ZAO WOU-KI (ZHAO WUJI, FRENCH/CHINESE, 1920-2013)
5.11.64
signed in Chinese ; signed 'ZAO' (lower right); signed and titled ‘ZAO WOU-Ki 5.11.64’ (on the reverse); label of Charleroi, Belgium, Palais des Beaux-Arts, Zao Wou Ki, November–December 1969 (affixed on the stretcher)
oil on canvas
Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.
Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.
Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.
Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.
Painted in 1964
ZAO WOU-KI (ZHAO WUJI, FRENCH/CHINESE, 1920-2013)
5.11.64
signed in Chinese ; signed 'ZAO' (lower right); signed and titled ‘ZAO WOU-Ki 5.11.64’ (on the reverse); label of Charleroi, Belgium, Palais des Beaux-Arts, Zao Wou Ki, November–December 1969 (affixed on the stretcher)
oil on canvas
Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.
Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.
Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.
Minor craquelure at the margins, especially to the white paint. A small canvas patch on the reverse of middle right. When examined under ultraviolet light, no apparent retouching shows on the front and on the reverse. It is believed that the canvas patch and its corresponding paint layer on the front should be executed at the same time as other parts of the painting. And the brushstroke and technique of this particular area are consistent with other parts of the painting. Otherwise, it is our opinion that the work is in generally good condition.
Painted in 1964
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