Known for his proficiency with both Eastern and Western artistic traditions, and his ability to employ both simultaneously within his work, Zao Wou-Ki has become an important figure in mid-century art historical canon. Born Zhao Wou-Ki (assuming the name Zao after 1947) in 1920 in Peking (now Beijing), Wou-Ki attending the National School of Arts, Hangchow, for six years before becoming a drawing instructor there. In 1947, the artist moved to Paris where he would become friends with the artists Alberto Giacometti and Joan Miró. His work, done in an abstract, gestural style quickly drew acclaim, and ultimately worked to help reestablish abstraction during a time when critics were beginning to question whether the style could appropriately express the harsh realities and emotions of the post-war world. Alongside others associated with the École de Paris, Zao began painting in an even bolder fashion, employing highly saturated color and intense lines in his compositions; by the mid-1950s the influence of Chinese calligraphy became more pronounced, and the artist occasionally omitted Western styles of painting for actual calligraphy. It was at this time that Zao was regularly making trips to New York City, where he met several of the Abstract Expressionists such as Barnett Newman and Franz Kline. By the 1970s, line and gesture receded from his work, replaced by hazy, surreal compositions with a blurred sense of space. Although Zao is most commonly known as a painter, he often collaborated with other and created performance stage sets, illustrated books of poetry, and numerous prints and engravings. Zao died in Switzerland at the age of 93 in 2013. Zao’s prolonged association with the leading artists of his time, in conjunction with his highly unique employment of both Eastern and Western artistic traditions, has contributed to his work becoming increasingly sought after. His works are in the collections of the Fogg Museum, Boston, the Solomon R Guggenheim Museum, New York and the Metropolitan Museum of Art, New York. According to Sotheby’s Mei Moses, the average compound annual return for Zao Wou-ki is 20.1%, with 95.5% of works increasing in value.

Zao Wou-Ki

Untitled No. 127, by <a href="https://www.sothebys.com/en/search?query=Zao+Wou-ki&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Zao Wou-ki</a>, 1960.<ul><li>Zao Wou-ki&nbsp;(Chinese, 1921-2013).</li><li>Lithograph in colors on Wove paper.</li><li>Hand-signed, numbered, and dated.</li><li>Edition 121/140.</li><li>This work is presented unframed.</li></ul> This original lithograph in colors is hand signed in pencil by the artist in Chinese and Pinyin at the lower right margin and dated in pencil next to the signature '60’ [1960]. It is also hand numbered from the edition of 140, at the lower left margin. This work was printed by E. et J. Desjobert, Paris in 1960 and published by L'Oeuvre Gravée, Zurich in the same year.

Untitled No. 127

Composition I, from Rambles [Randonnées], by <a href="https://www.sothebys.com/en/search?query=Zao+Wou-Ki&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Zao Wou-Ki</a>, 1974.<ul><li>Zao Wou-Ki (Chinese, 1921-2013).</li><li>Printed by Atelier Bellini, Paris and published by Yves Rivière, Paris in 1974.</li><li>Etching and aquatint in colors on Japan Nacré paper.</li><li>Hand-signed, numbered, and dated.</li><li>Part of an edition of 14, plus a standard edition of 125.</li><li>This work is presented unframed.</li></ul> This etching and aquatint in colors is hand signed in pencil by the artist ""Zao Wou-Ki"" in Chinese and Pinyin at the lower right margin. It is also dated “74” [1974] next to the signature. It is also hand numbered in pencil from the edition of 14, at the lower left margin. This impression is from a deluxe suite of 14 on Japan paper aside from the standard edition of 125 on Rives paper. It was printed by Atelier Bellini, Paris and published by Yves Rivière, Paris in 1974. There were also three artist’s proofs and 4 hors commerce [out of trade] impressions on Japan paper. This composition is the first of five created for the book Randonnées [Rambles] written by Roger Caillois. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Composition I, from Rambles | Randonnées

Fishing [La Pêche], by <a href="https://www.sothebys.com/en/search?query=zao+wou+ki&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Zao Wou-Ki</a>, 1951.<ul><li>Zao Wou-Ki (Chinese, 1921-2013).</li><li>Drypoint on wove paper.</li><li>Hand signed and numbered.</li><li>Part of an edition of 30, this being 22.</li><li>Printed by G. Leblanc, Paris, 1951.</li><li>Published by Editions d'Art L'Oeuvre Gravée.</li><li>This work is presented unframed.</li></ul>&nbsp;This original drypoint is hand signed in pencil by the artist "Zao Wou-Ki" at the lower right margin.&nbsp;It is also hand numbered in pencil from the edition of 30, at the lower left margin.&nbsp;The drypoint was printed by G. Leblanc, Paris in 1951 in a limited edition of 30 signed and numbered impressions. There were an additional small number of artist’s proofs aside from the standard edition. Attached to the sheet's verso, there is the original publisher's label from Editions d'Art L'Oeuvre Gravée stating the medium, title and date.

