20th Century & Contemporary Art & Design Evening Sale [Catalogue]

20th Century & Contemporary Art & Design Evening Sale Hong Kong, 27 May 2018 二十世紀及當代藝術和設計晚間拍賣

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4. Yayoi Kusama 草間彌生

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6. Jean Dubufet 尚·杜布菲

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40. George Condo 喬治·康多

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39. Finn Juhl 芬·祖爾

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43. Tomoo Gokita 五木田智央

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44. Nam June Paik 白南準

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Executives.

Ed Dolman

Cheyenne Westphal

Chief Executive Ofcer +1 212 940 1241 edolman@phillips.com

Chairman +44 20 7318 4044 cwestphal@phillips.com

Š Brigitte Lacombe

20th Century & Contemporary Art.

Jean-Paul Engelen

Robert Manley

Worldwide Co-Head of 20th Century & Contemporary Art, and Deputy Chairman +1 212 940 1390 jpengelen@phillips.com

Worldwide Co-Head of 20th Century & Contemporary Art, and Deputy Chairman +1 212 940 1358 rmanley@phillips.com

Senior Advisors.

Hugues Jofre

Francesco Bonami

Arnold Lehman

Ken Yeh

Senior Advisor to the CEO +44 207 901 7923 hjofre@phillips.com

Senior Advisor to the CEO fonami@phillips.com

Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com

Senior International Specialist +1 212 940 1257 kyeh@phillips.com

Deputy Chairmen.

Svetlana Marich

Jonathan Crockett

Peter Sumner

Miety Heiden

Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Deputy Chairman, Asia, and Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

Deputy Chairman, Europe +44 20 7318 4063 psumner@phillips.com

Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Alexander Payne

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Deputy Chairman, Europe, and Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Americas, and Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

Deputy Chairman, Americas and Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Deputy Chairman, Europe Senior Specialist of 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com

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Hong Kong.

Isaure de Viel Castel

Sandy Ma

Charlotte Raybaud

Danielle So

Delissa Putri Handoko

Head of Department +852 2318 2011 idevielcastel@phillips.com

Head of Evening Sale +852 2318 2025 sma@phillips.com

Specialist +852 2318 2026 craybaud@phillips.com

Cataloguer +852 2318 2027 dso@phillips.com

Cataloguer +852 2318 2000 dhandoko@phillips.com

Scott Nussbaum

Rachel Adler Rosan

Amanda Lo Iacono

Senior Specialist +1 212 940 1333 radlerrosan@phillips.com

Head of Evening Sale +1 212 940 1278 aloiacono@phillips.com

John McCord

Head of Department +1 212 940 1354 snussbaum@phillips.com

Katherine Lukacher

Carolina Scarborough

Associate Specialist +1 212 940 1215 klukacher@phillips.com

Associate Specialist, Cataloguer +1 212 940 1391 cscarborough@phillips.com

New York.

Rebekah Bowling

Sam Mansour

Head of Day Sale, Morning +1 212 940 1261 jmccord@phillips.com

Head of Day Sale, Afernoon Head of New Now Sale +1 212 940 1219 +1 212 940 1250 smansour@phillips.com rbowling@phillips.com

Annie Dolan

Olivia Kasmin

Patrizia Koenig

Cataloguer +1 212 940 1260 adolan@phillips.com

Cataloguer +1 212 940 1312 okasmin@phillips.com

Researcher/Writer +1 212 940 1279 pkoenig@phillips.com

Kevie Yang Specialist +1 212 940 1254 kyang@phillips.com

London.

Dina Amin

Nathalie Zaquin-Boulakia Jonathan Horwich

Matt Langton

Rosanna WidĂŠn

Henry Highley

Tamila Kerimova

Head of Department +44 20 7318 4025 damin@phillips.com

Senior Specialist Senior Specialist +44 20 7901 7931 +44 20 7901 7935 nzaquin-boulakia@phillips.com jhorwich@phillips.com

Senior Specialist +44 20 7318 4074 mlangton@phillips.com

Senior Specialist +44 20 7318 4060 rwiden@phillips.com

Head of Evening Sale +44 20 7318 4061 hhighley@phillips.com

Head of Day Sale +44 20 7318 4065 tkerimova@phillips.com

Simon Tovey

Kate Bryan

Lisa Stevenson

Charlotte Gibbs

Head of New Now Sale +44 20 7318 4084 stovey@phillips.com

Specialist +44 20 7318 4050 kbryan@phillips.com

Cataloguer +44 20 7318 4093 lstevenson@phillips.com

Cataloguer +44 20 7901 7993 cgibbs@phillips.com

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Design London.

Alexander Payne

Domenico Raimondo

Marcus McDonald

Deputy Chairman, Europe, and Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com

Head of Department, Europe and Senior International Specialist draimondo@phillips.com +44 20 7318 4016

International Specialist mmcdonald@phillips.com +44 20 7318 4095

Meaghan Roddy

Cordelia Lembo

Kimberly Sørensen

Senior International Specialist, Americas mroddy@phillips.com +1 212 940 1266

Specialist, Head of Sale clembo@phillips.com +1 212 940 1265

Associate Specialist ksoresen@phillips.com +1 212 940 1259

Sofa Sayn-Wittgenstein Nicola Krohman

Madalena Horta e Costa Head of Sale mhortaecosta@phillips.com +44 20 7318 4019

Cataloguer Specialist ssayn-wittgenstein@phillips.com nkrohman@phillips.com +44 20 7901 7926 +44 20 7318 4023

New York.

Business Development.

Asia.

Americas.

Europe.

Lilly Chan

Vivian Pfeifer

Guy Vesey

Managing Director, Asia & Head of Business Development, Asia +852 2318 2022 lillychan@phillips.com

Deputy Chairman, Americas and Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Head of Business Development & Marketing, Europe +44 20 7901 7934 gvesey@phillips.com

Client Advisory.

New York.

London.

Philae Knight

Yassaman Ali

Vera Antoshenkova

Giulia Campaner Mendes

Client Advisory Director +1 212 940 1313 pknight@phillips.com

Client Advisory Director +44 20 7318 4056 yali@phillips.com

Client Advisory Manager +44 20 7901 7992 vantoshenkova@phillips.com

Associate Client Advisory Manager +44 20 7318 4058 gcampaner@phillips.com

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International Specialists & Regional Directors.

Asia.

Kyoko Hattori

Iori Endo

Cindy Yen

Meiling Lee

Wenjia Zhang

Alicia Zhang

Jane Yoon

Sujeong Shin

Regional Director, Japan khattori@phillips.com +81 90 8700 0570

Regional Representative, Japan iendo@phillips.com +44 20 7318 4039

General Manager, Taiwan cyen@phillips.com +886 2 2758 5505

International Specialist, Taiwan mlee@phillips.com +886 908 876 669

Regional Director, Shanghai wenjiazhang@phillips.com +86 13911651725

Associate Regional Representative, Shanghai aliciazhang@phillips.com +86 139 1828 6589

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea jyyoon@phillips.com +82 10 7389 7714

Associate Regional Representative, Korea sshin@phillips.com +82 10 7305 0797

Cândida SodrÊ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Regional Director, Consultant, Brazil +55 21 999 817 442 csodre@phillips.com

Regional Director, Specialist, Photographs, Chicago +1 773 230 9192 cehlers@phillips.com

Regional Representative, Chicago +1 310 922 2841 lauren.peterson@ phillips.com

Senior Specialist, 20th Century & Contemporary Art, Denver +1 917 657 7193 mdekoning@phillips.com

Regional Director, Los Angeles +1 323 383 3266 bkoh@phillips.com

Kaeli Deane

Valentina Garcia

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Head of Latin American Art, Los Angeles +1 212 940 1352 kdeane@phillips.com

Specialist, Miami +1 917 583 4983 vgarcia@phillips.com

Regional Director, Consultant, Mexico +52 1 55 5413 9468 crayclafan@phillips.com

Regional Director, Palm Beach +1 508 642 2579 maurasmith@phillips.com

Regional Director, Seattle +1 206 604 6695 scwaltner@phillips.com

Laurence Calmels

Maria Cifuentes

Dr. Nathalie Monbaron

Dr. Alice Trier

Clarice Pecori Giraldi

Regional Director, France +33 686 408 515 lcalmels@phillips.com

Specialist, 20th Century & Contemporary Art, France +33 142 78 67 77 mcifuentes@phillips.com

Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com

Specialist, 20th Century & Contemporary Art, Germany +49 173 25 111 69 atrier@phillips.com

Regional Director, Italy +39 02 86 42 453 cpecorigiraldi@phillips.com

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Julia Heinen

Senior International Specialist, Consultant, 20th Century & Contemporary Art, Italy +39 338 924 1720 clanfranchi@phillips.com

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal +351 917 564 427 mmarvao@phillips.com

Specialist, 20th Century & Contemporary Art, Moscow +7 905 741 15 15 kfenina@phillips.com

Specialist, 20th Century & Contemporary Art, Regional Director, Zurich +41 79 694 3111 jheinen@phillips.com

Americas.

Europe.

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42. KAWS

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20th Century & Contemporary Art & Design Evening Sale Hong Kong, 27 May 2018, 6pm 二十世紀及當代藝術和設計晚間拍賣

Auction and Viewing Location Mandarin Oriental 5 Connaught Road Central Hong Kong

Sale Department

Auction 27 May 2018, 6pm (Lots 1–70)

Head of Department Isaure de Viel Castel +852 2318 2011 idevielcastel@phillips.com

Viewing 24 May 2018 25 May 2018 26 May 2018 27 May 2018

10am – 6pm 10am – 6pm 10am – 7pm 10am – 6pm

Dedicated Preview of Pioneers of Modernism: A Selection from the Scheeres Collection H Queen’s Atrium G/ F, 80 Queen’s Road Central Hong Kong 24 – 27 May 2018 10am – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010118 or 20th Century & Contemporary Art & Design Evening Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com

Deputy Chairman, Asia Jonathan Crockett +852 2318 2023 jcrockett@phillips.com

Head of Sale Sandy Ma +852 2318 2025 sma@phillips.com Specialists Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Meiling Lee +886 908 876 669 mlee@phillips.com Specialists, Design Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com Sofa Sayn-Wittgenstein +44 75 5304 5679 ssayn-wittgenstein@phillips.com Cataloguers Danielle So +852 2318 2027 dso@phillips.com Delissa Putri Handoko +852 2318 2000 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com

拍賣及預展 文華東方酒店 香港中環干諾道中5號 拍賣 2018年5月27日，下午6時 (拍品編號 1 – 70) 預展 2018年5月24日 上午10時 – 下午 6 時 2018年5月25日 上午10時 – 下午 6 時 2018年5月26日 上午10時 – 晚上 7 時 2018年5月27日 上午10時 – 下午 6 時 「現代主義的先驅者：席爾斯收藏」特設預展 H Queen’ s中庭 香港中環皇后大道中80號地下 2018年5月24日至27日 上午10時 – 下午6時 拍賣名稱及編號 在遞交書面和電話競投表格或查詢拍賣詳情時， 請註明拍賣編號為 HK010118 或 拍賣名稱 二十世紀及當代藝術和設計晚間拍賣。 委托競投及電話競投 電話+852 2318 2029 傳真+852 2318 2010 bidshongkong@phillips.com

拍賣部門 亞洲副主席 陳遵文 +852 2318 2023 jcrockett@phillips.com 部門主管 杜依舜 +852 2318 2011 idevielcastel@phillips.com 拍賣主管 馬穎子 +852 2318 2025 sma@phillips.com 專家 雪鸞 +852 2318 2026 craybaud@phillips.com 尹裕善 +82 10 7389 7714 jyyoon@phillips.com 李美玲 +886 908 876 669 mlee@phillips.com 專家, 計設部門 Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com Sofa Sayn-Wittgenstein +44 75 5304 5679 ssayn-wittgenstein@phillips.com 圖錄編輯 蘇琬婷 +852 2318 2027 dso@phillips.com 黃琴慧 +852 2318 2000 dhandoko@phillips.com 行政員 汪慧華 +852 2318 2024 mang@phillips.com

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1. Yayoi Kusama

b. 1929

Infnity Nets signed, titled and dated ‘“Infnity Nets [in Kanji]” 1990 Yayoi Kusama’ on the reverse acrylic on canvas 22.8 x 15.8 cm. (8 7/8 x 6 1/4 in.)

Painted in 1990, this work is accompanied by a registration card issued by the Yayoi Kusama studio.

Provenance Private Collection, Korea Acquired from the above by the present owner

草間彌生 《無限之網》 壓克力 畫布 1990年作，並附草間彌生工作室之登記卡。 款識： 《無限の網 (日文)》1990 Yayoi Kusama (畫背) 來源 韓國私人收藏 現藏者購自上述來源

HK$ 350,000-550,000 US$ 44,900-70,500

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Property of an Important European Collector O♦

2. Christine Ay Tjoe

b. 1973

...to See the White Land signed and dated ‘Christine 12’ lower right; further signed and dated ‘ay tjoe Christine 2012’ on the reverse oil on canvas 149.8 x 124.9 cm. (58 7/8 x 49 1/8 in.)

Painted in 2012.

Provenance Arndt Contemporary Art (acquired directly from the artist in 2012) Private Collection, Australia Acquired from the above by the present owner Exhibited Sydney, ARNDT, MIGRATION, 27 March - 10 July 2012 Melbourne, ARNDT, MIGRATION MELBOURNE EDITION, 30 October - 15 December 2012 Berlin, Arndt Art Agency A3, No Image, 27 January - 7 April 2017

重要歐洲私人收藏

克裡絲汀·艾珠 《為了看白色的土地》 油畫 畫布 2012年作 款識：Christine 12 (右下)；ay tjoe Christine 2012 (畫背） 來源 Arndt當代藝術畫廊 (於2012年直接購自藝術家本人) 澳洲私人收藏 現藏者購自上述來源 展覽 悉尼，ARNDT， 〈MIGRATION〉 ，2012年3月27日-7月10日 墨爾本，ARNDT， 〈MIGRATION MELBOURNE EDITION〉 ， 2012年10月30日-12月15日 柏林，Arndt Art Agency A3， 〈No Image〉 ， 2017年1月27日-4月7日

HK$ 1,900,000-2,900,000 US$ 244,000-372,000

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Internationally recognised for her visually arresting and thought-provoking pieces, Christine Ay Tjoe is one of Southeast Asia’s most prominent contemporary artists. Known for her distinctly intricate visual language, Ay Tjoe’s beautifully introspective compositions are at once loud and contemplative, drawing from a diverse range of philosophical and spiritual references that simultaneously manifest the artist’s inner turmoil while speaking to the universal nature of human emotions. Her ability to evoke a quiet strength in the delicateness of her line work is born out of her foundational training as a graphic artist. Sinuously curved or deadly straight, erratically jagged or swif and smooth, Ay Tjoe’s technical mastery of the drypoint technique allows her to imbue her lines with a character and life of their own, through merely varying the pressure applied by her wrists.

These lines that grace the canvas have the power to assume abstract shapes that, while inherently distant, register as familiar to the mind of the viewer.

The present lot, …to See the White Land, is a work exemplary of Ay Tjoe’s inspired visual lyricism, embodying some of the best qualities of Ay Tjoe’s masterworks. A mass of white hovers near the centre of the canvas, suspended in the bone-coloured backdrop of negative space. Around it, erratic eruptions ensue, of odd-shaped patches of bright colour, deceivingly inviting in firtatious whispers of pale pinks and ochre, accented with the shouts of the artist’s signature vermillion dashes, and jolted by an aggressive swatch of magenta. So exquisitely balanced is Ay Tjoe’s palette that she tempers the cacophony of the loud colours with soothing cool greys and dusty blues.

