Zao Wou-Ki — Chu Teh-Chun « 12 Art Works » by Artcurial

2500 / 2501

ZAO WOU-KI – CHU TEH-CHUN – 12 ARTWORKS

TUESDAY 3RD JUNE 2014 AT 8:30PM & THURSDAY 5TH JUNE 2014 AT 5PM PARIS – 7, ROND-POINT DES CHAMPS-ÉLYSÉES

12 ARTWORKS

ZAO WOU-KI – CHU TEH-CHUN

3RD & 5TH JUNE 2014 – PARIS

ARTCURIAL BRIEST – POULAIN – F.TAJAN 7, Rond-Point des Champs-Élysées 75008 Paris

BOARD

Francis Briest, Co-Chairman Hervé Poulain François Tajan, Co-Chairman Fabien Naudan, Vice-Chairman Senior Director Martin Guesnet Directeurs associés Stéphane Aubert Emmanuel Berard Olivier Berman Isabelle Bresset Matthieu Fournier Bruno Jaubert Matthieu Lamoure

zao wou-ki – chu teh-chun 12 artworks AUCTIONS n°2500 & 2501

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Exhibitions

Friday 30 May 11am – 7pm Saturday 31 May 11am – 6pm Sunday 1 June 2pm – 6pm Monday 2 June 11am – 7pm Tuesday 3 June 10am – 2pm SALE Tuesday 3 June 2014, 8.30pm Thursday 5 June 2014, 5pm

Catalogue available online www.artcurial.com

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Hugues Sébilleau

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CHU TEH-CHUN 1920 – 2014

Fifty years ago I had not yet entered the mountains and rivers. I didn’t despise them, but I allowed them to live a life apart from my own. Now they have asked me to speak about them. They are reborn in me, and myself in them. Since I have traveled to see all the memorable summits and sketch them, they have entered me, have dissolved in me, and now proceed in me. Shi Tao, 17th century Chu Teh-Chun was born on October 24, 1920 in a village in the province of Jiangsu surrounded by green plains, silver lakes, and singing rivers. These sumptuous landscapes inspired the young man’s vocation as a painter, in no way opposed by his father, a physician and collector of traditional works. He entered the fine arts school in Hangzhou in 1935. The region fascinated him, and inspired hundreds of watercolors in the classical style, placing him in the tradition of Fan Kuan and Liang Kai. Although he expressed a desire to carry on this heritage, it was not possible at the school. Consequently, he decided to study Western painting, and was taught by Ling Fengmian who had initially studied in France. When the 1937 Sino-Japanese war forced professors and students into a long, painful period of exile that came to an end in 1940 in the province of Sichuan, Chu Teh-Chun immersed himself in the landscapes of his native region while continuing to learn the lessons taught by the great masters of Western art, whom he ultimately confronted directly.

“此予五十年前，未脱胎于山川也；亦非糟粕其山川而使山川自私也。山川使予代山川而言也，山川脱胎于予也，予脱胎于山川也。搜尽奇峰打草稿也。山川与予神遇而迹化也……” ——石涛，公元十七世纪。 1920年10月24日，朱德群出生于江苏省的一个村庄里，那里青原环绕、湖光粼粼、溪水潺潺。这些丰饶的自然景观在这位年轻人心中埋下了当画家的种子，而他喜好收藏传统艺术的医生父亲也对其大为支持。于是，他于1935年进入杭州艺术专科学校学习。艺术创作另他痴迷。他创作了百来幅传统山水画，被认为有范宽和梁楷的遗风。可是当他决心把这一技法传承下去之时，学校却不给他这样的机会。最终他决定学习西方绘画。他师从有过留法经历的林风眠。1937年抗日战争爆发，老师和学生们被迫经历了一段漫长而痛苦的流亡生涯，最终于1940年抵达四川，朱德群沉浸于祖国的壮丽河山，同时也学习西方艺术大师的宝贵遗产，并最终有了直面这些大师的机会。从杭州艺术专科学校毕业之后，尽管获得了留校任教的职位，但朱德群还是决定登上赴法的海轮，开启新的人生旅程。当他于1955年抵达巴黎时，卢浮宫里的作品并没有给他带来期待中的震撼。事实上，是保罗·塞尚的作品让他有了顿悟。这位埃克斯人通过打破传统艺术表现的法则，实现对自然的颠覆性表达。初受震动之后，第二次震动则更加具有决定意义。1956年，朱德群参观巴黎城市现代艺术博物馆举办

4. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3RD & 5TH JUNE 2014. PARIS

Chu Teh-Chun. ÂŠ Gerber Urs

Although he was offered a position as professor in the same school after he finished his studies, Chu Teh-Chun decided to undertake a long voyage that ended in France. But when he arrived in Paris in 1955, he did not experience the overwhelming impact he expected from works in the Louvre. In fact, the revelation came from Paul Cezanne. By breaking the codes of traditional representation, the painter of Aix achieved a transformed and transforming representation of nature. Chu Teh-Chun’s first aesthetic response was followed by a second with an even greater impact. In 1956, he visited the Modern Art Museum of Paris’s major retrospective of Nicolas de Staël. His stirring response to the artist’s painting, where illusion and the anecdotal disappear in favor of free expression of power in color and form, triggered a pivotal moment in his work. From this time on, Chu Teh-Chun’s naturalistic canvases made way for paintings designed as abstract syntheses of our world, delivered by the artist through the filter of his emotions and to be welcomed by viewers through the experience of their own sensations. However, Chu Teh-Chun is no believer in automatic gestures as practiced by Jackson Pollock and so many others. An ongoing practice of calligraphy had taught him mastery of the hand. By reinterpreting the lesson his ancestors had taught him – to perpetually seek “the impeccable gesture” – Chu Teh-Chun was able to reconcile East and West in an oeuvre that speaks to us of the furious tumult of the rivers, sinuous movements of wind, light piercing the leaves of trees, and the rhythm of changing seasons as much as the artist’s inner landscape. In 1983, the artist felt an inexpressibly powerful emotion on returning to China, and during the year following his return to his origins he executed a work entitled Que ma joie demeure. The work is reminiscent of a landscape described by the poet Wang Weig, a particular favorite of Chu Teh-Chun: “Old trees, paths without people / in the deep mountains, somewhere, a bell / the sound of a spring struggling up between rocks on the peak / the color of the sun is cold in the green pines.” By occasionally seeking inspiration in literary prose, Chu Teh-Chun perpetuates the ancestral connection between painting and poetry in Chinese culture. But instead of simply illustrating the words of the poem, the painter’s abstract signs also translate the emotion felt by the artist. In this way, he gives us a new way to access the beauty of the world and its mysteries. Thus in Signes impératifs dated from 1991, Chu Teh-Chun immerses us in a universe where the opposed yet interdependent forces of shadow and light achieve a harmonious balance, although embodied in a very different way from work by Rembrandt, a painter he deeply admired. Faced with such works, until the recent death of this former member of the École de Paris critics from all over the world always celebrated the expressive and emotional force of his pictorial prose as a “lyrical offering secretly murmured in a meditative, solemn life that also resounds sonorously like a hymn” (Gérald Gassiot-Talabot, 1963), an offering available to viewers prepared to immerse themselves in these signs, to welcome them into an inner life.

