou-Ki boarded Andre Lebon, the same French liner which also took Lin Fengmian, his teacher at the Hangzhou School of Fine Arts, abroad. After a 36-day voyage, through Hong Kong, Colombo, Djibouti, Port Said, and finally Marseilles, he eventually settled in Paris, the art capital of his dreams. Perhaps, it was the memory of his long journey across the ocean, as well as other extended travels to Italy and Spain between 1951 and 1952, that prompted Zao Wou-Ki to create a number of works linked to the theme of ships and boats during the early 1950s, such as Deux bateaux se croisent and Bateaux bleus. These paintings not only symbolize a young man’s exploration in a new world far away from home, but also serve as a record of his inner emotions as he came in contact with this broad, new domain. Beginning from 1952, Zao Wou-Ki began to include other elements into the composition, introducing a stronger narrative dimension. Some of the representative works from this period are Bateaux au claire de la lune, Chasse et pêche as well as 1953's Chargement d'un cargo (Lot 103) in the current Spring sale.
Thriving with spirited vitality; eternity in a fleeting moment
“I just wanted to find a topic every day: a boat, two boats, three boats…painting became a question of combination and composition. I wished to find a kind of variation, to create an atmosphere that would convey the present moment.”
Zao Wou-Ki
In Chargement d'un cargo, in between black lines finely woven like embroidery threads, the viewer can see a giant vessel docked at a bay. Workers and technicians are busy moving the goods from the ground to the ship via a ladder so long as if it is reaching for the sky. Some are performing maintenance work before the ship sets sail. There is a spirited vitality in the exuberant scene. Another unusual feature is the artist’s use of lines and colour changes to create the sense of space and depth of field, instead of following the Western tradition of using light and shades to construct a three-dimensional appearance. A rather unique approach is also employed, with different objects overlapping and running through each other, an apt demonstration of the artist’s innovative spirit. The picture has not employed a realistic object size ratio neither, most noticeably shown in the ratio between the ship and a half moon in the indigo blue sky, adding a touch of fairy-tale aura through such a treatment.
In addition to depicting the artist’s European journeys, the painting might also be linked to Zao Wou-Ki’s earlier memories in his youth. Zao had been a family friend of Tung Chao Yung, one of the world’s seven shipping magnates of his time. Nineteen years Zao’s senior, Tung studied in Shanghai as a child and subsequently moved to Hong Kong. He joined the shipping industry at 17, building an empire from scratch as founder of the Orient Overseas Line. Zao maintained a long friendship with Tung, who also collected Zao’s artwork in later years. Perhaps as young men, the two had talked about their respective ambitions, and within Chargement d'un cargo was perhaps also a glimpse of the youthful dreams of a good friend. The metaphors are decidedly positive, and its colours mesmerizing, making this painting a memorable, enduring masterpiece.
A vision open and clear, filled with a vigorous life force
In April 1948, Zao Wou-Ki boarded Andre Lebon, the same French liner which also took Lin Fengmian, his teacher at the Hangzhou School of Fine Arts, abroad. After a 36-day voyage, through Hong Kong, Colombo, Djibouti, Port Said, and finally Marseilles, he eventually settled in Paris, the art capital of his dreams. Perhaps, it was the memory of his long journey across the ocean, as well as other extended travels to Italy and Spain between 1951 and 1952, that prompted Zao Wou-Ki to create a number of works linked to the theme of ships and boats during the early 1950s, such as Deux bateaux se croisent and Bateaux bleus. These paintings not only symbolize a young man’s exploration in a new world far away from home, but also serve as a record of his inner emotions as he came in contact with this broad, new domain. Beginning from 1952, Zao Wou-Ki began to include other elements into the composition, introducing a stronger narrative dimension. Some of the representative works from this period are Bateaux au claire de la lune, Chasse et pêche as well as 1953's Chargement d'un cargo (Lot 103) in the current Spring sale.
Thriving with spirited vitality; eternity in a fleeting moment
“I just wanted to find a topic every day: a boat, two boats, three boats…painting became a question of combination and composition. I wished to find a kind of variation, to create an atmosphere that would convey the present moment.”
Zao Wou-Ki
In Chargement d'un cargo, in between black lines finely woven like embroidery threads, the viewer can see a giant vessel docked at a bay. Workers and technicians are busy moving the goods from the ground to the ship via a ladder so long as if it is reaching for the sky. Some are performing maintenance work before the ship sets sail. There is a spirited vitality in the exuberant scene. Another unusual feature is the artist’s use of lines and colour changes to create the sense of space and depth of field, instead of following the Western tradition of using light and shades to construct a three-dimensional appearance. A rather unique approach is also employed, with different objects overlapping and running through each other, an apt demonstration of the artist’s innovative spirit. The picture has not employed a realistic object size ratio neither, most noticeably shown in the ratio between the ship and a half moon in the indigo blue sky, adding a touch of fairy-tale aura through such a treatment.
In addition to depicting the artist’s European journeys, the painting might also be linked to Zao Wou-Ki’s earlier memories in his youth. Zao had been a family friend of Tung Chao Yung, one of the world’s seven shipping magnates of his time. Nineteen years Zao’s senior, Tung studied in Shanghai as a child and subsequently moved to Hong Kong. He joined the shipping industry at 17, building an empire from scratch as founder of the Orient Overseas Line. Zao maintained a long friendship with Tung, who also collected Zao’s artwork in later years. Perhaps as young men, the two had talked about their respective ambitions, and within Chargement d'un cargo was perhaps also a glimpse of the youthful dreams of a good friend. The metaphors are decidedly positive, and its colours mesmerizing, making this painting a memorable, enduring masterpiece.