Though Ay Tjoe’s works are honest, intimate expressions of her personal struggles and internal thoughts, they are also able to resonate deeply with their viewers as they welcome diferent interpretations, precisely because of the abstract nature of the composition. Where, or what is this white land that we seek? …to See the White Land questions the intent behind our journey, for the destination is clearly in sight and within reach, but we fnd ourselves constantly distracted, pulling away from our true objective. In a display of her staggering expressivity, Ay Tjoe illustrates the commotion in a quivering, violent mass of fzzling colour, continually drawing us away from the purity and stability that the white land symbolises. Meanwhile, the white land foats undisturbed in the negative space that Ay Tjoe has lef bare as a visual respite, amidst all the noise that surrounds. In contemplating varying points of calm and tension, Ay Tjoe leaves us to ponder on the philosophical, to consider our individual journeys and where we intend for them to lead us.

克里絲汀·艾珠是東南亞當代藝術裡一位重要的 藝術家，其作品觸動視覺及引人遐思的風格聞名 國際，透過細膩的視覺語言，她優美靜謐的構圖有著 既撼動人心卻又讓人沉澱的衝突力量，作品廣泛 內涵了許多哲學及靈學的典故，不僅在訴說著她個人 內在的情緒動盪，同時也延伸到所有人類共同與生 俱來的內在情感。透過纖細的筆觸，艾珠的作品總是 散發著一股寧靜的力量，這也與她曾受過平面設計的 訓練有所關聯。無論是蜿蜒的曲線、嚴謹的直線， 或是不穩定的抖動、亦或快速而流暢的線條，過去在 銅版畫的創作也讓她對線條技法有著極高的掌控度， 在她手腕施力微妙的或輕或重之間，為線條注入了 生命與性格。畫布上優雅的線條雖是抽象，卻能深深 緊扣著觀者內心所熟悉的一隅。 《…為了看白色的土地》一作正是艾珠獨特視覺 抒情美學的體現，具備了她所有精湛作品的重要 元素。作品以骨瓷色作為背景，一片偌大的白色懸浮 在畫面的中央，而在其四周，則是突生出許多不同 奇形怪狀的明亮小色塊，向外招引著幾抹粉紅及 赭黃，加上幾筆艾珠招牌的朱紅，再用了氣勢洶湧的 紫紅色撼動著畫面。但她卻又巧妙地加入一些冷調 的灰色及灰藍，中和了其他紛紛攘攘的色彩所形成的 不和諧，達到完美平衡的色彩表現。 雖然艾珠的作品以忠實傳達個人內心經歷的掙扎與 思緒做為出發點，但卻也能深深打動她的觀者， 因為她作品抽象構圖的本質開啟了不同解讀方式的 可能性。 《…為了看白色的土地》帶著觀者去反思 我們每段旅程的意圖，雖然目的地其實已經隨手可及 就在眼前，人們卻往往分散了注意力，因而與初衷 漸行漸遠。透過看似懾人的表現手法，艾珠描繪著 顫動的、充滿暴力又嘶聲咆嘯的色塊，隱喻那股無形 力量不斷拉扯著人們，因而無法到達代表著純粹與 穩定的白色之地。在一切的紛攘中，艾珠將白色之地 浮懸在留白空間，以達在視覺上舒緩的目的。在平和 及張力之間，艾珠留予觀者一個哲學沉思的機會， 重思自己所踏上的旅途以及真正想去的地方。

Christine Ay Tjoe Small Flies and Other Wings, 2013 Sold at Phillips Hong Kong, 28 May 2017 Estimate: HK$900,000 – 1,200,000 Sold For: HK$11,720,000 World auction record for the artist 克裡絲汀·艾珠 《小蒼蠅及其他翅膀》2013年作 香港富藝斯，2017年5月28日 估價：港幣900,000 – 1,200,000 成交價：港幣11,720,000 藝術家拍賣世界紀錄

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Property of an Important European Collector

3. Cecily Brown

b. 1969

The Boy with a Thorn in his Side signed and dated 'cecily brown 2010' on the reverse oil on canvas 108.6 x 78.6 cm. (42 3/4 x 30 7/8 in.)

Painted in 2010.

Provenance Gagosian Gallery, London Acquired from the above by the present owner Exhibited London, Royal Academy of Arts, The 242nd Royal Academy of Arts Summer Exhibition, 14 June - 22 August 2010

重要歐洲私人收藏

塞西麗·布朗 《身旁帶刺的男孩》 油畫 畫布 2010年作 款識：cecily brown 2010(畫背) 來源 倫敦，高古軒畫廊 現藏者購自上述來源 展覽 倫敦，倫敦皇家藝術學院， 〈第242屆皇家藝術學院夏季展〉 ， 2010年6月14日-8月22日

HK$ 2,000,000-3,000,000 US$ 256,000-385,000

‘Behind the hatred there lies A murderous desire for love How can they look into my eyes And still they don’t believe me?’

The Smiths, The Boy With The Thorn In His Side

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Cecily Brown is a contemporary artist whose renown 「在怨恨的背後 has continued to grown in recent years. Born in 藏著充滿殺意的渴望去愛 1969 in London, Brown was raised in an artistically他們直視著我的雙眼 inclined family and decided at the young age of three 但為何卻不相信我？」 to become an artist. In 1995, the artist moved to New --史密斯樂團《身旁帶刺的男孩》 York where she has since established herself as a painter. Brown’s works wander between the semi塞西麗·布朗在西方當代藝術頗享盛名，這位女性 representational and the abstract, boldly exploring 藝術家在1969年出生於英國倫敦，自幼受到家族 sensuality and human desire from an exquisite 濃厚的藝術氣息薰陶，早在三歲就下定決心要成為 perspective that is quintessentially female. 藝術家。1995年定居紐約，自此駐留當地進行 創作。她的作品遊走於半具象及抽象之間，以女性 Painting with unbridled brushstrokes and bold 獨特的細膩觀點大膽地直探感官情色及人性慾望。 impastos of rich and colourful hues, Brown creates forms that seem to vibrate like shifing shadows. 布朗往往以奔放不羈的筆觸，堆疊出濃厚的油彩 While her works refect the quality of artists such 肌理，拼湊出畫面裡猶如晃動影子般恍惚的 as Lucian Freud, as well as Abstract Expressionists 形體，近似於抽象表現主義大師威廉·德庫寧 of the likes of Willem de Kooning, Brown pursues 及路西安·佛洛依德，然而她追求對於具體形象更 a deeper and more thorough deconstruction of 進一步的解構。豐富紛呈的色彩結構為畫作平添 concrete forms. Her brilliant and varied use of 幾許如女性前輩藝術家瓊·米丘般安性與浪漫的藝術 colour further imbues her oeuvre with a feeling of 表達，與狂暴的筆觸形成一股耐人尋味的視覺衝突 tenderness and romanticism—perhaps reminiscent 以及強烈的自我風格。 of Joan Mitchell’s work—but which at once clashes dramatically with her savage brushstrokes, creating 布朗在作品命名上更是一絕，酷愛借用電影或是流行 a powerful visual impact that speaks of the artist’s 歌曲名稱，不僅與當代次文化作出更緊密的結合， strong personal style. 也常注入一些諷刺或幽默的意味。 《身旁帶刺的 男孩》這件作品，正巧妙借用了英倫樂團史密斯於 Brown is also known for her clever naming of works, 1985年發行的單曲；主唱莫里西以慣有輕安又憂鬱 ofen drawing inspiration from titles of movies and 的唱腔，道出對於音樂界對他長期誤解的失望。 pop songs. This shows the artist's intimate bond 除此之外，此作的名稱也讓人聯想起希臘化時代 with contemporary subculture as well as her fare 的著名雕塑《挑刺的少年》 ，布朗在此可能也不僅 for sarcasm and humour. The title of the present lot, 借鏡了當代，也追溯了古典。 The Boy with a Thorn in His Side, was insightfully borrowed from The Smiths’ 1985 single, in which 一片晦暗的深黑褐色幾乎吞噬了畫面所有邊緣， lead singer Morrissey expresses his despondency 布朗以如狂風掃過的筆觸，在中央拖曳著深紅厚重的 over being constantly misunderstood in the 油彩，加上幾筆孔雀綠的對比，揭示著歌詞在看似 music world. This piece also invokes the famous 孤傲、輕描淡寫表面之下，所隱藏著鋪天蓋地而來 Hellenistic sculpture, Boy with Thorn, allowing one 如同淌血般沉重的受傷心理狀態。在此，男孩形貌的 to conclude that Brown draws inspiration not only 描繪已不重要，布朗帶著我們去直視人性中渴求 from the contemporary world, but also the classical. 被愛以及被肯定的殷切想望。 Considering the cultural impetus behind the work—both classical and contemporary—the work exudes an air of emancipation and self-preservation, afording us a brief glimpse into the artist’s psyche.

With wild and sweeping strokes, Brown drowns the edges of the canvas in a blackened brown and heavily drags a deep shade of maroon across the centre, contrasting it with a few dashes of vibrant peacock green. As if echoing the lyrics of the titular song, this painting reveals the artist’s internal turmoil and wounded soul, masked under an image of aloofness and pared-down pretense. The portrayal of the boy’s actual form is perhaps inconsequential; rather, what Brown has shown us is humanity’s deepest and most earnest desire for love and recognition.

Lo “Spinario” (Boy with Thorn) Greco-Roman Hellenistic bronze sculpture Collection of the Palazzo dei Conservatori, Rome 《挑刺的少年》 古希臘時期銅雕 羅馬，保守宮收藏

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Property of an Important Australian Collector

4. Yayoi Kusama

b. 1929

Sea in the Evening Glow signed, titled and dated ‘1995 Yayoi Kusama “Sea in the Evening Glow [in Kanji]”’ on the reverse acrylic on canvas 130.4 x 97.6 cm. (51 3/8 x 38 3/8 in.)

Painted in 1995, this work is accompanied by a registration card issued by the Yayoi Kusama studio.

Provenance Ota Fine Arts, Tokyo Roslyn Oxley Gallery, Sydney Acquired from the above by the present owner

重要澳洲私人收藏

草間彌生 《夕映元之海》 壓克力 畫布 1995年作，並附草間彌生工作室之登記卡。 款識：1995 Yayoi Kusama 《夕映元の海 (日文)》(畫背) 來源 東京，大田畫廊 悉尼，Roslyn Oxley 畫廊 現藏者購自上述來源

HK$ 2,400,000-3,500,000 US$ 308,000-449,000

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Yayoi Kusama Weeds, 1996 Collection of the Forever Museum of Contemporary Art, Gion-Kyoto © Yayoi Kusama Image courtesy of: Forever Museum of Contemporary Art, Gion-Kyoto

草間彌生 《雜草》1996年作 祇園·京都, Forever 現代美術館收藏

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Yayoi Kusama’s Sea in the Evening Glow plunges the viewer into a rhythmic, swirling, undulating mass of forms. Painted in 1995, this work encapsulates the unique aesthetic that has made Kusama such a globally-recognised fgure in contemporary art.

Here, a near uniform yet clearly organic pattern dominates the entirety of the canvas. Rather than her iconic polka dots, this painting recalls seaweed, algae or amoebas. Kusama has painted it in acrylic, giving the surface a greater fatness but allowing the vibrant tones of the deliberately-limited palette to become all the more vivid. This work recalls the uniformity of Kusama’s famous early works, the Infnity Net paintings of the late 1950s, in which she painted white dots on white, creating vast absorbing canvases. In Sea in the Evening Glow, a similar efect is achieved through the intertwining forms that appear to hover, foat and recede on the surface.

Sea in the Evening Glow was painted at a crucial point in Kusama’s career. She had already had a successful career in New York, beginning in the 1950s, before returning to her native Japan for health reasons. There, she worked in relative obscurity for some years. However, in 1988 she was granted a retrospective in Japan, at Fukuoka’s Kitakyushu Municipal Museum of Art, and the following year in the USA at the Center for International Contemporary Arts in New York. These exhibitions helped to re-establish Kusama on the international scene—a position she has retained, and fourished in, in the intervening two decades. Sea in the Evening Glow was painted in the years afer Kusama found herself once again propelled to the vanguard of the art scene.

Kusama has long been a trailblazer and pioneer, be it in her abstract paintings, her mirror-lined environments or her happenings. Her idiosyncratic output is highly personal, rather than being driven by theory or art history. Instead, it is a response to the bewildering and sometimes debilitating hallucinations that have plagued her since childhood.

In these, patterns would ofen superimpose themselves over the visual world. Kusama’s paintings are a form of therapy, exorcising these visions. At the same time, they celebrate the connectedness of all things that such patterns reveal: in paintings such as Sea in the Evening Glow, Kusama is illustrating how we all form part of a grand, interlinked whole.

Discussing her hallucinations, Kusama has written in terms that relate to this picture: ‘Dissolution and accumulation; propagation and separation; particulate obliteration and unseen reverberations from the universe - these were to become the foundations of my art.’ (Yayoi Kusama, Infnity Net: The Autobiography of Yayoi Kusama, trans. R. McCarthy, London, 2013, p. 69).

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草間彌生的畫作《夕映元之海》帶觀者猛然進入一個 節奏強勁、旋轉起伏的碩大形體。草間彌生獨樹 一幟的美學觀；令她在當代藝壇蜚聲國際，此幅 1995年的作品便凝聚了這獨特美學。畫面主導的 圖案看起來統一有序，但亦顯然是自然隨性形成的。 沒有她最具標誌性的波點圖案，此畫更像是海藻、 水藻甚至是阿米巴變形蟲。草間彌生以壓克力作畫， 不僅讓表面更為扁平，同時使刻意限制的鮮艷色調 更加生動鮮明。此作的統一規律感令人想起藝術家 1950年代末的著名早期系列作品《無限網》，該系列 作品以白點施於白色之上，營造出大片如吸納吞併 的畫幅。 《夕映元之海》中交織的造形亦似乎在盤旋、 漂浮，隨畫面遠去。 《夕映元之海》是草間彌生藝術生涯重要時刻的 作品。1950年代初，她在紐約已頗有成就，然因 健康問題而回到日本，起初數年創作很是晦澀。直到 1988年她在日本福岡縣北九州市立美術館舉辦了 一場回顧展，翌年在紐約國際當代藝術中心亦舉辦 回顧展。這些重要展覽讓草間彌生重返國際藝壇 焦點，並在接下來的二十多年一直保持不斷。 《夕映元之海》便是她再次站到藝壇前衛尖端後數年 的作品。 草間彌生向來是一位探索先驅，從她的抽象畫作、 環境的反射和自身遭遇都可見一斑。其獨有的創作 是極為個人的，並非理論或藝術史學所驅使， 而是來自她從兒時開始就籠罩困擾她的幻覺，圖案 在她眼裡的斑斕世界總是層疊重複。草間彌生的繪畫 猶如一種療癒過程，驅除這種幻象，同時也強調在 幻象中一切事物密切相連的關係。在《夕映元之海》 等畫作中，草間彌生描繪出每個微小個體連成的 巨大整體，環環相扣。她談到自己的幻覺時曾寫道： 「解散與聚積；傳播與分離；顆粒毀滅以及宇宙 從未所見的迴響 – 這些都是形成我的藝術的基石。」 （草間彌生， 《無限網：草間彌生自傳》,R. McCarthy 譯， 倫敦，2013年，69頁）

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Property of an Important Asian Collector

*O

5. Zao Wou-Ki

1920-2013

04.01.79 signed ‘Wou-Ki [in Chinese] ZAO’ lower right; further signed and titled ‘ZAO WOU-KI “4.1.79”’ on the reverse oil on canvas 250 x 260 cm. (98 3/8 x 102 3/8 in.)