的尼古拉·德·斯塔埃尔大型回顾展。这幅作品——模糊不清的幻象与细枝末节让形态和色彩能够恣意表现全部张力——让他极为张皇失措，并由此在创作上进行了重大转变。之后，对我们这个世界进行抽象合成的画作取代了写真主义，他通过情感的滤色镜向我们揭开这个世界的面纱，而我们自己也应当以自己的感官去接纳这个世界。然而，朱德群不相信杰克逊·波洛克以及其他画家所践行的“行动绘画的自动主义”。相反，由于经常练习书法，这让他练就了娴熟的手劲功夫。对这一古典艺术的重新演绎教会他对“最精妙的画锋”进行无休止地探寻，走上抽象画的道路又向他开启了进入法国画家的大门，朱德群最终得以在作品中融汇中魂西技，向我们讲述山河咆哮、逐浪随波、叶影斑驳、四季变奏以及艺术家内心的风景变幻。 1983年，当他第一次返乡的时候，他的心中涌起难以名状的情感。寻根之旅的后一年，他完成了作品《人类欲望之欢》。这幅作品让我们想起朱德群钟爱的诗人王维的诗句：“古木无人径，深山何处钟？泉声咽危石，日色冷青松。”通过从古诗文中寻找灵感，朱德群让中国文化中诗画之间存在的古老联系得以永续流传。但是，不仅仅是对诗句的具化，他的抽象符号也是对自身情感的展现。通过这种方式，他为我们提供了一条通往世界的美妙及其奥秘的全新道路。因此，在这幅创作于1991年的《强制符号》中，朱德群把我们带入一个奇妙的世界，在这个世界里明与暗的张力既互斥又互补，到达一种和谐的平衡，然而这种平衡与他深为崇敬的伦勃朗画作中所体现的和谐感又截然不同。面对这样的作品，直至最近这位早期巴黎学派成员殒逝，全世界的评论家都对他一挥而就的画作中的艺术表现力情感张力不吝赞美，称其作品对于那些准备沉浸在他符号的世界里以及让它们进入内心的人而言，有如“抒情诗般的馈祭，时而如悄悄话般沉默而严肃，时而又如颂歌般光辉而响亮”（吉拉尔德·佳西欧-塔拉波，1963年）。

6. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3RD & 5TH JUNE 2014. PARIS

Chu Teh-Chun, Vitry Studio, France, 1993.

40 CHU TEH-CHUN

1920 – 2014 SIGNES IMPÉRATIFS – 1991 Oil on canvas Signed in Chinese and Pinyin and dated lower right “Chu Teh-Chun, 91”, signed again in Chinese and Pinyin, dated and titled on the reverse “Signes impératifs, Chu Teh-Chun, 1991” 65 x 54 cm (25,35 x 21,06 in.) 朱德群 1920 – 2014 《强制符号》– 1991年布面油画右下角汉字和拼音签名并注明日期“朱德群Chu Teh-Chun，91”，背面副署汉字和拼音、注有日期和标题 “《强制符号》，朱德群Chu Teh-Chun，1991” 65 x 54 cm € 50 000 – 70 000 $ 69 000 – 97 000

Chu Teh-Chun does not believe in automatic gesture as practiced by Jackson Pollock and so many others. Calligraphy, an art he regularly practiced, taught him mastery of the hand. Thus in “Signes impératifs”, dated 1991, Chu Teh-Chun plunges us into a universe where the forces of shadow and light create a balanced harmony as opposites and counterparts, but one that is completely different from the paintings of Rembrandt, a painter he deeply admired.

朱德群不相信杰克逊·波洛克以及其他画家所践行的“行动画派的自动主义”。相反，由于经常练习书法，这让他练就了娴熟的手劲功夫。因此，在这幅创作于1991年的作品《强制符号》（Signes impératifs）中，朱德群把我们带入一个奇妙的世界，在这个世界里明与暗的张力既互斥又互补，到达一种和谐的平衡，然而这种平衡与他深为崇敬的伦勃朗画作中所体现的和谐感又截然不同。

8. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

41 CHU TEH-CHUN

1920 – 2014 QUE MA JOIE DEMEURE – 1984 Oil on canvas Signed in Chinese and Pinyin lower right “Chu Teh-Chun”, signed again in Chinese and Pinyin, dated, titled and dedicated on the reverse “Chu Teh-Chun, 1984, que ma joie demeure 5, avec mon amitié, Chu Teh-Chun, 1986” 81 x 65 cm (31,59 x 25,35 in.) 朱德群 1920 – 2014 《人类欲望之欢》– 1984年布面油画右下角汉字和拼音签名并注明日期“朱德 Chu Teh-Chun，91”，背面副署汉字和拼音、注有日期和亲笔题词“朱德群，1984，《人类欲望之欢5》，友谊地久天长，朱德群Chu Teh-Chun，1986年” 81 x 65 cm € 70 000 – 90 000 $ 97 000 – 124 000

10. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

42 CHU TEH-CHUN

1920 – 2014 CHEMINS FACILES – 2005 Oil on canvas Signed in Chinese and Pinyin and dated lower right “Chu Teh-Chun, 05”, signed again in Chinese and Pinyin, dated and titled on the reverse “chemins faciles, Chu Teh-Chun, 2005” 73 x 92 cm (28,47 x 35,88 in.) Provenance: Galerie Patrice Trigano, Paris Private Collection, Paris Literature: P-J. Rémy, Chu Teh-Chun, La Différence Editions, Paris, 2006, p. 393, reproduced in colour p. 292 朱德群 1920 – 2014 《捷径》– 2005年布面油画右下角汉字和拼音签名并注明日期“朱德群Chu Teh-Chun，91”，背面副署汉字与拼音、注有日期和标题 “《捷径》，朱德群Chu Teh-Chun，2005年” 73 x 92 cm € 120 000 – 150 000 $ 166 000 – 208 000

12. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

245 CHU TEH CHUN

1920 – 2014 UNTITLED India ink and wash on Japan paper laid down on paper Signed in Chinese and Pinyin lower right “Chu Teh-Chun” 46 x 35 cm (17,94 x 13,65 in. ) 朱德群 1920 – 2014 《无题》过塑纸上中国水墨画，右下角汉字与拼音签名“朱德群Chu Teh-Chun” 46 x 35 cm € 10 000 – 12 000 $ 13 000 – 16 000

14. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 5TH JUNE 2014. PARIS

ZAO WOU-KI 1920 – 2013

Zao Wou-Ki, in his studio, Paris, 1976. © Claude Ferrand

58 ZAO WOU-KI

1920 – 2013 18.12.49 – 1949 Oil on linen cardobard Signed in Chinese and Pinyin lower right “Wou-Ki Zao”, signed again in Chinese and Pinyin and dated twice on the reverse “18 Déc. 49, Wou-Ki Zao, 1949” 20,50 x 25,50 cm (8 x 9,95 in.) Provenance: Former Dimitri Snegaroff Collection, Paris By descent from the above to the present owner Literature: This work will be listed in the forthcoming Catalogue Raisonné, established by Mrs Françoise Marquet, assisted by Mr Yann Hendgen 赵无极 1920 – 2013 《18.12.49》– 1949年亚麻纸板油画右下角汉字和拼音签名并注明日期“赵无极Wou-Ki Zao”，背面副署汉字和拼音并注有双重日期“49年12月18日，赵无极， 1949年” 20,50 x 25,50 cm € 50 000 – 70 000 $ 69 000 – 97 000

18. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

ZAO WOU-KI 26.01.60 1960

Born in Beijing in 1920, Zao Wou-Ki grew up in a wealthy family that introduced him to the ancestral Chinese culture at an early age. When he entered the fine arts school of Hangzhou, the same year as his compatriot Chu Teh-Chun, he had long felt weighed down by this tradition. He declared, “ Chinese art has become a series of manufacturing processes, where beauty is confused with skill. There is no longer any place for imagination and the unexpected. I experienced this tradition as a straightjacket from my earliest youth […] ”. His studies opened an escape route by raising the veil to reveal a facet of Western art whose sole guide is freedom. But after finishing his studies, as he became a lecturer at the fine arts school of Hangzhou, Zao Wou-Ki felt an increasingly imperative need to definitively cut himself off from the rejected culture of his ancestors. The decision to leave China and move to Paris became a necessity. “ It was either that or die ”. Many years later he referred to this decision as a “ surgical intervention ” in which he amputated part of himself. When he arrived at the heart of the French capital in 1948, “The Fall of Paris” announced vociferously by the American critic Harold Rosenberg by 1940 never happened. Although weakened by World War II, the city still remained a major center for creation and debate. Here Zao Wou-Ki met the most important members of the Paris avant-garde where a certain intellectual emulation reigned. He became particularly close to Hans Hartung, Nicolas de Staël, Pierre Soulages, Jean-Paul Riopelle, and Maria Helena Vieira da Silva. Although his fellow artists were passionately interested in Chinese art and philosophy, Zao Wou-Ki subjected himself to a kind of intense westernization process, and his creations suffered. When he discovered the work of Paul Klee in 1951, Zao Wou-Ki thought he could emerge from the dead end of the Mannerist representational style he still pursued. But the signs that then invaded his work resembled those of the German artist to a degree that the art critic Léon Degand referred to him as “ flavorless Klee ”. Deeply wounded, Zao Wou-Ki reworked his style and finally began to transcend his spiritual master. He testifies that “ […] Little by little, the signs became forms, the backgrounds, space. By continually redoing, destroying, and starting again, something began to emerge. My painting began to move, to become agitated. Forms emerged, and I finally dared to use colors that used to frighten me.”

1920年生于北京，他成长于一个经济宽裕的家庭，很早就对他进行传统中国文化的启蒙教育。1935年，他与同胞朱德群一起进入杭州艺术专科学校学习。长久以来，他感觉到肩上背负着这种来自传统文化的负担。为此他宣称：“中国艺术已成为一套生产配方，审美与技艺混为一谈。想象与惊喜已没有立足的空间。从孩提时代起，我就生活在这种枷锁一样的传统之中……”学习和深造通过掀起西方艺术的面纱，这一只面向“自由”的艺术为他提供了脱身之计。然而当他完成大学学业后，他在杭州艺术专科学校担任讲师，赵无极越发觉得有必要与自己所排斥的传统进行彻底决裂。朱德群决定离开中国定居巴黎：“要么如此，要么死去。”若干年之后，他把这一决定定性为“如手术般一下子解决问题的举措”，同时切除的也有自身的一部分。当他于1948年抵达法兰西首都的中心时，美国艺术评论家哈罗德·罗森博格自1940年高呼的“ 巴黎的陨落”并没有发生。虽然受第二次世界大战的影响，巴黎的地位有所削弱，但它依然是艺术创作和探讨的重要中心。赵无极在这里遇到了巴黎先锋艺术家中最有名望的代表性人物，思想的交锋在他们之间盛行。他尤其与汉斯·哈通、尼古拉·德·斯塔埃尔、皮埃尔·苏拉热、让-保罗·里奥佩尔以及玛利亚·赫莲娜·维耶拉·德·希尔瓦私交甚密。他的朋友热衷于中国哲学和文化，而赵无极却执着于全盘西化。他的创作也深受其影响。当他于1951年发现保罗·克里的作品时，赵无极还专心于矫饰主义的具象画，于是他开始思考如何从这一死胡同中走出来。然而，那些占据其作品的意象就像是保罗·克里所作，以至于评论家莱昂·德刚称其为“失味的克里”。在深受刺激之后，赵无极对自己的作品重新创作，最后终于青出于蓝而胜于蓝。他写道： “……一点一滴地，意象变成了形态，背景变成了空间。由于不断的重启、摧毁、再重启，新的东西浮出水面。我的画作似乎开始运动和激动不安。各种各样的形态涌现出来，我终于敢于使用让我觉得害怕的不同色彩了。”

20. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3RD JUNE 2014. PARIS

60 ZAO WOU-KI

1920 – 2013 20.01.64 – 1964 Oil on canvas Signed in Chinese and Pinyin lower right “Wou-Ki Zao”, signed again in Pinyin and dated on the reverse “Zao Wou-Ki, 20 jan. 64” 46 x 50 cm (17,94 x 19,50 in.) Provenance:

Galerie de France, Paris Private Collection, Brussels By descent from the above to the present owner Literature:

J. Leymarie, Zao Wou-Ki, “, Hier et Demain Editions, Paris, 1978, reproduced n°330, p. 289 J. Leymarie, Zao Wou-Ki, Cercle d’Art Editions, Paris, 1986, reproduced in black and white n°362, p. 329 This work will be listed in the forthcoming Catalogue Raisonné, established by Mrs Françoise Marquet, assisted by Mr Yann Hendgen 赵无极 1920 – 2013 《20.01.64》– 1964年布面油画右下角汉字和拼音签名“赵无极 Wou-Ki Zao”，背面副署拼音、注明日期“Zao Wou-Ki，64年1月20日” 46 x 50 cm € 250 000 – 350 000 $ 345 000 – 485 000

