Wou-Ki, Zao 7 Aquatintaradierungen aus "Vingt-quatre premiers sonnets de Shakespeare dans la traduction de Yves Bonnefoy". 1994. Je auf Moulin de Gué (mit WZ). Blattmaße je 34,7 x 28 cm. Je signiert, …

Informal Wou-Ki, Zao 7 aquatint etchings from "Vingt-quatre premiers sonnets de Shakespeare dans la traduction de Yves Bonnefoy". 1994. each on Moulin de Gué (with WZ). Sheet dimensions 34.7 x 28 cm each. Each signed, dated and numbered in Roman numerals. Each mounted in spots on support and under passepartout. - Overall very good and exceptionally fine. Throughout splendid, nuanced and picturesque prints with embossed platemark, wide margins, with the scoop margin on the right. Moerstrup 366 - 372 - Each one of 7 Roman numbered and signed copies. - In contrast to Moestrup, who lists only 30 Roman numbered but unsigned copies with I - XXX, the first 7 Roman numbered copies were accompanied by a signed extra suite with the 7 aquatint etchings not previously mentioned in the catalog raisonné or in the book's collophon, each of which was additionally signed. We would like to thank the Zao Wou-Ki Foundation and Archive, Geneva, for valuable and confirmatory information, email dated 08.03.2024.- The portfolio is presented in the current issue of "Weltkunst" (No. 80/81, 2024). - The Chinese-French artist Zao Wou-Ki mastered the synthesis of Chinese calligraphy and European Informel in his art. His distinctly poetic visual language was ideal for designing the illustrations for the new translation of Shakespeare's 24 First Sonnets by the French poet and author Yves Bonnefoy. Bonnefoy and Wou-Ki had already been friends for a long time before they decided to collaborate on this joint project in 1994, which was to become a luxury press publication for "Les Bibliophiles de France". The artistic concept of the 7 aquatint etchings that Wou-Ki created was based on the accompaniment of the alternating verse measures typical of the verses of the sonnets. In 7 aquatint etchings, nuanced, multi-faceted gray palettes unfold, varying in tonality from basalt to slate to black-gray. In combination with delicate gradations of tonal values, etching effects and flocking, the abstract forms appear dreamy, dynamic and radiant with light, capturing Shakespear's poetry in perfect form. 7 aquatint etchings from "Vingt-quatre premiers sonnets de Shakespeare dans la traduction de Yves Bonnefoy". Each on Moulin de Gué. Each signed, dated and numbered in roman numerals. Each spot-mounted to mat and presented under mat section. - Overall very good and exceptionally fine. Splendid, nuanced prints realizing painterly values with embossed platemark, wide margins and scoop margins on the right in each case. - Each one of 7 roman numbered and signed copies. - Differing to Moestrup, who lists only 30 roman numbered but unsigned copies with I - XXX, the first 7 roman numbered copies were accompanied by a signed extra suite with the 7 aquatint etchings not previously mentioned in the catalogue raisonné or in the book's collophon, each of which was additionally signed. We would like to thank the Zao Wou-Ki Foundation and Archive, Geneva, for valuable and confirmatory information via Email, March 8 2024) . - The portfolio will be presented in the current issue of "Weltkunst" (No. 80/81, 2024). - The Chinese-French artist Zao Wou-Ki mastered the synthesis of Chinese calligraphy and European Informel in his art. His distinctly poetic visual language was ideally suited to the illustrations for the new translation of Shakespeare's 24 First Sonnets by the French poet and author Yves Bonnefoy. Bonnefoy and Wou-Ki had already been friends for a long time before they decided to collaborate on this joint project in 1994, which was to become a luxury press publication for "Les Bibliophiles de France". The artistic concept of the 7 aquatint etchings that Wou-Ki created was based on the accompaniment of the alternating verse measures typical of the verses of the sonnets. In 7 aquatint etchings, nuanced, multi-faceted grey palettes unfold, varying in tonality from basalt grey to slate grey to black grey. In combination with delicate gradations of tonal values, etching effects and flocking, the abstract forms appear dreamy, dynamic and radiant with light, capturing Shakespear's poetry in perfect form.