Lot 512
  • 512

NARA YOSHITOMO | Mumps

Estimate
800,000 - 1,200,000 HKD
Log in to view results
bidding is closed

Description

  • Yoshitomo Nara
  • Mumps
  • acrylic and coloured pencil on paper
  • 36 by 22.5 cm; 14⅛ by 8⅝ in. 
signed and dated 98

Provenance

Tomio Koyama Gallery, Tokyo
Acquired by the present owner from the above

Exhibited

Japan, Tokyo, Ginza Art Space, Walking Alone, January - February 1999
Yoshitomo Nara – From the Depth of My Drawer, 2004-2005. This exhibition travelled to Japan, Tokyo, Hara Museum of Contemporary Art; Awara, Kanaz Forest of Creation; Yonago, Yonago City Museum of Art; Hirosaki, Yoshii Brick Brewhouse; Seoul, Rodin Gallery.
Japan, Hirosaki, Aomori, Yoshii Brick Brewhouse, Yoshitomo Nara + graf  A to Z, 2006

Literature

Yoshitomo Nara: The Complete Works 1984-2010, Volume II, Bijutsu Shuppan Sha, Tokyo, Japan, 2011, p.119, no. D-1998-016 (illustrated in colour)

Condition

This work is in very good condition overall. There is evidence of light undulation throughout and a crease running horizontally through the middle of the work, consistent with the artist's working method. Please note that this work was examined within its frame. Framed under Plexoglas.
"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

"Overseas, everyone started to read the work within the context of Murakami's Superflat theory. In a way, they can be explained with that, so that's fine, but for me they were much more personal. All the children and animals depicted came from inside me, not from a theory."

– Nara Yoshitomo