“ […] All Zao Wou-Ki’s paintings are landscapes […] Forests, rocks, sky, water – a landscape is like a nude of the universe. It was necessary to enter into the immense simplicity of forms, as others have fled to narration or human figures in abstraction. Painting is sometimes a way to confront fear, and Zao Wou-Ki’s gaze is the fruit of a long struggle. ”

“……赵无极所有的油画都是风景画……” 森林、岩石、苍穹、水流——风景和宇宙一样，不经任何修饰。艺术家需要把握其最简单的形态，正如其他人在叙事、人物和抽象艺术中所要避免的那样。绘画有时候就是直面恐惧。高处不胜寒，赵无极取得瞩目成就来之不易。多米尼克·德维尔潘，《在光的迷宫里》，巴黎，2009年。

Dominique de Villepin in “ Dans le labyrinthe des lumières ”, Paris, 2009

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Volet extérieur

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Zao Wou-Ki, 1966. © Droits réservés

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1920 – 2013

59 ZAO WOU-KI

1920 – 2013 26.01.60 - 1960 Oil on canvas Signed in Chinese and Pinyin lower right “Wou-Ki Zao”, signed again in Pinyin and dated on the reverse “Zao Wou-Ki, 26.1.60” 97 x 130 cm (37,83 x 50,70 in.)

《26.01.60》– 1960 布面油画右下角汉字和拼音签名“赵无极 Wou-Ki Zao”，背面副署拼音、注明日期“Zao Wou-Ki，60年1月26日” 97 x 130 cm € 900 000 – 1 200 000 $ 1 245 000 – 1 660 000

Provenance:

Galerie de France, Paris, Private Collection, Paris Exhibited:

Paris, Galerie de France, Zao Wou-Ki – Œuvres Récentes, 1960, reproduced in black and white, p. 38 Literature:

J. Leymarie, Zao Wou-Ki, Hier et Demain Editions, Paris, 1978, reproduced in black and white n°289, p. 283 J. Leymarie, Zao Wou-Ki, Cercle d’Art Editions, Paris, 1986, reproduced in black and white n°321, p. 323 This work will be included in the artist’s forthcoming catalogue raisonné by Françoise Marquet and Yann Hendgen. 赵无极

This was the origin of “ Vent ” in 1954, a painting that marked a turning point in an oeuvre now devoted to abstraction. The painting from 1960 currently on auction takes up the same dark colors penetrated with light. But at the center of this work we find strong strokes of the brush left visible and animated with striking power and surging energy. Through these abstract signs, Zao Wou-Ki conveys the emotion kindled by the breath of life, the dance of drops of water on a rock, leaves shaken by the wind, a sunset conflagration in the sky. We can better understand why the artist has declared “ What is abstract for you is real for me. ” For Zao Wou-Ki, abstraction never represented a way to extract oneself from the world, but to better penetrate it, to feel and convey the profound nature of things. Many Chinese painters shared his quest. Unconsciously, Zao Wou-Ki’s artistic development finally led him to reconnect with the beliefs of the ancestors who had taught him to peer beyond the envelop that surrounds natural elements and capture the pulsations of the life that animates them. However, he uses the techniques of Western art to carry out his quest. Thus, at the secret heart of Zao Wou-Ki’s canvases, we find a reconciliation between the East and West, two legacies he transcended in creating a language he hoped would be universal.

于是在1954年，作品《风》诞生了，这幅作品标志着他全心投入抽象画创作的转折点。这幅创作于1960年的拍品，再现了对明暗色调相互渗透同样的处理方法。但在作品最吸引人的中央部分，鲜明的笔锋让极具冲击感和破坏力的形象跃然纸上。赵无极通过这些抽象的意象表达了生命所激起的内心情愫、岩石上水滴的舞蹈、微风轻扫的落叶或黄昏是天空的霞光。我们现在更能理解他的声明：“对你们而言是抽象的东西于我都是真实的。”事实上，对赵无极而言，抽象画绝不意味着从世界挣脱出来的方式，而是去深入、去感悟、去体验事物的真谛。许多中国画家也在进行同样的探索。因此，赵无极的艺术演进以一种无意识的方式，最终引领他与中国的传统信仰联系起来。后者教会他透过自然的表象看本质，从而捕捉生命的脉搏。然而，他的探索所依靠的创作手法正是来自西方艺术。因此，赵无极的画作中悄悄地同时流淌着东西方的血液，而正是这种并存让赵无极能够超越东西方的遗产，创作出独树一帜的东西共赏的艺术语言。

22. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

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Volet intéreur

1920 – 2013

59 ZAO WOU-KI

Provenance:

Galerie de France, Paris, Private Collection, Paris Exhibited:

Paris, Galerie de France, Zao Wou-Ki – Œuvres Récentes, 1960, reproduced in black and white, p. 38 Literature:

22. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

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60 ZAO WOU-KI

Galerie de France, Paris Private Collection, Brussels By descent from the above to the present owner Literature:

Dominique de Villepin in “ Dans le labyrinthe des lumières ”, Paris, 2009

24. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

Volet extérieur

Page 24

Zao Wou-Ki, 1966. © Droits réservés

Page 21

61 ZAO WOU-KI

1920 – 2013 05.06.99 – 1999 Oil on canvas Signed in Chinese lower right; signed again in Pinyin and dated on the reverse “Zao Wou-Ki, 5 juin 1999” 162 x 130 cm (63,18 x 50,70 in.) Exhibited: Bruxelles, Galerie Bastien, Zao Wou-Ki De la Dualité à la Sérenité, 2001, reproduced in colour Literature: This work will be included in the artist’s forthcoming catalogue raisonné by Françoise Marquet and Yann Hendgen. 赵无极 1920 – 2013 《05.06.99》– 1999年布面油画右下角汉字签名，背面副署拼音并注明日期“赵无极Zao Wou-Ki，1999年6月5日” 162 x 130 cm € 1 000 000 – 1 500 000 $ 1 385 000 – 2 080 000

26. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

ZAO WOU-KI 05.06.99 1999

“ A painting is a poem that has taken form for the eye. ”

“画是为眼睛所做的诗。”

“ People believe that painting and writing involve reproducing forms and resemblances. No, the brush is used to bring things out of chaos. ” Zao Wou-Ki

“人们认为作画和作文是对各种形态和外表的复制。非也，画笔的功能是从混沌中抽离出内容。” ——赵无极

In the early 1970s, Zao Wou-Ki set aside oil painting for a time. During this period, the artist was profoundly dismayed and overwhelmed by the illness of his second wife. He was seeking a less complicated way to continue his artistic practice. Influenced by his good friend Henri Michaux, Zao Wou-Ki finally reconnected with a technique he had abandoned for years – Chinese ink. Upon arriving in Paris, he had renounced a medium he felt was intimate part of his native country’s artistic tradition. This choice is typical of his decision to cut himself o ff from his roots in order to find his own path. But during the early 70s, Zao Wou-Ki had become a central figure of the École de Paris and no longer feared he would produce chinoiseries devoid of any spirit of innovation.