Fishing | La Pêche

Etching No. 163, by <a href="https://www.sothebys.com/en/search?query=zao+wou+ki&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Zao Wou-Ki</a>, 1965.<ul><li>Zao Wou-Ki (Chinese 1921-2013).</li><li>Etching and aquatint in colors on Arches wove paper.</li><li>Hand signed, numbered, and dated.</li><li>Part of an edition of 95, this being 89.</li><li>Printed by Atelier Lacourière et Frélaut, Paris, 1965.</li><li>Published by Atelier Lacourière et Frélaut, Paris, 1965.</li><li>This work is presented unframed.</li></ul>&nbsp;This etching and aquatint in colors is hand signed in pencil by the artist in Chinese and Pinyin at the lower right margin. It is dated in pencil “65” [1965], next to the signature. The work is additionally hand numbered in pencil from the edition of 95 at the lower left margin.&nbsp;This impression is one of the 75 impressions on Arches paper, the remaining 20 were on Japan Nacre paper. In addition to these 95 impressions, there were 20 signed and numbered artist’s proofs. This work was printed and published by Atelier Lacourière et Frélaut, Paris in the same year.&nbsp;The paper bears the blindstamp of the publisher in the lower left corner and the Arches watermark in the center of the lower margin.

Etching No. 163

La Fôret Perdue [The Lost Forest], <a href="https://www.sothebys.com/en/search?query=Zao+Wou-Ki&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Zao Wou-Ki</a>, 1955.<ul><li>Zao Wou-Ki (Chinese, 1921-2013).</li><li>Lithograph in colors on Rives Woves paper.</li><li>Hand-signed and numbered.</li><li>Edition 33/125.</li><li>This work is presented unframed.</li></ul> This original lithograph in colors is hand signed in pencil in Chinese and Pinyin at the lower right margin. It is also dated in pencil next to the signature '55 [1955]. It is hand numbered in pencil from the edition of 125, at the lower left margin. There were also 20 artist’s proofs. It was printed by E. and J. Desjobert, Paris in 1955 and published by l'Oeuvre Graveé, Zurich in a limited edition of 125 hand signed and numbered impressions.

The Lost Forest | La Fôret Perdue

Canto Pisan, by <a href="https://www.sothebys.com/en/search?query=zao+wou+ki&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Zao Wou-Ki</a>, 1972.<ul><li>Sold as a set of 8.</li><li>Zao Wou-Ki (Chinese, 1921-2013).</li><li>Etchings and aquatints in colors on Arches wove paper.</li><li>Hand signed and numbered.</li><li>Part of an edition of 50, these being 29.</li><li>Printed by Atelier Bellini, Paris.</li><li>Published by Pierre Belfond, Paris, 1972.</li><li>These works are presented unframed.</li></ul>&nbsp;These eight original etchings and aquatints in colors are hand signed in pencil by the artist "Zao Wou-Ki" in Chinese and Pinyin at the lower right margin. They are each hand numbered in pencil from the edition of 50, at the lower left margin.&nbsp;The works were printed by Atelier Bellini, Paris and published by Pierre Belfond, Paris in 1972 in a total limited edition of 260 signed and numbered impressions. There were an additional 30 numbered in Roman numerals on Japan nacre and an edition of 180 on Arches wove paper. The eight etchings and aquatints are accompanied by the text and folio case.&nbsp;The Cantos are a collection of epic poems spanning 40 years of writing by Ezra Pound. The Pisan Cantos were written by the poet during his wartime incarceration following the American liberation of Italy. The Pisan Cantos are significant for their inclusion of Chinese characters and other non-English languages in the core of the texts. With only three books permitted during his detention, Pound selected a text by Confucius in the original language, a translation to English of the same text, and a Chinese dictionary.&nbsp;Zao Wou-Ki blended traditional Chinese expressionism with Western European abstraction to produce his interpretation of The Canto Pisan. With this series, Wou-Ki continued his ongoing union of Eastern and Western ideas, finding a common visual language.&nbsp;

Canto Pisan

Etching No. 135, by <a href="https://www.sothebys.com/en/search?query=Zao+Wou-Ki&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Zao Wou-Ki</a>, 1986.<ul><li>Zao Wou-Ki (Chinese 1921-2013).</li><li>Etching and aquatint in Colors on Guarro Wove Paper.</li><li>Hand-signed and numbered.</li><li>Part of an edition of 99.</li><li>This work is presented unframed.</li></ul> This original etching and aquatint in colors is hand signed in pencil by the artist in Chinese and Pinyin at the lower right margin,&nbsp;and dated in pencil next to the signature '86 [1986].&nbsp;It is also hand numbered from the edition of 99, at the lower left margin.&nbsp; This work was published by Polígrafa, Barcelona in 1986 in a limited edition of 99 hand signed and numbered impressions. There were a further 15 artist proofs. The paper bears the Guarro watermark.

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