Painted in 1979, this work is to be accompanied by a certifcate of authenticity issued by the Fondation Zao Wou-Ki. This work will be referenced in the archive of the Fondation Zao Wou-Ki and will be included in the artist’s forthcoming catalogue raisonné prepared by Françoise Marquet and Yann Hendgen (Information provided by Fondation Zao Wou-Ki).

Provenance Private Collection, Asia (acquired directly from the artist) Private Collection, Asia Acquired from the above by the present owner Exhibited Luxembourg, Musée d’Histoire et d’Art, Zao Wou-Ki. Grands tableaux de 1964 à 1979, 1980, no. 30 Charleroi, Palais des Beaux-Arts, Grands tableaux de Zao Wou-Ki, 1980, no. 30 Paris, Galeries nationales du Grand Palais; Fukuoka Art Museum; Tokyo, Nihonbashi Art Gallery; Fukui Prefectural Museum; Kyoto, National Museum of Modern Art; Kamakura, Museum of Modern Art, Zao Wou-Ki, Peintures, encres de Chine. 1950-1981, 1981-1982, no. 43 Hong Kong Arts Centre, Paintings by Zao Wou-Ki. 1954-1981, 1982 Paris, Artcurial, centre d’art plastique contemporain, Zao Wou-Ki, 1955-1988, 1988, p. 20 (illustrated) Aix-en-Provence, Fondation Vasarely, Zao Wou-Ki, collection personnelle, 1955-1989, 1991, no.11, p. 19 (illustrated) Kaohsiung Museum of Arts, A retrospective of Zao Wou-Ki, 1996, pp. 171-172

重要亞洲私人收藏

趙無極 《04.01.79》 油畫 畫布 1979年作，並將附趙無極基金會所發之保證書。 此作品將登錄在趙無極基金會之文獻庫， 並將收錄於梵思娃·馬凱及揚·哼德根正籌備編纂的 《趙無極作品編年集》（資料由趙無極基金會提供） 款識：無極 ZAO (右下 ); ZAO WOU-KI 《4.1.79》(畫背 ) 來源 亞洲私人收藏 (直接購自藝術家本人) 亞洲私人收藏 現藏者購自上述來源 展覽 盧森堡，國立歷史與藝術博物館， 〈趙無極1964年到1979年的大型畫作〉，1980年，編號30 沙勒羅瓦，藝術宮， 〈趙無極大型畫作〉，1980年，編號30 巴黎大皇宮國家展覽館； 福岡市立美術館；東京，Nihonbashi畫廊；福井縣立博物館； 京都國立近代美術館；神奈川県立近代美術館， 〈趙無極，油畫、中國水墨1950-1981〉，1981-1982年，編號43 香港藝術中心， 〈趙無極畫作1954-1981〉 ，1982年 巴黎，Artcurial，當代視覺藝術中心， 〈趙無極1955-1988〉，1988年，第20頁 (圖版) 艾克斯普羅旺斯，瓦沙雷里基金會藝術館， 〈趙無極私人收藏1955-1989〉，1991年，圖版11，第19頁 (圖版) 高雄市立美術館， 〈趙無極回顧展〉，1996年，第171、172頁 (圖版) 出版 Jean Leymarie編， 〈趙無極〉，巴黎，1986年， 圖版編號228，第280頁 (圖版) Françoise Marquet 與Yann Hendgen 編， 〈趙無極1935-2008〉，香港，2010年，第219頁 (圖版)

Literature Jean Leymarie, ed., Zao Wou-Ki, Paris, 1986, no. 228, p. 280 (illustrated) Françoise Marquet and Yann Hendgen, ed., Zao Wou-Ki 1935–2008, Hong Kong, 2010, p. 219 (illustrated)

Estimate Upon Request 估價待詢

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Standing at an impressive height of 2 and a half metres, 04.01.79 is a rare and large-scale work by Zao Wou-Ki, one of the greatest modern Chinese masters. Executed in 1979, the present work embodies the pivotal stylistic transition from the artist’s middle to late period of abstract paintings.

The largest painting from the 1970s by the artist to ever come to auction, as well as among the top 10 of his largest works on the market, 04.01.79 is presented to the public for the frst time.

Zao Wou-Ki perfectly captures in 04.01.79 the essence of traditional Chinese ink landscapes from the Song and Yuan Dynasties, complemented by the virtues of Western painting in its use of colour and tones. The result is an image of implicit scenic beauty, evoking the grandeur of magnifcent landscapes punctuated by high mountains and trees.

Zao Wou-Ki: The Man and His Art “The myriad things in the universe are conceived by existence; Existence arises from nothingness; and all shall eventually return to the boundless.” – Zao Wou-ki (“Boundless”) was named by his grandfather afer the Tao Te Ching, an ancient text by Chinese philosopher Laozi. Despite being the eldest son, Zao Wou-ki did not wish to continue the family business as a banker, and instead grew up especially fond of art. At the age of 15, Zao enrolled in the National Hangzhou Art Academy. Infuenced by Western artists like Cézanne and Matisse, he aspired to break free from the confnes of traditional Chinese painting. Zao graduated in 1941 afer completing his 6-year training programme, afer which he was retained by his teacher Lin Fengmian to stay on as a teaching assistant. In hopes of pursuing wider artistic possibilities, the young artist travelled to France in 1948 with his family’s support. This supposed sojourn ultimately became a permanent residency.

Many Chinese artists who came to France to further their education before Zao’s time were part of the work-study programme –a practice of working while studying part-time as a form of self-support that was promoted by China’s Republican government in its early years. The programme was about maintaining a national core of traditional Chinese learning while equipping it with the functionalities of Western learning. Artists like Lin Fengmian and Xu Beihong had returned to China from their studies abroad and founded schools, so as to contribute to the future generations of their nation. As Zao’s teacher, Lin had hoped Zao would likewise return afer a few years abroad. However, Zao in his fervent pursuit of art was motivated to stay on in the West. Having been raised in a diferent time in China from his teachers, artists of Zao Wou-Ki’s generation such as Chu TehChun and himself were no longer strongly driven by the mission to “save the motherland”. Instead, this new generation of young artists were exploring and negotiating conficts between the art of their own culture and the art they were learning about in Europe. Eventually, as more Asian artists embraced Western mediums and techniques, their

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own rootedness in their culture led them to strive for a balance between the two distinct styles, and the formation of a unique vocabulary in praxis. However, Zao chose to walk a diferent path; as a young student, he had been resistant to the enshrinement and replication of traditional Chinese art as taught by his instructors. In Paris, he made no deliberate efort to embed Chinese culture in his practice, for he sought to be seen purely as an artist and not as a foreigner stuck with a geographical label. It is for this reason that Zao refrained from ink painting in the frst few years of his residency in the French capital.

In 1951, afer an art visit to Switzerland, Zao drew inspiration from Paul Klee’s paintings and started gradually efacing the representational quality of his own works. Very quickly outgrowing the landscapes of his Klee period, the artist came upon the idea of combining Western abstraction with China’s archaic and semiotically rich writing system to develop an artistic idiom of his own. The resultant creation of his Oracle Bone Script series began in 1954. Although Klee’s use of signs and symbols was infuenced by Eastern art, his work led Zao deep into the grand edifce of Western art.

From then on, Zao leapt into the world of abstraction.

Afer Cloud (1958), he no longer titled his paintings and instead, only indicated a date on the back of his canvas. By the late 1950s, the artist’s creations were further stripped of descriptiveness and narrative— signs and symbols gradually disappeared.

A Triumph Over Adversity Around the time 04.01.79 was created, Zao had gained full control of a new stylistic endeavour in conveying a heightened sense of spontaneity and calm in his paintings. As exemplifed by the present masterwork, Zao’s portrayal of tranquillity and elegance in nature is unrivalled. This new stylistic phase is highly connected to events that had occurred during that period of his life. The illness and eventual passing of Zao’s second wife in 1972 had lef Zao in mourning. Following a period of personal loss and turmoil, it was through this ordeal that the artist started to reconnect with the study of ink wash painting. He resumed painting again in 1973, and began working on large format paintings circa 1977.

Large zones of dark wash call to Zao’s exploration of the ink medium, at the same time also characterises the painting to the specifc phase in the artist’s life from 1973 to 1980. Zao himself had said that his style underwent a new transformation from 1973 onwards—he regained peace in his works as compared to the deliberate control depicted in earlier abstract works The year that 04.01.79 was executed can hence be seen as a period of triumph in reaching a new climax in his artistic pursuits.

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Artist in his studio, 1982 © Martine Franck/Magnum Photos

藝術家攝於工作室，1982年

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The Artistic Accomplishments in 04.01.79 04.01.79’s composition is one of sophisticated, angled trisection –an abstract landscape of tenuous mist girdling precipitous mountains artfully guiding the viewer’s gaze. This is reminiscent of the liubai (to leave blank) aesthetic in Chinese ink painting, especially as seen in Ni Zan’s minimalistic landscape compositions. Zao also inherits the spirit of the Chinese ink medium through colour, his use of monochromatic tones of black, brown and white refective of Nature. Peeking through the centre of the landscape are sweeping brushstrokes of warm orange pinks and blue greens, evoking scenes of tumbling mountainside streams. Notably, the darker brown areas on the lower lef and just above the centre also illustrate the traditional ink painters’ textured strokes. The work exhibits the calligraphic methods of feibai (fying white), where a brush lightly steeped in ink smudges across silk in order to create a sense of fight; and, perhaps yet, of cunfa (crack technique), whereby a tilted and loaded ink brush layers thick, broad strokes in order to evoke shadows and texture, ofen utilised to render Nature itself. In 04.01.79 one is witness to all such elements cascading into one another to create an arresting and engulfng composition that serves to anchor our visual associations. The Record of Famous Painters from All the Dynasties by Tang art historian Zhang Yanyuan’s deliberates on the notion of “manipulating ink to produce tones that correspond to the fve colours”. This pentad of tones include “scorched ink”, “concentrated ink”, “dense ink”, “light ink” and “clear ink”, of which, each can further vary in terms of the degree of wetness and concentration. With 04.01.79, Zao had taken in such richness of possibilities in the Chinese ink medium, and re-cast it by means of a Western medium with a sense of immediacy.

While 04.01.79 still carries the air of magnifcence from Zao Wou-Ki’s earlier years, the artist at this stage paid more attention to crafing pictorial space as a whole, the resulting product infused with lingering, entangling and romantic yet restrained sentiments one might associate with lines from the Tang poet Wang Wei’s Mount Zhongnan, “The white clouds close behind me when I look back. The azure mistiness disappears when I enter it”. According to art critic François Jacob, “[t]he perpetuity of Zao's paintings lies in their questioning of the world”, “their eforts to recreate”, as some of them “display … the birth of light, the invention of water”, or “life indistinctly emerging”, just “beyond the turbulent upheavals of matter”.

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Zao’s work very much instantiates the beauty of simplicity that informs Chinese ink painting in its colours and spatial arrangement, depicting energetic brushwork that pulsates along the canvas, and in turn conveys the artist’s sensibilities derived from his connection towards this Eastern art form. Zao had also stated in his autobiography that he was a great admirer of Rembrandt, and was highly inspired by the Western master’s wet-on-wet technique. In reexploring the intricacies of the Chinese ink, Zao Wou-Ki contemplated how these practices could be blended with the expressive modality of abstract painting.

04.01.79 is a perfect example of Zao’s re-articulation of the ancient spirit onto the canvas. In this piece, the artist had added turpentine to thin out the heavy consistency of his oil paints; the diluted paints ofered greater freedom in allowing the artist to generously set down highly translucent washes or layers to create a visual efect akin to the fowing smoothness of ink applied by the ancient literati painters onto rice paper.

Traversing Centuries, Straddling East and West: A Visual Analysis of 04.01.79 Observin 04.01.79, one is confronted with the momentous spiritual dynamism of the painting – one that brings to mind the great classical landscapes of the Song Dynasties. 04.01.79 is potently reminiscent especially of paintings by legendary Song master Li Tang (c. 1050-1130), whose virtuosic technique and sensational brushwork rendered magnifcent, atmospheric paintings that evoked otherworldly realms. Li’s style infuenced subsequent generations of painters, redefning the genre and status quo of landscape painting.

Zao’s concise brushwork reveals various techniques and sophisticated manoeuvring of colour. The scene ingeniously employs white space to construct a compositional conception of sky and land, while the breathtaking atmosphere of the work envelops viewers with its powerful immersive quality. Standing before 04.01.79, one detects elusive yet compelling traces of picturesque scenery, including mountains, creeks, green trees and scholar’s rocks. Shrouded in a swirling mist, the mountains seem to undulate, the rivers seem to fow, and the pathways beneath the clif crisscross dynamically into each other. In a mere instant, a stunning and spectacular landscape painting reveals itself from the abstract painting.

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In the later works of Joseph Mallord William Turner, the English Romantic painter focused increasingly on the atmospheric qualities of sky, sea, wind and mist, or the rays of light from a fame, and gradually lessened his depiction of physical objects and their details. Critic John Ruskin observed that in these later works, Turner was able to truly grasp hold of the vital pulse of nature. In these paintings, Turner paved the way for Impressionist theory.

The 20th century overseas Chinese artists, including Zao Wou-ki, Chu Teh-Chun and T’ang Haywen (Zeng Haiwen), were all infuenced by Turner. Zao's unique and captivating treatment of light and atmosphere, which began in the 1950s and continued on to his more energetic phase in the 1960s, is particularly entrancing. Later in the 1970s, Zao's works reveal a heightened manifestation of Taoist theories of nature and the spiritual qualities of water and air, a testament to the artist's focus of study during this phase of his career. 04.01.79 precisely embodies such preoccupations, evoking a vast, surreal sense of space whilst blurring the boundaries between myth and reality.

While there was an abundance of imagination towards the East in the paintings of Western masters such as Eugène Delacroix, Van Gogh and Matisse, such works were mostly interpretations and portrayals of superfcialities— bits of Western modern art’s summation of Orientalism.

Zao Wou-Ki’s achievement lies in the fact that he, as a Chinese brought up immersed in Eastern art, was able to draw from his own cultural foundation, and integrate seamlessly Chinese-style landscapes, ink wash painting, as well as the xieyi approach, sensitivities and well-coordinated contrasts of traditional calligraphy with the boldness of Western modernism. To the Westerners, Zao’s paintings had fulflled their common expectations of the imagined East. At the same time, Zao was also celebrated by the Chinese as an ‘Orientalist’ of the artistic approach and interpretation of Western abstraction, one who unites the spirits of both worlds. Such artistic prowess that straddles both the ancient and the modern, the East and West, can only command our utmost admiration.