上世纪七十年代初，赵无极曾一度忽视了油画创作。当时，其第二任太太的病情让他深受困扰而不能分身。于是，他转而寻找一种不那么受限制的方式来继续追求自己的艺术创作。受挚友亨利·米修的影响，赵无极最终重拾曾放弃多年的创作技艺——中国水墨画。自他来到巴黎起，他便放弃了这一被他视为与故乡的艺术传统有亲密联系的颜料。这一抉择表明其切断自己的文化之根，寻觅自我道路的意愿。但是在上世纪七十年代初，赵无极已是巴黎学派的核心人物，不再担心通过创新的灵感，创作带有个人烙印的“中国风”作品。

Working once again with Chinese ink, whose secrets had been revealed to him in his early youth, he developed a new way to think about masses, positive and negative space, thicknesses, and transparencies. These novel experiments deeply influenced his pictorial style. During these years, his oil paintings became lighter to the point that they sometimes resemble colored washes, as in this work from 1999 on auction today. As is true for most of his creations, Zao Wou-Ki refuses to title the work, leaving the viewer free to see whatever he may desire in the large masses of color, depending on who he is and what he feels when he lays eyes on the painting. In the same way, although Zao Wou-Ki may comment on his works, he also claims to have no desire to explain and analyze them in great detail. It is up to painting to unveil its mysteries to whoever takes the time to pause and lend them an ear. As for us, we seem to hear a poem by Chen Yuyi: “ Dawn appeared. On the trees in the garden the birds sang / Spring dressed itself in in red and green/in the distance, it invaded the forest / And then a wonderful poem presented itself to me / I wanted to frame it in poetic terms according to the rules, but my memory no longer remembers them! ”

重拾中国水墨，虽然这一创作手法所有的奥秘在其年轻时就已熟稔于心，但他对作画的主体、虚实和明暗之间的平衡进行了新的思考。这些新的实验深刻影响了他的绘画作品。因此，这段时期创作的油画没有那么浓墨重彩，某些地方甚至可与彩色水墨画相混淆，正如现在呈现在我们面前的这幅1999年作品一样。通过材料和明暗的运用，色调的对比度也更为突出。与赵无极的大部分作品一样，他没有为作品取名字，而是让赏画人自己在欣赏作品的瞬间，根据自我以及自身的经历，发挥自己的自由想象，从这些大的色块之间看出自己想要看出的内容。同样地，当他评论自己的作品时，他不会从自己的视角对作品进行详细地解释和分析。是画作自己向那些驻足欣赏的人解开隐藏其中的谜团。就我们而言，我们听见他在低声吟诵陈与义的诗句：“朝来庭树有呜禽，红绿扶春上远林。忽有好诗生眼底，安排句法已难寻。”

28. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3rd JUNE 2014. PARIS

ÂŠ Forbidden City, Beijing

75 ZAO WOU-KI

1920 – 2013 UNTITLED – 1999 India ink on paper laid down on paper Signed in Chinese and Pinyin and dated lower right “Wou-Ki Zao, 99” 89,30 x 89,30 cm (34,83 x 34,83 in.) Provenance: Marlborough Gallery, New York Private Collection, Paris Exhibited: Paris, Galerie Marwan Hoss, Zao Wou-Ki Encres Récentes, 2000, reproduced in colour p. 25 Barcelone, Galerie de l’Institut Français, Zao Wou-Ki - Encres Récentes, 2001 Literature: This work will be included in the artist’s forthcoming catalogue raisonné by Françoise Marquet and Yann Hendgen. 赵无极 1920 – 2013 《无题》 – 1999年过塑纸上中国水墨画，右下角汉字与拼音签名并注明日期“赵无极Wou-Ki Zao，99” 89,30 x 89,30 cm € 70 000 – 90 000 $ 97 000 – 124 000

30. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3RD JUNE 2014. PARIS

76 ZAO WOU-KI

1920 – 2013 UNTITLED – 2003 India ink on paper laid down on paper Signed in Chinese and Pinyin and dated lower right “Wou-Ki Zao, 2003” 117,60 x 97 cm (45,86 x 37,83 in.) Provenance: Marlborough Gallery, Madrid Private Collection, Paris Exhibited: Madrid, Arco, Marlborough Gallery Madrid, 2006 Literature: This work will be included in the artist’s forthcoming catalogue raisonné by Françoise Marquet and Yann Hendgen. 赵无极 1920 – 2013 《无题》 – 2003年过塑纸上中国水墨画，右下角汉字与拼音签名并注明日期“赵无极Wou-Ki Zao，2003” 117,60 x 97 cm € 70 000 – 90 000 $ 97 000 – 124 000

32. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 3RD JUNE 2014. PARIS

243 ZAO WOU-KI

1920 – 2013 UNTITLED – 1960 India ink on paper Signed in Chinese and Pinyin and dated lower right “Wou-Ki Zao, 60” 64 x 49 cm (24,96 x 19,11 in. ) Literature: This work will be listed in the forthcoming Catalogue Raisonné, established by Mrs Françoise Marquet, assisted by Mr Yann Hendgen 赵无极 1920 – 2013 《无题》 – 1960年纸上中国水墨画右下角汉字与拼音签名并注明日期“赵无极Wou-Ki Zao，60” 64 x 49 cm € 40 000 – 60 000 $ 55 000 – 83 000

34. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 5TH JUNE 2014. PARIS

244 ZAO WOU-KI

1920 – 2013 UNTITLED – 1951 Monotype with gouache on paper Signed in Chinese and Pinyin and dated lower right “Wou-Ki Zao, 51” 13 x 19,50 cm (5,07 x 7,61 in.) Provenance: Private Collection, France This work will be listed in the forthcoming Catalogue Raisonné, established by Mrs Françoise Marquet, assisted by Mr Yann Hendgen 赵无极 1920 – 2013 《无题》– 1951年纸上水粉单版画，右下角汉字与拼音签名并注明日期“赵无极Wou-Ki Zao，51” 13 x 19,50 cm € 15 000 – 20 000 $ 20 000 – 27 000

36. ZAO WOU-KI – CHU TEH CHUN – 12 ARTWORKS | 5TH JUNE 2014. PARIS

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Tableaux et objets d’art Pictures & Works of Art

Mobilier et pièces volumineuses Furniture & bulky objects

Vous pouvez retirer vos achats au magasinage de l’Hôtel Marcel Dassault (rez-de-jardin), soit à la fin de la vente, soit les jours suivants : lundi au vendredi : de 9h30 à 18h (stockage gracieux les 15 jours suivant la date de vente) Purchased lots may be collected from the Hôtel Marcel Dassault storage (garden level) either after the sale, Monday to Friday from 9:30 am to 6 pm. (storage is free of charge for a fortnight after the sale)

