- 470
Takashi Murakami
Estimate
400,000 - 600,000 USD
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Description
- Takashi Murakami
- Limegreen – Time
- signed and dated 08 on the overlap
- acrylic on canvas
- 71 by 71 in. 180.3 by 180.3 cm.
Provenance
Galerie Perrotin, Paris
Acquired from the above by the present owner
Acquired from the above by the present owner
Exhibited
Frankfurt, Museum Für Modern Kunst, ©Murakami, September 2008 - January 2009
Condition
This work is in excellent condition overall. Under close inspection, there are no apparent condition issues. Under Ultraviolet light inspection, there is no evidence of restoration. Unframed.
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
"Japanese painting plays on subjectivity, on the freedom to enter into the reality of a scene through a gaze that can come from any angle. Until now, when attempting to define the style of, say, Hokusai, to which the notion of “one-point” perspective does not apply, the only solution was Japonisme. All I did was say, “And why not talk in terms of the superflat?” Takashi Murakami