Above: Zao Wou Ki 01.04.76 – Hommage à André Malraux, 1976 Collection of The Hakone Open-Air Museum, Hakone 上 : 趙無極 《向安德烈·馬爾羅致敬》1976年 箱根，雕刻之森美術館收藏 Bottom: Li Tang Autumn Foliage Along a River, Southern Song Dynasty, late 12th century Collection of Museum of Fine Arts, Boston 下: 李唐 《江山秋色圖斗方》南宋時期，約12世紀末期 波士頓，波士頓美術館收藏

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創作於1979年的鉅作，尺幅高250公分，規模宏大， 見證著藝術家在創作抽象畫的中期至晚期之間，在 風格上的過渡和轉變。 《04.01.79》是歷來拍賣市場 上，尺幅最大的七十年代趙無極作品，也是藝術家 曾於拍賣市場出現的作品中，尺寸位踞前十大的畫 作之一。 《04.01.79》從未現身拍賣市場，彌足珍貴， 實屬難得。 趙無極在《04.01.79》中，完美地捕捉到宋元時期中 國山水畫的精髓 ，同時融入西方油畫之色彩和色調 運用上優點。這幅作品展現一片壯麗景觀，高山奇樹 巍然聳立，氣勢雄奇磅薄。 趙無極 - 其人其藝 「天下之物，生於有，有生於無，後歸於無極。」 -- 出生時，祖父依老子的道德經，為他取名無極。 身為長子，不依家業成為銀行家，卻對藝術情有獨 鐘，15歲入杭州藝專，此時期受塞尚、馬諦斯等西 方藝術風格影響，已於心中立志要擺脫傳統國畫的制 限，六年科班學習於1941年畢業，後由恩師林風眠 續留擔任助教。趙無極希望能繼續追尋更寛廣的藝術 之路，1948年由家人支持下前往法國，這一待，便 是一輩子。 早於趙無極前往法國留學的藝術家前輩及師長們，始 於民國初年是以由當時政府所提倡的「勤工儉學」運 動而赴任，學習西方文明及技能以救國圖強。強調 所謂的’ ’ 中學為體、西學為用’ ’ 。許多藝術家如林風 眠、徐悲鴻等，均在數年學習之後便返回中國創辦學 校、將所學貢獻以教育廣大的下一代。原本，趙無極 的恩師林風眠也希望他能留學數年便回中國，但趙對 藝術的強烈追求，讓他沒有停歇，繼續留在歐美。趙 無極、朱德群等輩即便已因時空背景的不同而沒有了 強烈的救國救民任務，但同儕亦或是在他們之後的東 方藝術家均在不同時期面對自身文化及所學習的西方 藝術間之衝突或融合。趙無極反其道而行，年輕求學 時期即對老師所教授的對中國傳統藝術中的推崇及臨 摹抗拒，到了巴黎也並未特意追求將中國文化置入其 創作之中，因為他想被視為一個藝術家，而非被貼上 地理標籤的異鄉遊子。因此初到巴黎的幾年中，刻意 不用水墨作畫。 五十年代，一趟美國之行的觀展經驗中，趙無極受到 保羅·克利繪畫啟發，具象的圖騰逐漸退去，但趙無 極的「克利時期」風景畫很快的進化，他聯想到將中 國符號性的古文字與西方抽象概念相結合，發展出自 己的藝術語言，從1954年開始創作「甲骨文系列」。 克利的符號受到東方藝術的影響，但其作品卻引導著 趙無極深入西方藝術的殿堂。 自此，趙無極一躍而進入抽象的世界。1958年的作 品「雲」之後，趙無極的作品不再有標題，僅在畫布 背面註明創作日期，五十年代後期其作品進一步擺脫 描寫性和情節性，符號也漸漸消散。

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逆境重生 在創作《04.01.79》的時候，趙無極已經掌握全新的 風格技巧，這段時期的作品流露一種隨心所欲而泰 然自若的氣息。大自然的靜謐之美和壯闊瑰麗在趙無 極的妙手下躍然於畫布上，這幅巨作展現的風采便 是明證。這個新風格與他個人生活裡發生的連串事 件關係非常密切。趙無極的第二任妻子久病多年， 終在1972年逝世，使他陷入悲痛之中。這段痛苦艱 難的歲月對於畫家而言是一場苦澀的考驗，他亦因 此而重新鑽研水墨畫。趙無極在1973年再次執起畫 筆，1977年左右開始創作大尺幅的作品。 大片的深色渲染反映畫家對水墨的思索，同時亦是趙 無極 1973年至1980年創作時期的重要標誌 。他本人 曾經說過，其風格在1973年以後經歷了新轉變—— 相比起早前抽象作品裡所見的刻意控制，這時的他 在創作中重獲平靜，達到了隨心所欲、波瀾不驚的境 界。因此， 《04.01.79》完成的那一年，可以說是趙無 極在藝術追求上再登高峰的時期。 《04.01.79》的藝術成就 《04.01.79》構圖上精煉的三段式斜角切分，若似以 飄渺的輕煙雲靄，繚繞著走勢奇峭的山壑，巧妙的主 宰著觀者視覺移動的方向，儼然讓人緬想起中國水墨 畫中「留白」的意趣，特別是倪瓚簡練的山水佈局。 作品在色彩上也沿承了中國水墨精神，將大自然的色 彩以低限的黑、褐、白，以最為簡約的方式來呈現， 只在畫面中心幾處染上了少許的暖橘及青綠，與幾抹 飛白相互呼應，彷彿澗壑在山岩間涓涓淌流而出 的姿態。左下方及中央偏上的黑褐色筆觸，則類 似水墨畫中皴筆手法，在大幅度的渲染所製造出 的留白空間裡乾擦，具題點效果。唐張彥遠《歷代 名畫記》曰：「運墨而五色具。」其中所指的五色， 即焦、濃、重、淡、清，而每一種墨色又有干、濕、 濃、淡的變化，趙無極在《04.01.79》裡將水墨畫中 用墨的精妙，以西方媒材發揮得淋漓盡致，卻絲毫 不露斧鑿痕跡，跨越古今及東西藩籬的精湛表現 讓人折服。 在《04.01.79》中雖仍可見到趙無極前期風格中磅礡 的氣勢，但狂草時期風馳電掣的狂野筆觸卻已不見蹤 跡；這個時期的作品中，他更顯從容不迫地以純熟精 煉的筆趣，愈加著墨於空間的營造，渾然天成的大器 裡，他更為作品注入了像是唐朝詩人王維《終南山》 詩中「白雲回望合，青靄入看無」般內斂低迴、繾綣 浪漫的詩意表現。藝評家法蘭索瓦·賈克伯曾經這樣 解讀趙無極繪畫： 「透過畫作探索宇宙，同時重新創 造，因而雋永不凡。作品展現光的誕生、水的源頭， 而在一片混沌之外，隱約出現一股生命力。」無論在 用色或是空間佈局上， 《04.01.79》皆再再體現了中國 水墨簡約之美，深深展現出趙無極寄情於畫布上的東 方水墨情懷。在簡約之餘，筆觸表現更是氣韻生動。 在西方藝術家之中，趙無極特別景仰林布蘭特，也 在自傳中提及受到林布蘭特水洗技法的啟發，再加上 恩師林風眠的警醒，讓他於七十年代「重拾毛筆、紙 張、墨汁」，再探中國水墨的精深，重新思索抽象繪 畫表現上如何去融貫。 《04.01.79》正是趙無極將水 墨精神在西方畫布上實踐的絕佳範例，在此他使用了 松節油來稀釋油彩本身濃重遲滯的質感特性，而稀釋 後的油彩則給予他更多的自由，讓他能以通透性高的 油彩筆觸在畫布上盡情渲染或是堆疊，卻仍能創造出 若似古代文人以筆墨在宣紙上落筆自如般流暢輕快的 視覺效果。

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Joseph Mallord William Turner Snow Storm: Hannibal and his Army Crossing the Alps, 1800s Collection of Tate Modern, London 約瑟夫·馬洛德·威廉·透納 《暴風雪: 漢尼拔和他的軍隊越過 阿爾卑斯山》1800年代 倫敦，泰特現代藝術館收藏

融古貫今、跨越東西:《04.01.79》實例比較 觀看《04.01.79》，可以感受到畫中靈動的氣勢， 直覺聯想到集中國山水大成的兩宋時期佳作之精神 -直比宋朝大家李唐(約1050 – 1130)。李唐的畫技法 精湛，章法剪裁巧妙，意境森然，大氣淋漓、讓人 如入神仙之境，其風格顛覆後人對山水畫的理解及 追隨。 趙無極以簡練大氣的筆刷淋漓暢意的用不同技法及 色彩劈釜、堆疊出景緻；巧妙的留白經營出天地， 其氣勢與氛圍包覆著觀者：站在《04.01.79》前，隱隱 約約我們可以看到畫中山明水秀、樹翠石潤、雲淡 風清，畫面上方雲霧繚繞，山嵐向下吹佛，岩間泉水 飛濺、崖下小路通幽，一霎時眼前的抽象畫作顯現出 壯麗迷人的山水景緻。 英國浪漫主義藝術家約瑟夫·瑪羅德·威廉·特納後期 作品著重在展現天空、水面、火焰的光線、空氣中的 霧、氣旋、風等等，並逐漸的將實物及細部的描繪 隱去。批評家約翰·魯斯金描述特納的作品： 「能驚心 動魄地，真實地掌握大自然的脈搏。」特納為印象派 的理論開辟了條道路。

西方的藝術大師們如德拉克羅瓦、梵谷、馬蒂斯等 的畫作中經常充滿著對東方世界的想像，然而 大多只能算是對表面性的理解與描繪，是西方現代藝 術對〈東方情調〉的小小結論。趙無極繪畫的成就在 於他身為一個中國人，受東方藝術薰陶長大，其文化 底蘊自然地將中式的山水，水墨的渲染、書法的 寫意、細膩與虛實加上西方現代主義的奔放寓於油彩 之中。在西方人看來，趙無極的繪畫迎合了他們普遍 定義上對 ’ ’東方’ ’遐想的期待;而在華人眼中，人們 所讚頌的是他將’ ’西方抽象’ ’繪畫的手法及理解 東方化，使在精神上得以融合貫通，於是趙無極的 繪畫便成為東、西方人們眼中的成功的視覺經驗。 「人們都服從於一種傳統，我卻服從於兩種傳統。」 趙無極在一次接受採訪時這樣說。趙無極在 《04.01.79》裡將水墨畫中用墨的精妙，以西方媒材 發揮得淋漓盡致，卻絲毫不露斧鑿痕跡，跨越古今 及東西藩籬的精湛表現讓人折服。

二十世紀海外華人藝術家趙無極、朱德群、曾海文等 均受到特納的影響，趙無極作品當中耐人尋味的光， 從五十年代的作品開始至六十年代狂草作品在處理 光與氣的表現上尤其令折服。七十年代後的作品， 道法自然及水氣靈動則是趙無極此階段的展現， 就如《04.01.79》虛實交錯、畫面營造出高遠、遼濶 的空間感。

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Zao Wou-Ki Jean Dubufet Toshimitsu Imaï Kazuo Shiraga Yayoi Kusama

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Property of an Important European Collector

6. Jean Dubufet

1901-1985

Le Chien Rôdeur signed and dated ‘J. Dubufet 55’ upper lef; further signed and dated ‘Vence, août ’55’ on the reverse oil on canvas 81 x 99.3 cm. (31 7/8 x 39 1/8 in.)

Painted in August 1955.

Provenance Pierre Matisse Gallery, New York Mr. and Mrs. Arthur J. Kobacker Steubenville, Ohio Sotheby’s Parke-Bernet, New York, 28 October 1970, Lot 64 Dr. Irving Stoner (acquired at the above sale) Robert Elkon Gallery, New York (acquired from the above in 1975) Marisa del Re Gallery, Inc., New York Waddington Galleries, London Mr. and Mrs. George Bloch, Hong Kong Private Collection, Connecticut Sotheby’s, New York, 8 November 1994, Lot 42 Collection Stanley J. Seeger (acquired at the above sale) Sotheby’s, New York, 8 May 2001, Lot 35 Private Collection (acquired at the above sale) Phillips, London, 14 February 2013, Lot 18 Private Collection, Geneva (acquired at the above sale) Acquired from the above by the present owner Exhibited New York, Pierre Matisse Gallery, Dubufet Paintings – Assemblages d’Empreintes, 21 February - 17 March 1956, no. 16 Hannover, Kestner Gesellschaf; Zürich Kunsthaus, Jean Dubufet, 26 October - 4 December 1960, no. 62 New York, The Museum of Modern Art; The Art Institute of Chicago; Los Angeles County Museum of Art, The Work of Jean Dubufet, 19 February - 12 August 1962 London, Tate Gallery, Dubufet Paintings, 23 April - 30 May 1966, no. 72 New York, The Solomon R. Guggenheim Museum, Jean Dubufet, 26 April - 29 July 1973, then travelled to Paris, Galeries Nationales du Grand Palais (no. 76); New York, Robert Elkon Gallery (no. 16), Dubufet, A Selection, 27 September - 29 October 1975

重要歐洲私人收藏

尚·杜布菲 《獵犬》 油畫 畫布 1955年8月作 款識: J. Dubuffet 55 (左上); Vence, août ’ 55 (畫背) 來源 紐約，Pierre Matisse 畫廊 俄亥俄州，Arthur J. Kobacker Steubenville夫婦 紐約，Sotheby’ s Parke-Bernet，1970年10月28日，拍品編號64 Irving Stoner醫生（購自上述拍賣） 紐約，Robert Elkon 畫廊（於1975年購自上述來源） 紐約，Marisa del Re 畫廊 倫敦，Waddington 畫廊 香港，George Bloch夫婦 康乃狄克州私人收藏 紐約，蘇富比，1994年11月8日，拍品編號42 Stanley J. Seeger收藏（購自上述拍賣） 紐約，蘇富比，2001年5月8日，拍品編號35 私人收藏（購自上述拍賣） 倫敦，富藝斯，2013年2月14日，拍品編號18 日內瓦私人收藏（購自上述拍賣） 現藏者購自上述來源 展覽 紐約，Pierre Matisse 畫廊， 〈杜布菲繪畫 - 組合之足跡〉， 1956年2月21日-3月17日，圖版16 漢諾威，凱斯特納協會展覽館；蘇黎世美術館， 〈尚·杜布菲〉，1960年10月26日-12月4日，圖版62 紐約，現代藝術博物館；芝加哥藝術博物館；洛杉磯郡藝術博物館， 〈尚·杜布菲作品集〉，1962年2月19日-8月12日 倫敦，泰特美術館， 〈杜布菲畫作〉， 1966年4月23日-5月30日，圖版72 紐約，所羅門·古根漢美術館， 〈尚·杜布菲〉， 1973年4月26日-7月29日，並展於巴黎，巴黎大皇宮國家展覽館 圖版76；紐約，Robert Elkon 畫廊，圖版16， 〈杜布菲:系列作品〉 ，1975年9月27日-10月29日 出版 Peter Selz， 〈尚·杜布菲作品集〉，紐約，1962年，第114頁（圖版） Max Loreau， 〈尚·杜布菲作品全集目錄，第十一卷：推車、花園、 人物、巨石〉 ，洛桑，1969年，圖錄編號76，第64頁，圖版76

Literature Peter Selz, The Work of Jean Dubufet, New York, 1962, p. 114 (illustrated) Max Loreau, Catalogue des Travaux de Jean Dubufet, Fascicule XI: Charettes, Jardins, Personnages Monolithes, Lausanne, 1969, no. 76, p. 64, pl. 76 (illustrated)

HK$ 7,000,000-9,000,000 US$ 897,000-1,150,000

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‘I’m very happy here. Spectacles abound.

I have specialised in little tufts of grass and shoots of clover pushing up between the cobblestones at the edges of tarred roads.’