• Les meubles et pièces volumineuses ne pourront pas être enlevés chez Artcurial, ils sont entreposés dans les locaux de

• All furniture and bulky objects may not be collected at Artcurial Furniture, as they are stored at the

Vulcan Fret Services : Lundi au jeudi : de 9h à 12h30 et de 13h30 à 17h Vendredi : de 9h à 12h30 et de 13h30 à 16h 135 rue du Fossé Blanc. 92230 Gennevilliers

Vulcan Fret Services warehouse : Monday to thursday : 9am - 12.30pm and 1.30pm - 5pm Friday : 9am - 12.30pm and 1.30pm - 4pm 135 rue du Fossé Blanc 92230 Gennevilliers

Contact : Aurélie Gaita, aurelie.gaita@vulcan-france.com Tél. : +33 (0)1 41 47 94 00 Fax : +33 (0)1 41 47 94 01

Contact : Aurélie Gaita, aurelie.gaita@vulcan-france.com Tel : +33 (0)1 41 47 94 00 Fax : +33 (0)1 41 47 94 01

• Stockage gracieux les 14 jours suivant la date de vente. Passé ce délai, des frais de stockage vous seront facturés par Vulcan Fret Services par semaine, toute semaine commencée est due en entier.

• The storage is free of charge for a 14 day period after the date of sale. Thereafter storage costs will be charged by Vulcan Fret Services, per week.

• Pour tout entreposage supérieur à 45 jours, nous vous invitons à demander un devis forfaitaire. • Pour toute expédition de vos lots, Vulcan Fret Services se tient à votre disposition pour vous établir un devis. • L’enlèvement des lots achetés ne peut pas être effectué avant le 4e jour qui suit la date de vente.

• Vulcan Fret Services will be pleased to provide a quote, for any storage over 45 days, upon request. • Vulcan Fret Service can also provide a quote for the shipment of your purchases. • Lots can be collected after the 4th day following the sale’s date.

CondITIonS oF PuRChASe In VoLunTARy AuCTIon SALeS

ArtcurialBriest-Poulain-F. Tajan

2 – The sale

Artcurial-Briest-Poulain-F. Tajan ArtcurialBriest-Poulain-F. Tajan is an operator of voluntary auction sales regulated by the law articles L312-4 and following of the Code de Commerce. In such capacity Artcurial-Briest-Poulain-F. Tajan acts as the agent of the seller who contracts with the buyer. The relationships between Artcurial-BriestPoulain-F. Tajan and the buyer are subject to the present general conditions of purchase which can be modified by saleroom notices or oral indications before the sale, which will be recorded in the official sale record.

a) In order to assure the proper organisation of the sales, prospective buyers are invited to make themselves known to Artcurial-BriestPoulain-F. Tajan before the sale, so as to have their personal identity data recorded. Artcurial-Briest-Poulain-F. Tajan reserves the right to ask any prospective buyer to justify his identity as well as his bank references and to request a deposit. Artcurial-Briest-Poulain-F. Tajan reserves the right to refuse admission to the auction sales premises to any prospective buyer for legitimate reasons. b) Any person who is a bidder undertakes to pay personally and immediately the hammer price increased by the costs to be born by the buyer and any and all taxes or fees/expenses which could be due. Any bidder is deemed acting on his own behalf except when prior notification, accepted by Artcurial-Briest-Poulain-F. Tajan, is given that he acts as an agent on behalf of a third party. c) The usual way to bid consists in attending the sale on the premises. However, ArtcurialBriest-Poulain-F. Tajan may graciously accept to receive some bids by telephone from a prospective buyer who has expressed such a request before the sale. Artcurial-Briest-Poulain-F. Tajan will bear no liability / responsability whatsoever, notably if the telephone contact is not made, or if it is made too late, or in case of mistakes or omissions relating to the reception of the telephone. For variety of purposes, ArtcurialBriest-Poulain-F. Tajan reserves its right to record all the telephone communications during the auction. Such records shall be kept until the complete payment of the auction price, except claims. d) Artcurial-Briest-Poulain-F.Tajan may accept to execute orders to bid which will have been submitted before the sale and by Artcurial Briest-Poulina-F.Tajan which have been deemed acceptable. Artcurial-BriestPoulain-F.Tajan is entitled to request a deposit which will be refunded within 48hours after the sale if the lot id not sold to this buyer. Should Artcurial-Briest-Poulain-F. Tajan receive several instructions to bid for the same amounts, it is the instruction to bid first received which will be given preference. Artcurial-Briest-Poulain-F. Tajan will bear no liability/responsibility in case of mistakes or omission of performance of the written order. e) In the event where a reserve price has been stipulated by the seller, Artcurial-BriestPoulain-F. Tajan reserves the right to bid on behalf of the seller until the reserve price is reached. The seller will not be admitted to bid himself directly or through an agent. The reserve price may not be higher than the low estimate for the lot printed in or publicly modified before the sale. f) Artcurial-Briest-Poulain-F. Tajan will conduct auction sales at their discretion, ensuring freedom auction and equality among all bidders, in accordance with established practices. Artcurial-Briest-Poulain-F. Tajan reserves the right to refuse any bid, to organise the bidding in such manner as may be the most appropriate, to move some lots in the course of the sale, to withdraw any lot in the course of the sale, to combine or to divide some lots in the course of the sale.

1 – Goods for auction a) The prospective buyers are invited to examine any goods in which they may be interested, before the auction takes place, and notably during the exhibitions. Artcurial-Briest-Poulain-F. Tajan is at disposal of the prospective buyers to provide them with reports about the conditions of lots. b) Description of the lots resulting from the catalogue, the reports, the labels and the verbal statements or announcements are only the expression by Artcurial-BriestPoulain-F. Tajan of their perception of the lot, but cannot constitute the proof of a fact. c) The statements by made ArtcurialBriest-Poulain-F. Tajan about any restoration, mishap or harm arisen concerning the lot are only made to facilitate the inspection thereof by the prospective buyer and remain subject to his own or to his expert’s appreciation. The absence of statements Artcurial-Briest-Poulain-F. Tajan by relating to a restoration, mishap or harm, whether made in the catalogue, condition reports, on labels or orally, does not imply that the item is exempt from any current, past or repaired defect. Inversely, the indication of any defect whatsoever does not imply the absence of any other defects. d) Estimates are provided for guidance only and cannot be considered as implying the certainty that the item will be sold for the estimated price or even within the bracket of estimates. Estimates cannot constitute any warranty assurance whatsoever. The estimations can be provided in several currencies ; the conversions may, in this case or, be rounded off differently than the legal rounding

Banque partenaire :

In case of challenge or dispute, ArtcurialBriest-Poulain-F. Tajan reserves the right to designate the successful bidder, to continue the bidding or to cancel it, or to put the lot back up for bidding. g) Subject to the decision of the person conducting the bidding for Artcurial-BriestPoulain-F. Tajan, the successful bidder will be the bidder would will have made the highest bid provided the final bid is equal to or higher than the reserve price if such a reserve price has been stipulated. The hammer stroke will mark the acceptance of the highest bid and the pronouncing of the word “adjugé” or any equivalent will amount to the conclusion of the purchase contract between the seller and the last bidder taken in consideration. No lot will be delivered to the buyer until full payment has been made.In case of payment by an ordinary draft/check, payment will be deemed made only when the check will have been cashed. h) So as to facilitate the price calculation for prospective buyers, a currency converter may be operated by Artcurial-BriestPoulain-F. Tajan as guidance. Nevertheless, the bidding cannot be made in foreign currency and Artcurial-Briest-Poulain-F. Tajan will not be liable for errors of conversion.

