Galerie Creuze, Paris
Sale: Perrin-Royère-Lajeunesse, Versailles, 19 March 1989, lot 226
Private Collection, London

The colours are fairly accurate in the catalogue illustration although the overall tonality is less contrasted in the original work. The work is executed on its original canvas and is not relined. There are some faint wears on the edges of the upper right corner, visible only under close inspection. One carefully restored tear (8 cm) is visible from the reverse, by the upper edge. Under Ultra Violet light inspection, one small dot of restoration fluoresce, located on the dog.
"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."

"In Paris Zao Wou-Ki met with Vadime Elisseeff who, in preparation of his arrival, had brought back a few paintings from China and showed them to the Musée Cernuschi in July 1946. The latter served as Zao Wou Ki's guide, helping him with his first contacts and introducing him to his colleague Bernard Dorival, curator at the Musée national d'art moderne who organized Zao Wou Ki's first exhibition at the Galerie Creuze in May 1949. The exhibition drew the attention of critics by its subtle and unprecedented union of two pictorial traditions. The journalist of the Daily Mail spoke of a "Chinese Bonnard". One of the enthusiastic visitors was the painter Jacques Villon who cordially invited Zao Wou-Ki to his studio in Puteaux and got him into the Salon d'Automne. The thirty or so works by Zao Wou-Ki shown here were almost all painted before his arrival in Paris, as during this period of acclimatization, which lasted until the end of 1949, Zao Wou-Ki painted very little – (...) but made rather paintings and engravings, following his instinctive  leanings. He frequented the Académie de la Grande Chaumière where his corrector was Othon-Friesz, 'compelled to study the nude as a test exercise and to draw a few red chalk drawings of pure line."