Jean Dubufet, quoted in a letter to Gaston Chaissac, Vence, September – October 1955

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In Jean Dubufet’s Le Chien Rôdeur, the dog of the title is shown silhouetted against a slender horizontal sliver of sky, making its way cautiously across a fower-and rock-strewn landscape. The dog has been rendered with character and sympathy—it engages the viewer, serving as a bridge to draw our attention into the world of the picture itself. The landscape, depicted vertically as was so ofen the case in Dubufet’s works, allowing him to give the sense of incident that is experienced when looking at the world around us, is crammed with detail. The wonder of life, of even the most humble landscape, is here captured through a range of techniques, as Dubufet revels in the depiction of the wealth of rocks and plants that populate his arid surroundings.

Le Chien Rôdeur was painted in Vence in August 1955. The artist had moved there earlier that year, following medical advice aimed at helping his wife Lili recover from a long-standing illness—the air there was meant to be particularly good for the lungs.

They managed to rent a home there, but at frst were unable to fnd a suitable studio for the artist to paint—he was limited to a smaller space where he could make works on paper. Later in the year, he managed to buy the lower foor of a house there and returned with gusto to painting. Le Chien Rôdeur dates from this moment, when he was able to plunge himself into the world of colour and impasto, introducing new elements from the world around him in Vence.

Afer all, for this artist who had been so supremely interested in the soil and the earth, the fertile yet rocky landscape that surrounded his home provided an endless source of fascination, and this sings through Le Chien Rôdeur. During the months before he found his larger studio, he had spent time outside, meticulously drawing sections of the roadside in the surrounding area, fascinated by the infnite drama he was able to fnd within a few square metres of roadside rubble, with its wild fowers, weeds and tufs of greenery poking through the surface.

Dubufet recalled that his Prowling Dogs such as Le Chien Rôdeur were essentially pretexts for paintings using this natural material as its nspiration.

The lower half of Le Chien Rôdeur is flled with their legacy, with its catalogue pebbles and fowers captured through a frenetic range of spots, circles and star-bursts of brushstrokes. Meanwhile, the dog itself has been rendered full of character, a slightly manic yet endearing presence. It recalls the charm of the Vâches, the cows that Dubufet had painted the previous year when Lili was staying in the outskirts of Clermont-Ferrand.

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But where the cows were shown in their felds, usually against a single backdrop which they dwarfed and dominated, here Dubufet has depicted the dog against a mottled blue sky. The paint surface thrusts the dog further into relief: the earth colours of its fur contrast with its background, which appears to have been deliberately fattened through the application of some textile, perhaps a cloth or a sleeve. It was not only in the motif of the prowling dog that Dubufet explored these techniques—his painting Mon char, mon jardin from the same period and now in the collection of the Museum of Modern Art, New York, shows a cart depicted in a similar way atop an inventory-like landscape akin to this.

The fact that the dog and the landscape in Le Chien Rôdeur appear to have been conjured from the same material as each other illustrates a paradox that lay at the heart of much of Dubufet’s work, his synchronous fascination with the tiny details of everyday life and its vaster panoply. ‘I think on one side I have this love for the sap and savour of life, with all its oddities,’ he would tell Michael Peppiatt in 1977, ‘whereas on the other I see the world in a more oriental way, as an undiferentiated continuum, and gradually the individuation in my work fades away’ (Dubufet, quoted in M. Peppiatt, Interviews with Artists: 1966-2012, New Haven and London, 2012, pp. 293-94).

It is a mark of the importance of Le Chien Rôdeur that it featured in a number of important lifetime retrospectives of Dubufet’s work, including the 1962 show held at the Museum of Modern Art in New York, for which the catalogue written by Peter Selz remains one of the key works written on the artist.

Le Chien Rôdeur also featured in the 1966 exhibition at the Tate, London and the 1973 retrospective at the Solomon R. Guggenheim Museum, New York, which aferwards travelled to the Grand Palais, Paris.

Le Chien Rôdeur has graced the walls of a number of prominent twentieth-century collectors, including Arthur J. Kobacker, of Steubenville, Ohio, who had made his fortune setting up a shoe outlet and was a prominent philanthropist; Mary and George Bloch, whose collection featured works by artists such as Alexander Calder, Alberto Giacometti, Joan Miró and Pablo Picasso as well as Chinese snuf bottles; and Stanley Seeger, the heir to an oil fortune who at one point owned 88 works by Picasso, alongside other masterpieces by artists such as Francis Bacon and Jasper Johns.

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在尚·杜布菲《獵犬》作品中，畫中主角；狗的輪廓， 佇立在天際一條細長的地平線上，小心翼翼地穿梭在 遍佈了花朵與小石塊的風景裡。杜布菲筆下這隻狗， 不僅充滿個性及更勾起人的同理心，他透過這個角色 來觸動觀眾，像是搭起一座橋樑，將我們的目光 帶入畫中的世界。作品中充滿了細節的風景，以垂直 的方向來呈現，這也是他所慣用的手法，營造一種 不經意的感覺來描繪我們所體驗的周遭一切。即使 僅僅是看似平凡的風景，杜布菲也能運用許多技法， 畫出他所居住的乾燥環境中，各種岩石及植物的千姿 百態，進而傳達出生命的美好。

《乳牛》系列作品。不同的是，那些乳牛多半是 被呈現在一個單一的背景裏，通常是草原上，他們 的形體也往往佔據了整個畫面；在此，杜布菲則是將 狗放在斑駁的藍天背景前。此處顏料堆疊的肌理 也將狗顯得像浮雕般的立體，而帶著大地色調的 毛色，也與背景的天空形成反差。在天空部分的 處理上，藝術家似乎想刻意製造出平面的視覺感， 以布料甚或是他的袖子在上面塗抹。這樣的技法不僅 只出現在這個系列，其實在紐約現代美術館所收藏 來自同一時期的《我的手推車，我的花園》裡，也不 難窺見在構圖及技法上有著異曲同工之妙。

《獵犬》一作於1955年8月繪於旺斯，他恰巧於 杜布菲在《獵犬》筆下的的狗與風景，乍看之下似乎 那一年早些時候在醫生的建議下，搬到這座城市， 就像是同一種素材所生，這樣表現手法看似不太 希望那裏乾燥的空氣，能讓他妻子莉莉長年所患的 合理，其實卻完全地反映了藝術家不僅對日常生活的 肺部疾病獲得改善。他們在那兒租了間房，初抵時 瑣碎、同時又對生命廣義的延伸，有著同樣深刻 卻找不到適合創作的畫室，因而他在受限於小空間內 的著迷。 「我想我一方面深深愛著生活小細節其中 只能在紙上創作。稍後同年，他買到了一棟房子 的奇妙況味」，他在1977年告訴麥可．派皮亞特， 的低樓層當作工作室，於是便欣喜地重返油畫創作。 「但另一方面我又會偏向用一種比較東方哲思的角度 《獵犬》正是創作於這個時間點，杜布菲終於能再度 來看這個世界，那是一種無差別性的永恆延續， 盡情投入油畫裡色彩及厚塗顏料的豐富世界，也將他 因此我作品之間的差異也逐漸地褪去」(摘自杜布菲 在旺斯所聞所見的新元素引入畫中。畢竟杜布菲向來 於派皮亞特所著〈藝術家面談：1966-2012〉 ，紐黑文 鍾愛土壤及大地，他的新家園旺斯遍地四佈著岩石， 及倫敦，2012年，第293-94頁)。 卻是塊豐沃的土地，深深魅惑吸引著他，這件作品 此外值得一提的是， 《獵犬》曾多次在杜布菲生平 不啻為其對旺斯的禮讚。在找到比較大的畫室之前 重要回顧展中展出，其中包括了紐約現代美術館 的幾個月裡，他在戶外大量寫生，鉅細靡遺地畫下 於1962年的展覽，彼得·賽爾茲為該展的展覽目錄 一段又一段的沿路風景。儘管只是路邊的瓦礫碎石， 撰文，也是至今評論杜布菲最重要的文獻之一。 他也能在石縫間野花野草鑽出而生這樣的小風景裡， 本作另外也在1966年倫敦泰特美術館展出，以及 看到無限的戲劇張力。 1973年紐約古根漢美術館的回顧展，隨後並巡迴展 杜布菲曾憶及， 《徘徊的狗》系列作品裡像是 出於巴黎大皇宮國家展覽館。 《獵犬》也為許多二十 《獵犬》，基本上借用了自然界的素材作為靈感。 世紀重要藏家所先後收藏，其中包括：美國俄亥俄州 作品下半部正充分體現了藝術家所言的概念，他近乎 斯托本維爾的鞋業暢貨大亨及著名慈善家亞瑟·杰· 瘋狂地使用了無數的點、圓圈及星狀放射的筆觸， 庫巴克；瑪莉及喬治·布朗曲夫婦，除了杜布菲外， 捕捉出各式各樣的小石子及花朵。同時，狗的本身也 另也收藏了亞力山大·考德、亞伯特·賈科梅蒂、 是極富個性的描寫，有著略帶瘋狂卻討喜可愛的 米羅及畢卡索等大師之作，以及中國鼻煙壺；以及 模樣，這也令人聯想起藝術家在搬來旺斯前一年， 史坦利·席格，油業大亨繼承人，一度曾擁有88件 當時他與妻子莉莉居住在克雷蒙費弘的郊外時所畫的 畢卡索作品，以及其他如法蘭西斯·培根或是 賈斯柏·約翰斯的大作。

Jean Dubufet My Cart, My Garden (Mon char, mon jardin), 1955 Collection of The Museum of Modern Art, New York © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

尚· 杜布菲 《 我的手推車、我的花園》1955年作 紐約，現代藝術館收藏

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7. Toshimitsu Imaï

1928-2002

Untitled signed and dated ‘IMAÏ 73’ lower right, further signed and dated ‘IMAÏ Toshimitsu Imai [in Kanji] juin 1973’ on the reverse oil on canvas 150 x 200.3 cm. (59 x 78 7/8 in.)

Painted in June 1973.

Provenance Private Collection, France Acquired from the above by the present owner

今井俊滿 《無題》 油畫 畫布 1973年6月作 款識：IMAÏ 73 (右下); IMAÏ 今井俊満 juin 1973 (畫背) 來源 法國私人收藏 現藏者購自上述來源

HK$ 650,000-850,000 US$ 83,300-109,000

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Very much a vanguard in his own right, Imaï was one of the frst avant-garde Japanese artists to have lef Japan for Paris in the immediate post-war period in 1952, predating the now eminent Gutai group’s formation in 1954. Imaï soon found himself in the company of artists such as Georges Matthieu and Sam Francis, and fve years later distinguished himself in his debut solo exhibition at Galerie Stadler in 1957, confrming his position as a veritable Informel artist of indubitable international repute.

Having become heavily involved with Art Informel, Imaï was instrumental in introducing the famed art critic Michel Tapié to Gutai, who would later on become a strong proponent for the group.

The oeuvre of Toshimitsu Imaï fuses two seemingly divergent elements of the artist’s career: his traditionally trained Nihonga practices merge with his later adopted and mastered Art Informel practices. As evidenced in the visually arresting Untitled, Imaï is an artist who possesses a remarkable sensibility to paint and impasto, and an uncanny ability to evoke emotion through colour and form.

Gathered around Michel Tapié, the Informel artists were in search of a complete break from Modernism; its subject, forms and composition, and rather emphasised a gestural expressive abstraction.

As a painter at the heart of the movement, the present work demonstrates the artist’s ongoing exploration of the gestural at the rise of his career: swirling masses of energy— of Fire, Earth and Water; of fowers, of blood, of bodies and forms that dance across the canvas in swathes of reds, yellows and blues. A representation of the artist’s direct experiences through organic forms and brushstrokes, the shapes on the canvas are fuid, but the colours stay within their boundaries— each form coexists in the same space without mixing together.

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‘As far as I am concerned, colours are the vast origin of the birth and death of nature…’

Toshimitsu Imaï

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Imaï’s engagement with the canvas is dark and passionate, the result musical in its rhythm and composition, its subject matter deeply human.

As in Untitled, one is reminded of corporeal forms and entities; of a pulsing heart, its intricate valves, or perhaps even the fractal patterns occurring in nature.

Though European exposure had allowed Imaï to create highly expressive works through colour and abstraction, they were also deeply rooted in the Japanese culture and its Nihonga tradition.

This was acknowledged as early as in the preface of the catalogue written for his seminal 1957 oneman show at the Stadler Gallery by the art critic Takiguchi Shuzo: ‘What Imaï has created in Paris from the very beginning has been transferred in numerous images refecting the depth of human existence…Now his art is directed toward the sources, and goes back to the primitive elements of Japanese art whose masterpieces formerly realised the perfect unity of signs and matter.’ In the same text, Takiguchi highlights that Imaï’s dedication to the human condition extends itself to man’s relationship with nature, and can even be seen to radiate ‘sympathy for the magic of earth and fre of ancient Japanese potters.’

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It is undeniable that there is something tactile and three-dimensional about Untitled, its visceral and organic composition almost sculptural in texture.

His heavy use of red is striking, evoking at once the boldness of fre, and red earth central to Japanese pottery. As described by one critic in 1975, ‘Despite all the violence, or even the brutality of the shock produced by lmai’s painting, one must recognize in this thick, foating material mixed with rock fragments and varnish, a power which surpasses that power which the material alone is incapable of engendering. There is a savage, almost cruel joy in the boldness of these harmonies’ (R.B., Aujourd’hui, May, 1961 as quoted in IMAÏ Toshimitsu, Kyuryudo Art Publishing Co., Tokyo, 1975, p. 88).

By the 1970s, Imaï was living mostly in Japan, continually producing works and holding regular one man shows. During this period, Imaï had already amassed international acclaim as an artist, having exhibited works at both the 1953 São Paulo Biennale, and having represented Japan in the 1960 Venice Biennale. In 1962, the Japanese artist gained considerable recognition in his home country, when he won a prize at the 5th Exhibition of Japanese Contemporary Art in Tokyo, followed by key acquisitions of his works by the Museum of Modern Art in Tokyo.