3 – The performance of the sale a) In addition of the lot’s hammer price, the buyer must pay the following costs and fees/taxes : 1) Lots from the EEC : • From 1 to 30 000 euros: 25 % + current VAT. • From 30 001 to 1 200 000 euros: 20 % + current VAT. • Over 1 200 001 euros: 12 % + current VAT. 2) Lots from outside the EEC : (identified by an ). In addition to the commissions and taxes indicated above, an additional import VAT will be charged (5,5% of the hammer price, 20% for jewelry and watches, motorcars, wines and spirits and multiples). 3) The taxes (VAT on commissions and VAT on importation) can be retroceded to the purchaser on presentation of written proof of exportation outside the EEC. An EEC purchaser who will submit his intraCommunity VAT number will be exempted from paying the VAT on commissions. The payment of the lot will be made cash, for the whole of the price, costs and taxes, even when an export licence is required. The purchaser will be authorized to pay by the following means : - in cash : up to 3 000 euros, costs and taxes included, for French citizens, up to 15 000 euros, costs and taxes included, for foreign citizens on presentation of their identity papers; - By cheque drawn on a French bank on presentation of identity papers and for any company, a KBis dated less than 3 months (cheques drawn on a foreign bank are not accepted); - By bank transfer; - By credit card : VisA, mAsTErCArd or AmEX (in case of payment by AmEX, a 1,85 % additional commission corresponding to cashing costs will be collected).

b) Artcurial-Briest-Poulain-F. Tajan will be authorized to reproduce in the official sale record and on the bid summary the information that the buyer will have provided before the sale. The buyer will be responsible for any false information given. Should the buyer have neglected to give his personal information before the sale, he will have to give the necessary information as soon as the sale of the lot has taken place. Any person having been recorded by ArtcurialBriest-Poulain-F. Tajan has a right of access and of rectification to the nominative data provided to Artcurial-Briest-Poulain-F. Tajan pursuant to the provisions of Law of the 6 July 1978. c) The lot must to be insured by the buyer immediately after the purchase. The buyer will have no recourse against Artcurial-BriestPoulain-F. Tajan, in the event where, due to a theft, a loss or a deterioration of his lot after the purchase, the compensation he will receive from the insurer of Artcurial-BriestPoulain-F. Tajan would prove unsufficient. d) The lot will be delivered to the buyer only after the entire payment of the price, costs and taxes. If payment is made by cheque, the lot will be delivered after cashing, eight working days after the cheque deposit. In the meantime Artcurial-Briest-Poulain-F. Tajan may invoice to the buyer the costs of storage of the lot, and if applicable the costs of handling and transport. Should the buyer fail to pay the amount due, and after notice to pay has been given by Artcurial-Briest-Poulain-F. Tajan to the buyer without success, at the seller’s request, the lot is re-offered for sale, under the French procedure known as “procédure de folle enchère”. If the seller does not make this request within three months from the date of the sale, the sale will be automatically cancelled, without prejudice to any damages owed by the defaulting buyer. In addition, Artcurial-Briest-Poulain-F. Tajan reserves the right to claim against the defaulting buyer, at their option : - interest at the legal rate increased by five points, - the reimbursement of additional costs generated by the buyer’s default, - the payment of the difference between the initial hammer price and the price of sale after “procédure de folle enchère” if it is inferior as well as the costs generated by the new auction. Artcurial-Briest-Poulain-F. Tajan also reserves the right to set off any amount ArtcurialBriest-Poulain-F. Tajan may owe the defaulting buyer with the amounts to be paid by the defaulting buyer. Artcurial-Briest-Poulain-F. Tajan reserves the right to exclude from any future auction, any bidder who has been a defaulting buyer or who has not fulfilled these general conditions of purchase. e) For items purchased which are not collected within seven days from after the sale (Saturdays, Sundays and public holidays included), Artcurial-Briest-Poulain-F. Tajan will be authorized to move them into a storage place at the defaulting buyer’s expense, and to release them to same after payment of corresponding costs, in addition to the price, costs and taxes. f) The buyer can obtain upon request a certificate of sale which will be invoiced e 60.

4 – The incidents of the sale

7 – Items falling within the scope of specific rules

In case of dispute, Artcurial-Briest-PoulainF. Tajan reserves the right to designate the successful bidder, to continue the sale or to cancel it or to put the lot up for sale. a) In case two bidders have bidden vocally, by mean of gesture or by telephone for the same amount and both claim title to the lot, after the bidding the lot, will immediately be offered again for sale at the previous last bid, and all those attending will be entitled to bid again. b) So as to facilitate the presentation of the items during the sales, Artcurial-Briest-PoulainF. Tajan will be able to use video technology. Should any error occur in operation of such, which may lead to show an item during the bidding which is not the one on which the bids have been made, Artcurial-BriestPoulain-F. Tajan shall bear no liability/ responsability whatsoever, and will have sole discretion to decide whether or not the bidding will take place again.

