Kohei Yoshiyuki

a group of 10 photographs, each signed and numbered in ink and stamped in red ink on the reverse, framed, 1971-73, printed later, each from an edition of 10 (10)

These 10 gelatin silver prints, on semi-glossy paper, are in generally excellent condition. The reverse of the prints are occasionally slightly soiled with a few rust-colored stains of indeterminate nature, possibly foxing. Further condition notes are as follows: #03 - 1971, 4/10 #08 - 1972, 4/10 #14 - 1973, 3/10 #23 - 1971, 7/10 #28 - 1972, 6/10 #29 - 1971, 8/10: In high raking light, deposits of original retouching are visible overall. #32 - 1972, 6/10 #34 - 1972, 4/10: In high raking light, a minor scratch is visible that does not appear to break the emulsion. #36 - 1971, 4/10: A deposit of original retouching is visible near the sitter's feet. #42 - 1972, 4/10
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.

Beginning in the 1970s, Kohei Yoshiyuki documented the clandestine tryst tradition in Tokyo’s parks, training his camera not only on unsuspecting lovers but also on the voyeurs who watched “hidden” in the bushes. The 35mm camera, infrared film, and flash that Yoshiyuki used to photograph at night lend a noticeable snapshot quality to these images. Exhibited for the first time in Tokyo in 1979, The Park was initially published in 1980 and reedited in 2007. In The Photobook: A History, Volume II, Martin Parr considers The Park ‘a brilliant piece of social documentation’ (p. 296).  Images from this series are in many museum collections, including The Museum of Modern Art, New York; the San Francisco Museum of Art; and the Museum of Fine Arts, Houston.