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今井俊滿是日本前衛藝術家中，在戰後的1952年 最早離開日本前往巴黎的其中一位，比現在聲名顯赫 的具體派成立時間還早了兩年，其先鋒精神可見 一斑。 到了巴黎不久後，今井便結識了喬治·瑪蒂厄 和山姆·法蘭西斯等藝術家，五年之內更在巴黎 的史塔德雷畫廊首度舉辦個展，奠定了今井身為 不定形藝術家的國際聲望。今井與不定形藝術的 關聯緊密，還向日後成為具體派大力提倡者的 藝評家，米歇爾·達比埃引介具體派。 今井俊滿的作品融合了其藝術身涯中，兩種看似分歧 的元素：曾經受過傳統日本畫訓練的今井，爾後接觸 到不定形藝術，並在他的創作裡將之發揚光大。 呈現於此的拍品《無題》，具有強大的視覺吸引力， 證實今井是一位繪畫敏感度極高的藝術家，善於用 厚塗技法堆疊出顏色和形體，引出觀者的真實情感。 以達比埃為中心，不定形藝術家尋求從現代主義中 解放，企圖全然脫離現代主義的主題、形式和構圖， 並反之強調抽象的意境表現。在此拍品中，今井展現 了其身為不定形藝術運動的核心藝術家，在提升 自已職業生涯時，對於抽象表現的深刻探討：集結 火、土、水三元素的強大能量在畫布上流轉，血和肉 的形象透過厚實的紅色、黃色和藍色橫越畫面。 畫筆下，有機的形體自由暢流，但是顏色從不越界， 在畫面上和平共存卻不相往來，直接地表現出今井 的切身經驗。今井與畫布的交流充滿晦暗和熱情， 創造出動人的視覺旋律，深刻地刻劃人性。 《無題》 叫人憶起有形的個體、跳動的心臟和精緻複雜的 瓣膜，甚至是自然界中重複出現的分形。

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在歐洲藝術的薰陶下，今井使用顏色和抽象形體來 展現出高度的表現性，但是其創作底蘊卻深植於 日本畫的傳統。藝評瀧口修造為今井於1957年， 在史塔德雷畫廊舉辦的個展目錄中撰寫序言，首次 提及藝術家歐式抽象之下的日本畫傳統，說道： 「今井將他在巴黎的創作歷程，轉換成在畫面上 對於人類存在的深度探討；如今，今井直溯他 的藝術開源，回歸日本藝術的原初元素，向統一 象徵和實質的經典日本畫大作看齊。」同文中，瀧口 也強調今井對於人性的探究是如何從人類狀態， 延伸至人與自然的關係，說道： 「今井和古代日本 陶藝家齊心，深深喜愛製陶必用的兩種神奇元素： 火與土。」在《無題》中，今井用發自肺腑的有機 形體創造出近乎雕塑品般、無庸置疑的強烈質感 和立體感。另一位藝評在1975年探討今井的 時候寫道， 「其作展示一種暴力、甚至於野蠻的 震撼力。今井將油彩與砂礫和亮光漆混合使用， 透過厚塗技法，賦予媒材超越自身的爆發力。看似 和諧的畫面中，看得見一種兇猛以至於殘酷的、 無所畏懼的喜悅。」(節錄自〈IMAÏ Toshimitsu〉, R.B., Aujourd’hui，1961年五月, 東京Kyuryudo Art Publishing Co.發行, 1975年, 第88頁) 到了七零年代，今井多半居住在日本，持續創作並 時常舉辦個展。當時，今井已經是一位獲得國際好評 的藝術家，不僅在1953年聖保羅雙年展展出，更在 1960年代表日本參加威尼斯雙年展。在1962年的 東京，今井贏得第五屆日本當代藝術展大獎，作品 又旋即被東京現代美術館納為館藏，這兩舉關鍵成就 大大提升了今井在祖國的名聲。

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Property of an Important European Collector

8. Kazuo Shiraga

1924-2008

Untitled signed and dated ‘Kazuo Shiraga [in Kanji] 1959.10’ lower right; further inscribed ‘Kazuo Shiraga Gutai Japan’ on the reverse oil on canvas 90.8 x 116.7 cm. (35 3/4 x 45 7/8 in.)

Painted in October 1959.

Provenance Private Collection, Japan Private Collection, Asia (acquired from the above) Sotheby’s, London, 8 October 2016, Lot 130 Acquired at the above sale by the present owner

重要歐洲私人收藏

白髮一雄 《無題》 油畫 畫布 1959年10月作 款識：白髮一雄 (日文) 1959.10 (右下); Kazuo Shiraga Gutai Japan (畫背) 來源 日本私人收藏 亞洲私人收藏 (購自上述來源) 倫敦，蘇富比，2016年10月8日，拍品編號130 現藏者購自上述拍賣

HK$ 3,500,000-5,500,000 US$ 449,000-705,000

‘I want to paint as though rushing around a battlefeld, exerting myself to collapse from exhaustion.’

Kazuo Shiraga

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Filled with red and yellow paint, Kazuo Shiraga’s Untitled perfectly encapsulates the raw energy that brought the painter such international recognition.

As was the case with most of Shiraga’s pictures, Untitled was painted using the artist’s feet: holding onto a rope hanging from his studio’s ceiling, the artist would manipulate his movements in order to create his distinctive works. In Untitled, his movements can be discerned in the sweeping passages of red that have been manipulated across the surface.

This is a rich, sumptuous colour, yet also is a reference to blood. An undertone of violence haunts Shiraga’s paintings, in part responding to the horrors of the Second World War, yet also to the tales of banditry and martial heroics of The Water Margin that had fascinated him as a child. Untitled thus encapsulates Shiraga’s impressive ability to balance his own personal experience and cultural legacy with the innovation of happenings and action painting that favoured the pioneering conceptual tenets of Gutai and which found such rich parallels in the wider international avant garde.

Images from Blood The present painting belongs to the artist’s groundbreaking body of work from the late 1950s and early 1960s, created at the very height of Gutai's frst phase between 1954 and 1961. In the same year Untitled was painted, Shiraga started The Water Margin Series, his frst important series of works.

In 1957, French critic Michel Tapié had invited members of the Gutai Movement to send works to Europe for exhibition. To avoid difculty in identifying a large number of untitled works to be sent overseas, Shiraga decided to nickname each of the works with names of heroes from the classical Chinese novel, Shuihuzhuan (The Water Margin). During the period when Shiraga was painting The Water Margin Series (1959-2001), he was also producing other series as well. Although the present painting remains untitled, it belongs to this seminal period of Shiraga’s oeuvre, during which his works refect the gory and violent acts of the book’s heroes, with an almost bloody imagery on their canvases.

Discussing the physical side of his paintings, Shiraga once declared: ‘I want to paint as though rushing around a battlefeld, exerting myself to collapse from exhaustion’ (Shiraga, quoted in G. Ritter, ‘Between Action and the Unknown’, pp. 22-39, in Ritter, Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga, exh. cat., Dallas, 2015, p. 28). The notion of the battlefeld is apt in Untitled, with its red-coloured surface.

The Rise of Gutai and Shiraga at Its Forefront Painted in 1959, Untitled dates from the crucial moment when the Gutai movement of which he was one of the most prominent proponents was beginning to gain international recognition (19581959). It was only two years earlier that the French critic Michel Tapié had visited Japan, hoping to investigate this group, itself founded by another artist, Jiro Yoshihara. Recognising the talent and innovation of the artists he saw there, he soon arranged for their works to be shown—and bought— in Europe. In 1958, the Martha Jackson Gallery in New York also staged an exhibition of their work. Shiraga was at the forefront of this shif, and his paintings themselves refected it. In 1959, the year that Untitled was painted, Shiraga exhibited twice in Torino, and staged the seminal show ‘Metamorphosis’ at Galerie Stadler in Paris. Indeed, it was following a suggestion from Tapié that Shiraga began to paint on canvases, rather than on the paper that he had earlier used. Similarly, he came to use more colour in his works, as is clear in Untitled with its red and yellow. But he was wary of using too many colours, as the presence of red—an enduring favourite, as demonstrated here—would ofen turn the foot-mixed paint to brown.

Willem de Kooning Untitled II, 1980 © 2018 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York

威廉•德•庫寧 《無題II》1980年作

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Members of the Gutai Group; Kazuo Shiraga seated third from the right.

具體畫派成員; 白髮一雄於前排右三名。

Shiraga’s Technique and Philosophy The genesis of Shiraga’s unique painting technique derived from his campaign to remove any sense of composition from his works, in keeping with some of the radical developments happening at the avant garde in Western painting in recent years. During his youth, Shiraga had been fascinated by Western art, but had been schooled in more traditional Japanese methods before being drafed during the Second World War. He was de-mobilised soon afer his training, and eventually went to art school. Soon, he began to explore ways of removing pictorial elements from his works, initially placing oil on a surface and working it with his fngers, sometimes in lines or circles that covered the picture in its entirety. Soon, he realised that the paint dripped when he worked on an upright work, and so he placed it on the foor; this limited his ability to work on any scale, and so he invented the technique of hanging by a rope, moving the paint with his feet.

He thus immersed himself within the painting, a move related to that taken by Jackson Pollock in his so-called ‘Drip Paintings.’ Indeed, in Shiraga’s initial pictures, it was the action, rather than the painting, that he deemed key. Shiraga would push his ‘Action Painting’ to a new, immersive extreme in 1955, only four years before he made Untitled, when he exhibited Challenging Mud at the frst Gutai exhibition at Ohara-Kaikan, Tokyo. For this, he plunged himself into a mud mixture in his underwear and pushed the material around with his entire body.

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Shiraga was photographed making Challenging Mud, but being made of mud, that work was temporary and was not made to last. By the time of Untitled, though, Shiraga had begun more fully to appreciate the dual nature of the act of artistic creation—the process of making the work, and also crucially its subsequent appreciation. Looking at Untitled, there is a sense of elegance to the swirling paint that hints perhaps at Shiraga’s own earlier interest in traditional calligraphy. Shiraga—the eldest son of a family of kimono sellers—had been immersed in traditional Japanese culture, and in the early 1960s, just afer Untitled was painted, would also become increasingly interested in esoteric Buddhism, eventually becoming a monk in the Tendai tradition, itself derived from the Chinese Tiantai school. In Tendai, physical challenges including a 1000 day endurance pilgrimage on Mount Hiei form a part of the monks’ practice. While Untitled pre-dates Shiraga’s involvement with Tendai Buddhism, the sheer physicality so evident in the paint surface reveals the seeds of that interest in linking movement with spirituality.

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白髮一雄的作品《無題》畫面充盈着飽滿的紅黃 二色，將創作過程中的充沛情緒體現得淋漓盡致， 藝術家正是憑此獲得廣泛國際認可。正如白髮一雄 的大部分作品， 《無題》是藝術家用腳繪製而成，他將 繩索懸吊於工作室天花板，並身附繩索藉此運用身體 的移動創作獨具特色的作品。在《無題》中，藝術家 的蹤影透過紅色顏料的拂掠痕跡依稀可識。 血之意象 本件作品是藝術家1950年代末至1960年代初史無 前例的系列作品之一，正值具體美術運動1954年至 1961年第一階段的巔峰之作。繪製《無題》的同年， 白髮一雄開始創作其第一個至關重要的系列作品 「水滸傳」系列。1957年，法國藝評人米歇爾·達比埃 邀請具體美術運動的成員赴歐洲參展。為了免於運輸 到海外的大量無題作品混淆，白髮一雄決定使用中國 經典小說《水滸傳》中的英雄人物來暱稱作品。繪製 「水滸傳」系列(1959-2001年)期間，他也同時在創作 其他系列作品。雖然本件作品依然《無題》，但它是 白髮一雄開創階段的重要作品之一，運用幾近血腥 的意象反映了書中英雄人物鮮血淋淋、兇猛激烈 的種種行徑。 言及其畫作的身體特性，白髮一雄曾宣稱， 「我想要 如同在戰場上四處衝撞一樣，充分運用我的身體 直至殫精竭力。」(白髮一雄，引自G.瑞特， 《行動與 未知之間》，第22-39頁，於《行動與未知之間： 白髮一雄及元永定正的藝術》展覽圖錄，達拉斯， 2015年，第28頁)。戰場的概念在《無題》中的 紅色畫面呈現得酣暢淋漓。這既是飽滿奢華的顏色， 也暗指鮮血的顏色。武力的概念時常縈繞於白髮一雄 的作品中，既迴應二戰中駭人聽聞的慘狀，又涉及 藝術家自幼喜愛的梁山好漢《水滸傳》。 《無題》展現 了白髮一雄卓越的創作能力，完美地平衡其個人經驗 與文化遺產，利用偶發藝術和行動繪畫，滋養創新 具體美術運動的前衛觀念，並與更爲廣闊的國際先鋒 領域匹敵。

白髮一雄的技法與哲思 與近年西方前衛藝術的激烈發展遙相呼應，白髮一雄 主張消除作品的構圖感，其作品的獨特創作技巧 正是源自於此。白髮一雄自幼喜愛西方美術，卻接受 相對傳統的日本繪畫培訓，隨後時值第二次世界 大戰，他被徵召入伍。軍隊在復員遣散後，他最終回 到藝術學校就學。他隨即開始探索全新的創作方式， 以去除作品中的圖像元素，一開始他嘗試將油彩置於 紙本表面，用手指以線條或圓形等形式填滿畫面。 然而當垂直作畫時，油彩會自然滴落下來，所以他 開始將畫布平鋪在地面上。這一方式限制了他創作 較大尺幅的作品，所以他發明了用腳作畫的懸繩法。 自此他將自己沉浸於作品中，這一做法與傑克遜·波 洛克的「滴彩畫」不無關係。在白髮一雄的早期 作品中，他認爲動作纔是關鍵所在，而非成品。 於1955年，創作《無題》的四年前，白髮一雄將其 「行動繪畫」發展到一個新的巔峰，在東京小原會館 舉辦的首次具體派美術展覽中，白髮一雄展出《挑戰 泥土》，僅着內衣將自己置身於一片泥沼之中， 並用全身推動泥土。 白髮一雄創作《挑戰泥土》的過程雖有攝影記錄， 但泥土的性質使然，作品無法長期保存。而當創作 《無題》時，白髮一雄已然能更全面地駕馭藝術創作 的兩面性──既重視創作過程的姿態，又呈現最終 成品的美感。 《無題》中迴旋的顏料痕跡透露出 白髮一雄早期對傳統書法的興致，他作爲傳統 和服世家的長子，自幼沉浸於日本傳統文化之中。 於1960年代早期，正值《無題》創作後不久，白髮 一雄開始對密宗感興趣，並最終入天台宗成爲一名 僧人。天台宗源自中國天台派，其宗派強調肉體 修行，包括長達1000天的比壑山苦行等。雖然 《無題》創作於白髮一雄加入天台宗之前，但其畫面 中顯而可見的純粹肉體性爲其結合肉身動作與精神 靈性埋下伏筆。

白髮一雄引領具體美術運動崛起 《無題》創作於1959年，彼時具體派美術運動剛剛 獲得國際關注(1958-1959年)，而白髮一雄正是 其領軍人物。兩年前，法國藝評人米歇爾·達比埃 特意到訪日本，調研吉原治良所創立的具體派。意識 到具體派藝術家的才華和獨創性，達比埃隨即安排他 們的作品在歐洲展覽、銷售。1958年，紐約Martha Jackson畫廊也展出其作品。白髮一雄引領著這種種 轉變，其作品也折射出變化。1959年，《無題》創作 的同年，白髮一雄兩次於意大利都靈參展，並於巴黎 施泰德畫廊舉辦開創性展覽「變形記」。誠然，白髮 一雄正是聽從了達比埃的建議才開始於畫布上創作， 此前他常繪製於紙本上。同時，他開始在作品中運用 更多色彩，正如《無題》中紅與黃的使用。不過他對 多種顏色的選擇也十分謹慎，因爲紅色雖然是藝術家 十分喜愛的顏色，卻容易在用腳創作時變成棕色。

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Property of an Important European Collector

9. Yayoi Kusama

b. 1929

Infnity Nets (HOAWD) titled, signed and dated ‘“HOAWD INFINITY-NETS” YAYOI KUSAMA 2014’ on the reverse acrylic on canvas 97.2 x 130.2 cm. (38 1/4 x 51 1/4 in.)

Painted in 2014, this work is accompanied by a registration card issued by the Yayoi Kusama Studio.

Provenance Ota Fine Arts, Tokyo Private Collection, Canada Acquired from the above by the present owner

重要歐洲私人收藏

草間彌生 《無限之網 (HOAWD)》 壓克力 畫布 2014年作, 並附草間彌生工作室之登記卡。 款識： 《 HOAWD INFINITY-NETS》YAYOI KUSAMA 2014 （畫背） 來源 東京，大田畫廊 加拿大私人收藏 現藏者購自上述來源

HK$ 4,500,000-6,500,000 US$ 577,000-833,000

It was in 1958, shortly afer moving to New York, that Yayoi Kusama would begin her most iconic and enduring series of paintings, the Infnity Nets. Painted in 2014, almost 50 years afer the inauguration of the series, Infnity Nets (HOAWD) shows a pure mastery of the painterly idiom that secured Kusama’s unique and groundbreaking contribution to the history of abstract painting.