For sales of cars - including both cars of collection and ordinary cars - special additional conditions apply, as stated hereafter. In addition to the lot’s hammer price, the buyer will have to pay the following costs per lot and by degressive brackes : • From 1 to 300 000 euros : 16% + current VAT (i.e. 3.13%). • From 300 001 to 600 000 euros : 12% + current VAT (i.e. 2.35%). • Over 600 001 euros : 10% + current VAT (i.e. 1.96%). a) Only the authenticity of the vehicle is guaranteed, taking into consideration the possible reservations made the description. b) The vehicles are sold in their current condition. The information in the catalogue is not binding. Indeed, the condition of a car may vary between the time of its description in the catalogue and the time of its presentation at the sale. The exhibition taking place for several days prior to the sale and allowing awareness of the condition of the vehicles, no complaint will be accepted once the sale by auction is pronounced. c) For administrative reasons, the designations of the vehicles use the information given on the official vehicle registration documentation. d) Considering the possible evolution of the condition of the cars, as stated under b), it is specified that the price ranges are given strictly for informational purposes and on a provisional basis. Now, the estimations will be put out at the beginning of the exhibition and if need be, corrected publicly at the time of the sale and recorded in the minutes thereof. e) The bidders are deemed to have read the documentation relating to each vehicle, notably the technical inspections which are available at the auction sales company. However, some vehicles may be sold without having been submitted to the examination of technical inspection because of their age, of their noncirculating condition or of their competition aspect. The public will have to inquire about it at the time of the preview and sale. f) The vehicles preceded by an asterisk (*) have been consigned by owners from outside the EEC. The buyers will have to pay a VAT of 5.5% in addition to the hammer price, for which buyers from outside the EEC will be able to be reimbursed on presentation of export documentation within a time limit of one month after the sale, failing which it will not be possible to obtain reimbursement of such VAT. g) The buyer has the burden and the exclusive responsibility for the change of registration of vehicles, notably within the time limit set forth by law. h) The removal of vehicles must absolutely take place on the day after the auction sale, at the latest. Beyond this time limit, they will bestored at the costs and risks of their owner. i) Any lot which includes one element in ivory, cannot be imported in the United States as its legislation bans the trade of African or Asian ivory, whatever its dating may be. It is indicated by (▲).

5 – Pre-emption of the French state The French state in entitled to use a right of pre-emption on works of art, pursuant to the rules of law in force. The use of this right comes immediately after the hammer stroke, the representative of the French state expressing then the intention of the State to substitute for the last bidder, provided he confirms the pre-emption decision within fifteen days. Artcurial-Briest-Poulain-F. Tajan will not bear any liability/responsibility for the conditions of the pre-emption by the French State.

6 – Intellectual Property Right - Copyright The copyright in any and all parts of the catalogue is the property of Artcurial-BriestPoulain-F. Tajan. Any reproduction thereof is forbidden and will be considered as counterfeiting to their detriment. Furthermore, Artcurial-Briest-Poulain-F. Tajan benefits from a legal exception allowing them to reproduce the lots for auction sale in their catalogue, even though the copyright protection on an item has not lapsed. Any reproduction of Artcurial-BriestPoulain-F. Tajan catalogue may therefore constitute an illegal reproduction of a work which may lead its perpetrator to be prosecuted for counterfeiting by the holder of copyright on the work. The sale of a work of art does not transfer to its buyer any reproduction or representation rights thereof.

8 – Removal of purchases The buyer has to insure its purchase, and Artcurial Briest-Poulain-F.Tajan assumes no liability for any damage items which may occur after the sale. All transportation arrangements are the sole responsibility of the buyer.

9 – Severability The clauses of these general conditions of purchase are independant from each other. Should a clause whatsoever be found null and void, the others shall remain valid and applicable.

10 – Law and Jurisdiction In accordance with the law, it is added that all actions in public liability instituted on the occasion of valuation and of voluntary and court-ordered auction sales are barred at the end of five years from the hammer price or valuation. These Conditions of purchase are governed by French law exclusively. Any dispute relating to their existence, their validity and their binding effect on any bidder or buyer shall be submitted to the exclusive jurisdiction of the Courts of France.

Protection of cultural property Artcurial Briest-Poulain-F.Tajan applies a policy to prevent the sale of looted or stolen cultural property.

Ordre d’achat Absentee Bid Form zao wou-ki – chu teh-chun – 12 artworks AUCTIONS n°2500 & 2501 tuesday 3rd june 2014 at 8:30pm & thursday 5th june 2014 at 5pm paris — 7, rond-point des champs-élysées ORDRE D’ACHAT / ABSENTEE BID LIGNE TÉLÉPHONIQUE / TELEPHONE Pour les lots dont l’estimation est supérieure à 500 euros For lots estimated from e 500 onwards TÉLÉPHONE / PHONE :

NOM / NAME : PRÉNOM / FIRST NAME : ADRESSE / ADRESS : TÉLÉPHONE / PHONE : FAX : EMAIL :

Références bancaires / bank reference Relevé d’identité bancaire (rib) / iban and bic : Nom de la Banque / Name of the Bank :

MERCI DE BIEN VOULOIR JOINDRE À CE FORMULAIRE UNE COPIE DE VOTRE PIÈCE D’IDENTITÉ (passeport ou carte nationale d’identité) SI VOUS ENCHÉRISSEZ POUR LE COMPTE D’UNE SOCIÉTÉ, MERCI DE JOINDRE UN EXTRAIT KBIS DE MOINS DE 3 MOIS. COULD YOU PLEASE PROVIDE A COPY OF YOUR ID OR PASSPORT IF YOU BID ON BEHALF OF A COMPANY, COULD YOU PLEASE PROVIDE A POWER OF ATTORNEY.

Adresse / POST Addres : TÉLÉPHONE / PHONE : Gestionnaire du compte / Account manager : Code Banque / BIC OR SWIFT : Numéro de compte / IBAN : CODE GUICHET : CLEF RIB : LOT

APRÈS AVOIR PRIS CONNAISSANCE DES CONDITIONS DE VENTE DÉCRITES DANS LE CATALOGUE, JE DÉCLARE LES ACCEPTER ET VOUS PRIE D’ACQUÉRIR POUR MON COMPTE PERSONNEL AUX LIMITES INDIQUÉES EN EUROS, LES LOTS QUE J’AI DÉSIGNÉS CI-DESSOUS. (LES LIMITES NE COMPRENANT PAS LES FRAIS LÉGAUX). I HAVE READ THE CONDITIONS OF SALE AND THE GUIDE TO BUYERS PRINTED IN THIS CATALOGUE AND AGREE TO ABIDE BY THEM. I GRANT YOUR PERMISSION TO PURCHASE ON MY BEHALF THE FOLLOWING ITEMS WITHIN THE LIMITS INDICATED IN EUROS. (THESE LIMITS DO NOT INCLUDE BUYER’S PREMIUM AND TAXES).

DESCRIPTION DU LOT / LOT DESCRIPTION

LIMITE EN EUROS / MAX. EUROS PRICE

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N o

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N o

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N o

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N o

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N o

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o o

LES ORDRES D’ACHAT DOIVENT IMPÉRATIVEMENT NOUS PARVENIR AU MOINS 24 HEURES AVANT LA VENTE. TO ALLOW TIME FOR PROCESSING, ABSENTEE BIDS SHOULD BE RECEIVED AT LEAST 24 HOURS BEFORE THE SALE BEGINS.

À RENVOYER / PLEASE MAIL TO :

ARTCURIAL–BRIEST–POULAIN–F.TAJAN 7, ROND-POINT DES CHAMPS-ELYSÉES 75008 PARIS FAX : +33 (0)1 42 99 20 60 bids@artcurial.com

DATE ET SIGNATURE OBLIGATOIRE REQUIRED DATED SIGNATURE