Originating from a powerful challenge to the biased hegemony towards bravado brushwork in a male dominated art world in 1960s America, the Infnity Nets employ a unique conceptual approach. They stem from a personal psychological impulse, and desire to harness the therapeutic and self afrming powers of repetition. Creating a mesmerically shimmering surface of heat and dynamism, Infnity Nets (HOAWD) challenges the relation between background and foreground, as the familiar dots materialise through a reverse process. A vista of golden yellow pigments are overridden and encircled by a web of looping red-orange nets. Combining a sense of randomness and uniformity, Kusama channels aesthetic intuition to fnd beauty in a peculiarly ordered chaos. Inexplicably organic yet adhering to an unintelligible system of logic that binds micro elements to a wider network, the infnity nets present a visually arresting and philosophically profound metaphor for the bonds of relations that constitute the universe.

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Kusama is a truly original artist who has constantly evaded categorisation through a varied practice that encompasses painting, sculpture, flm, literature, performance and installation art. Whilst earlier works created in her native country were viewed through a surrealist lens, in 1960s Europe and America she shared group exhibitions with Pop artists and even members of the ZERO movement. Kusama has both responded to and infuenced movements whilst ultimately maintaining her unique and revolutionary vision. At her very frst solo exhibition at the Brata Gallery in New York, Kusama presented a group of white Infnity Nets, ofering her bold challenge to the trends of Abstract Expressionism that dominated the city at the time.

Evident still in the present work, Kusama’s creation of a delicate and minimal membrane of kinetic brushwork seeks to overthrow the machismo explosions of paint championed by superstar American painters such as Jackson Pollock.

Kusama presents a genuine and considered web of subjectivity that is based on an intuitive understanding and connection between painter and canvas.

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The Infnity Nets also carry great personal importance for Kusama, having started the series at a time of hardship, feeling alienated in a new environment. She has recalled: ‘Day afer day I forgot my coldness and hunger by painting’ (Yayoi Kusama, quoted in ‘Kusama Dot Com’, New York Times Style Magazine, 24 February 2008). Most crucially, over the subsequent fve decades the Infnity Nets have provided psychological respite and a form of personal therapy to combat the episodes of neurosis and hallucinatory visions she has sufered with since childhood – traumas of growing up in wartime Japan. The artist has recounted: “Unable to sleep, I would get out of bed and paint. […] I would cover a canvas with nets, then continue painting them on the table, on the foor, and fnally on my own body. As I repeated this process over and over again, the nets began to expand to infnity. I forgot about myself as they enveloped me, clinging to my arms and legs and clothes and flling the entire room” (Yayoi Kusama, trans. Ralph McCarthy, Infnity Net: The Autobiography of Yayoi Kusama, London 2011, pp. 17-18, and p. 20).

Binding the micro, macro and metaphysical, Infnity Nets simultaneously conjures the microscopic cells that make up all matter, the infnity of an intimately connected universe, and a personal “obsession” that the artist has described as “the passionate accretion and repetition inside of me” (Yayoi Kusama, ‘Interview with Gordon Brown (1965)’ in Yayoi Kusama: In Infnity, London, 2015, p. 11).

Through paintings such as Infnity Nets (HOAWD) Kusama ofers a hypnotically captivating metaphor that positions the individual within the wider web of life. Now an enduring moment in art history, they articulate individual subjectivity in an unstable and immeasurable environment: “One polka dot: a single particle among billions” (Yayoi Kusama quoted in, Infnity Net: The Autobiography of Yayoi Kusama, London, 2011 p.23).

草間彌生在1958年，抵達紐約不久後，開始創作 草間彌生身在陌生國度，備感寂寞困頓時，開始 她最具代表性且歷久彌新的「無限網」系列繪畫。 創作「無限網」，因此，此系列畫作對她而言有種 呈現於此的《無限之網(HOAWD)》是草間彌生 更個人化的意涵。草間彌生回想當年說道， 「日復 在開創「無限網」系列近乎半個世紀後，在2014年 一日，我在繪畫時遺忘現實的飢寒交迫。」 （節錄 所作，作品充分展現了她發展至爐火純青的藝術 自Kusama Dot Com’ ，New York Times Style 語彙，可見她對於抽象藝術歷史獨特和開創性的 Magazine，2008年2月24日）最重要的是，在接下 貢獻。為了挑戰美國六零年代，男性主導的藝術世界 來的五十年內， 「無限網」成了草間彌生的精神寄託； 中的虛張聲勢之霸權，草間彌生開創了概念性超凡 她在戰亂不停的年代成長，從小受到精神疾病和幻覺 的「無限網」系列。 「無限網」源自於草間彌生個人的 的摧殘，而藝術是她唯一的避風港。草間彌生曾說， 心理躁動，並渴望透過重複性的力量，得到療癒和自 「只要半夜睡不著，我就爬起來畫畫。……畫布被畫 我肯定的渴望。 《無限之網(HOAWD)》創造了一個 滿之後，我在桌子上、地上，甚至在自己身上繼續 充滿熱度和活力的閃爍畫面，挑戰背景和前景之間 畫網、不斷重複。隨著網子無限地延伸，覆蓋 的關係，通過畫中的網線，我們反而看到的熟悉 我的身體、衣服和房間，我也漸漸忘了我。」 的草間圓點。金黃色顏料的景色被覆蓋並被一圈圈 （節錄自《無限之網：草間彌生自傳》，草間彌生著， 環形紅橙色網圍繞著。草間彌生結合了隨機感和 萊爾夫·麥卡錫譯，2011年出版於倫敦，第17-18 一絲不苟的秩序，用自己的美學直覺，在亂中有序裡 頁、20頁） 尋覓美麗。草間彌生的創作手法看似偶發又充滿有機 「無限網」將微觀的、宏觀的和形而上的觀念和意識 能量，實則循著一種難以掌握的邏輯，系統性的將 互相聯結，同時想像出構成生命基本單位的細胞、 微小元素結合成網，用強烈的視覺性，引喻人事物 宇宙涵蓋的無限關聯，和草間彌生的執迷；她將 互相連結而構成宇宙的深遠哲學。 這份執迷形容為「我體內重複堆積的熱情。」 草間彌生是一位真正獨創的藝術家，從繪畫、雕塑、 （節錄自「1995年草間彌生與高登·布朗的訪談」， 電影、寫作、行為到裝置藝術不斷流轉，多元化 《草間彌生: 在無限之間》，2015年出版於 的藝術形式讓外界無法歸類她的藝術。草間彌生早期 倫敦，第11頁）透過《無限之網(HOAWD)》等系列 在日本創作的作品，看得見超寫實主義的影子，但是 作品，草間彌生提供一個讓觀者能置身於生命之網中 到了六零年代，她的作品已經蛻變到能與歐美的普普 的意境。她的創作不斷在藝術歷史中，訴說個人 和零派藝術家相抗衡。草間彌生受到當時的藝術運動 主觀是如何在不停轉變且深不可測的環境中生存。 所影響，也深深影響了當時的藝術運動，但是始終保 「一個圓點，代表億萬個分子中的一個。」 （節錄自 有自己獨到的、完全創新的藝術眼光。在紐約的布拉 《無限之網：草間彌生自傳》，草間彌生著， 塔畫廊，她生平第一場個展中，草間彌生展出了一系 萊爾夫·麥卡錫譯，2011年出版於倫敦，第23頁） 列白色「無限網」，大膽挑戰當時充斥紐約的抽象表 現主義。這樣的無畏精神在呈現於此的拍品中依然 清楚可見，草間彌生用精細的筆觸創造一片動態的 網狀薄膜，企圖推翻如傑克遜·波洛克等美國巨星藝 術家， 其所提倡之陽剛的、爆發式的用色和技法。 草間彌生之所以能創造出此等真誠和縝密的主觀之 網，是基於畫家和畫布之間的直觀理解和關聯。

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Yayoi Kusama posing in front of an Infnity Net painting with the Manhattan skyline in the background, circa 1960 © Yayoi Kusama

草間彌生以曼哈頓天際線為背景與 《無限之網》作品合影，約1960年

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Pioneers of Modernism: A Selection from the Scheeres Collection 現代主義的先驅者：席爾斯收藏

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Richard Lin Zhang Xiaogang Fang Lijun Yue Minjun Zhan Wang Liu Jianhua Mai Trung Thu Le Pho Nguyen Gia Tri Pham Hau Sanyu

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Introduction 序言

Works presented in the current sale represent nearly four decades of my cherished practice as a collector of fine art by some of the world’s most respected contemporary artists from East and Southeast Asia. These pioneering artists have not only deeply inspired me with their bold vision, but their treasured works also speak to the wide-reaching resonance they have had on a global scale, regardless of viewers’ nationality or age.

Despite culturally-specific readings of these works, the groundbreaking Bloodlines series by Zhang Xiaogang (1958-) and the radical paintings of Fang Lijun (1963-), as but a few examples, crystallise the power of these works in helping us grasp the profound changes in the world today that affect how we see and interact in this increasingly globalised society.

Early Exposure and a Catalyst for an Asian Art Collection My first experience observing Asian Art within an academic setting dates back to the early 1980s when I started attending Chinese Art lectures at the University of Amsterdam. These courses were taught by my mentor, Professor Henri Albert van Oort, known as the sole historian to date to have served as a Professor of Chinese Art in the Netherlands. Though I was studying economics while establishing a business in real estate at the time, I wholeheartedly owe my sustained passion for Art History to Professor van Oort and his unforgettable enthusiasm for the arts of Asia.

As early as 1981, when I was still a student, I encountered a gorgeous ink painting attributed to the venerated Xu Beihong (1895–1953) up for auction in Amsterdam. While copies of the artist’s paintings circulated the market, the signature and year “1939” inscribed onto the work ultimately convinced me of its authenticity. Notwithstanding the lack of literature regarding Xu’s work, I had fortuitously discovered in my university’s library a monograph about the artist that detailed his travels to India in 1939. In addition to the date on the work, the massive teak frame from the 1930s sealed with “Army and Navy Store Calcutta” on the reverse, furthermore validated the work’s legitimacy. Xu Beihong’s monumental Memory of Luofu Mountain in the Spring not only became my very first acquisition by an Asian artist, but this experience also revealed to me the critical skills of careful observation and research that contribute to the vitality of a fine art collection.

Shifting Influences and the Rise of Asian Art in Europe Aside from the enormous collection of Dutch sinologist Robert Hans van Gulik (1910-1967), modern Chinese art was unfortunately hardly known in the part of the world where I grew up until the 1990s. Upon seeing the work of Richard Lin (1933-2011), who has exhibited in the Netherlands since 1962, however, I was absolutely mesmerised by the quiet balance of his Minimalist paintings. It fascinates me to consider the unexpected dialogue between Lin’s works embedded with Taoist philosophy and the visual language of other Western abstract artists in my collection.

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My interests shifted once again, after coming across the maestros of the distinguished École des Beaux Arts in Hanoi.

Among these Vietnamese artists, I was particularly drawn to the lauded Le Pho (1907-2001), whose work La Femme Du Mandarin (1931) I purchased in Paris in 1996. After acquiring this work, I was given the opportunity to meet Le Pho personally and thereupon visit him regularly in his Paris apartment where we would talk about his art and life, conversations that are fondly in my memories.

Nearing the Turn of the Century The creative explosions presented by the revelatory exhibitions of the mid-1990s Venice Biennales impressed onto me and fellow art-lovers in Europe an overwhelming sense of invigoration, novelty and possibility. Through Galerie Loft in Paris, Canvas Gallery in the Netherlands, and with the help of experts Jean-François Roudillon and Jean-Marc Decrop, I was fortunate to have acquired several early contemporary Chinese works just as it became more difficult for collectors to find available key works on the market as a result of the soaring popularity of these artists.

In 2006, I acquired Zhang Xiaogang’s Bloodlines: Big Family No. 9 the moment the opportunity arose as this iconic painting communicated to me everything that was to be said about the status of modern China in such totality that other works seemed comparatively superfluous. Alongside this pivotal acquisition, I also turned to other prominent contemporary Chinese painters, such as Fang Lijun, an artist whose paintings fulfilled a prominent place in my collection. In the 1990s, Fang Lijun garnered considerable recognition in the Netherlands especially for his having exhibited Series 2 No. 10 at the Museum Kunsthal Rotterdam (1993) and having completed a residency at the Rijksakademie of Amsterdam (1997). The swimmers depicted in his ambitious work on offer represent the first time Fang engaged with what would become his signature imagery.

Looking Ahead Though the works presented in this sale embody several of my strongest acquisitions, most likely of a lifetime, now is the time to make available to new owners several of my most prized works. Especially considering the unprecedented growth of new museums being built in the Asian region in recent years, I believe that creating this opportunity at this moment in time will significantly benefit ongoing efforts to better understand and preserve, as well as to shape and define the body of contemporary Asian art. In passing on this legacy, I present a special occasion for a new generation of collectors to procure seminal and representative works from key series by today’s most outstanding artists.

Phillips wishes to thank Isabel de Monchy for her interview with Nick Scheeres, Monaco, April 2018.

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呈現於此的拍品代表了我身為收藏家，為期四十年的 藝術蒐藏，集結了當今最受推崇的東亞和東南亞的 當代藝術家之作。這些先鋒藝術家的無畏精神和視野 不僅深深地啟發我，他們彌足珍貴的作品更與來自 全球、各不同年齡層的觀者產生共鳴。 早期接觸和開啟收藏亞洲藝術的緣由 我初次接觸到亞洲藝術是在1980年代早期的阿姆斯 特丹大學，當我開始選修亞洲藝術課程。課程講師是 亨利·亞伯特·凡奧特教授；我的良師益友，也是荷蘭 至今唯一一位教授中國藝術的歷史學家。當時主修經濟 學並已在房地產創業的我，對於藝術歷史卻感到無比 的熱誠，而我之所以能持續發展這份熱誠，全歸功於 凡奧特教授對於亞洲藝術刻骨銘心的鍾愛。 早在1981年，尚為學子的我在一場阿姆斯特丹 拍賣會中，邂逅了一幅源自一代宗匠徐悲鴻（1895– 1953年）的水墨畫。市面上流通的徐悲鴻贗品不少， 但是從畫家的題款和紀年（1939年） ，我判斷拍品 確實是真跡。紀載徐悲鴻作品的文獻寥寥無幾，我卻有 幸在大學圖書館找到一篇相關專題文章，文中提到 徐悲鴻在1939年旅行到印度。除了畫上的紀年以外， 巨大的柚木畫框上反向印著「加爾各答陸軍與海軍商 店」的字樣，進一步證實了作品的真實性。因此，徐悲鴻 的《春之記憶：羅浮山》不僅開啟了我的亞洲藝術收藏 之旅，更讓我了解到，敏銳的觀察力和細心的研究， 對於藝術收藏而言是何等重要。 不停轉換的影響力和亞洲藝術在歐洲的竄升 中國藝術在我生長的荷蘭，除了荷蘭漢學家高羅佩 （1910-1967年）的龐大收藏以外，很可惜地可說是鮮為 人知，直到1990年代才有改善。藝術家林壽宇（19332011年）從1962年便開始於荷蘭展出作品，當我初見他 的極簡主義作品，立即被畫面中靜謐的平衡感給迷住， 讓我著迷於探討林壽宇作品中，那深植於道家哲學和 西方抽象藝術語彙之間的機緣交流——而我的藏品也 正好包含這些西方抽象藝術家的作品。

爾後，我的收藏焦點再度轉移，這回是畢業於著名 的法國美術學院河內分院的越南藝術大師。其中， 黎譜（1907-2001年）尤其深得我心。1996年在巴黎， 我有幸將其於1931年創作的《中國女子》納入收藏後， 更有機會和黎譜見面，自此之後我時常到他在巴黎的 住所拜訪，談論他的藝術和生活，我倆相談甚歡的回憶 長存在我的記憶中。 世紀轉換 在1990年代中期，威尼斯雙年展舉辦了數場揭示 未來藝術取向的大展，爆發性的創造力讓來自歐洲的 藝術愛好者和我都無可抗拒那股振奮人心、充滿可能 性的新穎藝術能量。透過巴黎的Loft Galerie和紐約的 Canvas Gallery，以及Jean-François Roudillon和 Jean Marc Decrop等專家的協助，我有幸能在中國 當代藝術家的國際知名度驟增之前，搶先一步收藏到 最關鍵的作品。 在2006年，我毫不遲疑地將張曉剛的《血緣系列9號： 大家庭》納入收藏，因為這一件標誌性作品完整傳達了 現代中國的整體狀態，表達之完整以致其他作品不免 相形失色。在此次關鍵性的收藏後，我注意到其他著名 的中國當代藝術家，如方力鈞，後來也成為我藏品的 一部分。1990年代可說是方力鈞在荷蘭大舉拓展 知名度的年代；他先在1993年於荷蘭的鹿特丹當代美 術館展出《系列二（之十）》，又 在1997年，駐村於 荷蘭皇家視覺藝術學院。我所收藏的方力鈞的作品中 描繪了游泳的人，成為藝術家日後發展出其標誌性的 重要系列之源頭。 瞻望未來 雖說，呈現於此的拍品所代表的很可能是我今生最重 要的收藏，但現在確實是我將藏品分享給其他藏家的 時候了。特別是有鑑於亞洲近年來，以驚人的速度不斷 建設新的博物館，我相信在這個時刻創造這份機會， 對於深入了解和持續保存亞洲當代藝術，將有不可 言喻的貢獻，更能進而塑造且定義當代亞洲藝術。透過 藏品傳承，新世代的收藏家將有機會取得當今最傑出 的藝術家最具代表性的關鍵作品。 富藝斯鳴謝伊莎貝·爾德蒙奇協助與尼克·席爾斯之 訪問（摩納哥，2018年4月）

Nick Scheeres with Zhang Xiaogang in front of Bloodline: Big Family No. 9

尼克‧席爾斯與張曉剛攝於 《血緣系列9號：大家庭》前面

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Pioneers of Modernism: A Selection from The Scheeres Collection

10. Richard Lin

1933-2011

Three Four Five signed, titled and dated ‘RICHARD LIN “THREE FOUR FIVE” SEPTEMBER 1969’ on the reverse oil and aluminium on canvas 100.4 x 101.5 cm. (39 1/ 2 x 39 7/8 in.)

Executed in September 1969.

Provenance Marlborough Fine Art, London Private Collection, Belgium Artcurial, Paris, 5 December 2012, Lot 360 Acquired at the above sale by the present owner Literature From Taiwan to China: Pioneers of Abstraction (1955 – 1985), exh. cat., Le Musée d’Ixelles, Brussels, 2017, p. 219 (illustrated)

現代主義的先驅者：席爾斯收藏

林壽宇 《三四五》 油畫 鋁 畫布 1969年9月作 款識: RICHARD LIN 《THREE FOUR FIVE》 SEPTEMBER 1969 (畫背) 來源 倫敦, Marlborough Fine Art 畫廊 比利時私人收藏 巴黎, Artcurial, 2012年12月5日，拍品編號360 現藏者購自上述拍賣 出版 〈從台灣到中國: 抽象藝術先鋒 (1955-1985)〉，展覽圖錄， 伊克塞爾博物館，布魯塞爾，2017年，第219頁 (圖版)

HK$ 900,000-1,500,000 US$ 115,000-192,000

Born into a prominent Taiwanese family in central Taiwan, Richard Lin lef his hometown at the age of 16 to study in Hong Kong in 1949. In 1954, two years afer arriving in England, Lin was accepted at the Regent Street Polytechnic to study architecture and art. Afer completing his studies, Lin chose to remain in London, where he continued to develop his art for over fve decades; it was not until 2002 that Lin returned to Taiwan. His works are ofen categorised as minimalistic, however, he once remarked that “when I started to create the white series, the term ‘Minimalism’ was not yet coined.”

The Minimalists used tools such as repetition and equal distribution to focus on a pure and artistic development while minimising personal expression.

Ultimately, their aim was to lead art back to its fundamental form; by restricting the artist’s imposition of their consciousness upon viewers, Minimalists believed viewers might once again be able to take an active part in the construction of the work. The infuence of Minimalism goes far beyond the art of painting, sculpture, and installation; it has also made an irrevocable impact on architecture, design, music, and literature.

Founded in the the post-war era of the sixties, Minimalism began as a response to Abstract Expressionism, which had dominated the ffies’ art scene. The Minimalists believed practitioners of Abstract Expressionism were guilty of an excessive sentimentality and proposed to eradicate the artworks’ lyricism. Using simple forms and emphasising the expression of two-dimensional space, the new school of thought allowed viewers to perceive work in a direct and authentic manner.

By employing straightforward quadrilateral shapes, stripes, or cubes, Minimalists strove to express and compose their work using correct proportions and involving minimum incidents. Additionally, they avoided the use of concrete forms in an attempt to eliminate transferring their consciousness to the viewer.

Lin frst saw the works of British artist, Ben Nicholson (1894-1982) while visiting the Tate Modern upon his arrival in London in the beginning of 1952.

Nicholson’s abstract compositions had a lasting infuence on Lin. As a child, Lin learned the art of Chinese calligraphy, and between the ages of 6 and 12, he was placed under the tutelage of a family in Japan. Lin’s early immersion in Eastern culture cemented his way of thinking. During his time in England, he studied Western architecture and painting, and was infuenced by the major artistic movements in the sixties and seventies — such as De Stijl (of which Mondrian is the most well-known), Bauhaus, Cubism, and Constructivism.

Triggered by the American Abstract Expressionist movement, and with his idea of art informed by both East and West, Lin began to meditate on his own cultural background.

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‘White is the most ordinary of colours, it is also the most extraordinary; it is the absence of colour, it is also the sum of colours; it is the most majestic of colours, it is also the most common; it is the colours of tranquility, it is also the colour of grief.’ Richard Lin

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Lin began creating art in the late ffies from the ideals of an Abstract Expressionist. In 1958, he began layering blocks of black and white on canvas to compare and contrast darkness and light.

In the sixties, he simplifed the elements of his creation; he made use of more precise lines and gradually abstained from color until white was all that remained. This period marks the establishment of Lin’s artistic style and the birth of his most iconic series — the White Series. He continued to develop this series until he declared in 1984 that ‘painting is dead,’ then turned his focus to three dimensional arts. When observing Lin’s work, one sees undeniable elements of Minimalism. His work departs from representational forms, using only lines and squares to create a precise and rational composition; and his execution is so meticulous and careful that brushstrokes are undetectable. However, Lin’s work is readily distinguishable from other minimalist works. One distinctive characteristic of Lin’s art is his multitudinous use of whites — rich or diluted, heavy or light — which he applies in lines of varying length and width. He then pairs aluminum plates and the occasional, yet ingenious, strokes of red, yellow, gray, and black.

Lin does not necessarily abide by the standards of Minimalism — he is not regulated by the purely logical use of geometrical shapes, nor is he insistent upon removing all emotion or denouncing lyricism. In Lin’s paintings, we see a greater energy; we feel presence within absence, and we perceive a fuid sensibility that fows beneath the surface of the rational composition.

In 1970, during one of Lin’s solo exhibitions in Belgium, the artist and the gallery’s owner, Rene Withofs, had a discussion about the work. The rigorous and succinct paintings, Lin stated, were deeply rooted in Eastern culture and invoked the fuidity and vigour so valued in the art of calligraphy. When Withofs interpreted Lin’s work as an embodiment of Zen, Lin clarifed that it was instead Taoist. Further, Lin ofered that instead of categorising his work as Minimalist, it would be more analogous to the work of Northern Song Dynasty artist, Mi Fu (1051-1107). Having received his training in Europe, Lin’s work takes on the appearance of Western art, but its true meaning and fundamental aesthetics are entirely Eastern.

Despite the work’s external, minimalist qualities, Lin stressed that his practice was more sympathetic with Mi Fu. Lin maintained that this Song Dynasty master’s abstract landscapes, created some nine centuries ago, resonated more deeply with his work in their illustration of the diference between seeing with one’s eyes and perceiving with one’s spirituality.

In a catalogue for Lin’s 2010 exhibition at the Kaohsiung Museum of Fine Arts, the artist wrote the following words to refect on his half-century-long artistic career: ‘What is before us? There are not enough words to describe and no words to do so aptly. Anything can be something; there is no diference between anything, and anything is everything.’ These words perfectly elucidated the fundamental meaning of Lin’s art. Chinese painting difers from Western painting in that it does not concentrate on the techniques of focal points and perspective; instead, through the utilisation of ink’s wetness and dryness — its richness and diluteness — artists are able to create works that transcend time and space.

Chinese aesthetics heavily emphasize a spirit and concept that cannot be seen, but only perceived. In Lin’s art, we perceive a unique artistic language, born from an amalgamation of Eastern and Western culture.

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「白色是最平凡的顏色，也是最偉大的顏色； 是最無的顏色，也是最有的顏色；是最崇高的顏色， 也是最通俗的顏色；是最平靜的顏色，也是最哀傷 的顏色…。」林壽宇 出身於台灣中部望族，1949年16歲時林壽宇離鄉 負笈香港求學，輾轉於1952年抵達英國，1954年 進入倫敦綜合工藝學校接受建築及美術的教育訓練， 其後並留在當地持續發展創作，直到2002年遷居 回到台灣，整整超過五十寒暑的異鄉生活。林壽宇的 創作常被歸納為極簡主義，但林壽宇曾經表示； 在他開始創作白色系列之時並未聽過這個詞彙。 極簡主義是二戰後於六十年代興起的藝術形式，起因 是為了對抗五十年代抽象表現主義，極簡主義者 認為抽象表現主義過於濫情，主張去除作品任何視覺 效果以外的聯想，去除抒情性，以簡單的形式強調 二維空間感，讓觀者對作品產生直接、單純的觀感。 極簡藝術採用簡單的四邊形、條紋或立方塊等， 以正確的比例及最低限度的事件去表現及組成並 詮釋創作。消隱具體形像傳達意識的可能性，以重複 或均等分布的手法，降低藝術家自身的情感表現、 而朝向單純、邏輯的發展，為藝術的探討重新訂定 方向。 極簡藝術希望回歸藝術最基本的形式，意圖消弭創作 者藉作品對觀者意識上的壓迫，極少化作品作為文本 或符號型式出現的暴力感，開放作品自身在藝術概念 上的意像空間，讓觀者自行參與對作品的建構。 極簡主義的影響層面不止於視覺藝術的繪畫、雕塑及 裝置表現上，對建築、設計、音樂及文學界也受到 極大衝擊。

林壽宇曾於1970年時在比利時的一場個展中， 與畫廊主雷內·威舍斯對談，自述其創作，作品中 嚴謹、簡潔的結構表現，和他東方文化根基是 相連結的，並提到書法中所重視的氣與勢，在其作品 中也可以透過這些幾何圖案中感受。身為西方人 的畫廊主人，以「禪」來理解其創作，但林壽宇則 表示，對他影響的是「道家」，並認為用極簡主義 來規範他的畫，不如以中國宋代的米芾(1051– 1107，北宋畫家)來比擬會更貼切。 接受西方藝術訓練，其創作的外在型式為西方的 語彙，但作品內涵及所傳達的；更深層次的美感， 則是不折不扣的東方文化。林壽宇認為，與其說他的 畫是極簡主義，不冋說他的藝術是連結到900年前， 米芾抽象山水所要表達的意境，即是眼見與靈見之 間的差異。 在他2010年於高雄市立美術館的五十年創作展中， 我們可以看到其親筆在展覽圖冊上的文字，開宗 明義的為自己五十年的藝術生涯寫下：「我們的前是 什麼？書不盡言；言不畫意。什麼就是什麼，一切 無分別，一即一切。」即闡明其藝術的底蘊。中國 藝術尤其在繪畫方面，沒有西方藝術的焦點透視法， 慣常以單色墨的濃淡乾濕，創造出跳脫時間與空間限 制的作品。審美尤注重眼睛所看不到的「氣韻」 和「意境」。在林壽宇的藝術中，我們可以感受到 其融合中、西方文化，而發展出來；屬於其獨特的 藝術語言。

林壽宇1952年初抵倫敦時參觀泰特畫廊，第一次 看到班·尼克森(1894 – 1982, 英國藝術家) 其結構 抽象對他影響至深。他年幼時受中國書法教育，並在 6-12歲時寄養於日本的經驗，奠定了東方文化及 思維模式。於英國學習建築與繪畫，受西方藝教育， 並身處於六十、七十年代的藝術風潮。荷蘭風格派 運動 (其中最有名的藝術家為蒙得里安)、包浩斯、 立體主義、結構主義等，均產生影響，建構了其藝術 上的認知，而抽象表現主義則引發林壽宇對自身文化 及背景的深切思考。 林壽宇從五十年代後期開始從事藝術創作時， 以抽象表現主義風格為起點，1958年起，他開始 以黑、白色調的大色塊堆疊於畫布上進行深淺對比 的排列。六十年代起，其創作元素越來越簡化，線條 越來越明確，顏色也漸漸在其畫布上退去，只留下 白色，發展出代表個人風格的「白色系列」。此系列 一直發展到1984年，他宣佈： 「繪畫已死。 」轉而開始 創作立體作品為止。 我們觀察林壽宇的作品時，的確在畫作及表現手法上 看到極簡主義的藝術元素。他的作品抽離了具像， 運用線條、方塊，以準確而理性的方式經營畫面， 甚至細緻的執行到連同筆刷的觸感都大部分隱去。 但與其他極簡藝術作品比較，林壽宇的畫作似乎 又具差異性。視覺上直接的辨別，便是白，大量濃、 淡、輕、重各種不同的白，以不同長短粗細的線條、 鋁板，偶而在畫面上加上紅、黃、灰、黑的線條 畫龍點晴。不像極簡藝術極至主張的邏輯性數學 幾何，或情感與抒情的抽離，在林壽宇的畫作中， 我們看到了更大的能量，和「無」中的「有」 ，與隱藏 在理性畫面中的；流動的感性。

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Mi Fu Tower of Rising Clouds Song Dynasty, mid-13th to mid-14th century Collection of the Freer Gallery of Art, Washington

米芾 《雲起樓圖》宋朝 13世紀中至14世紀中作 華盛頓，弗里爾畫廊收藏

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Pioneers of Modernism: A Selection from The Scheeres Collection

11. Richard Lin

1933-2011

January signed, titled and dated ‘“JANUARY 1970” 1970 RICHARD LIN’ on the reverse oil and aluminium on canvas 62 x 62 cm. (24 3/8 x 24 3/8 in.)

Executed in 1970.

Provenance Marlborough Fine Art, London James E. Clark Collection, Dallas Clark Gallery, Lincoln John Boyer Collection, Lincoln Acquired from the above by the present owner Literature From Taiwan to China: Pioneers of Abstraction (1955 – 1985), exh. cat., Le Musée d’Ixelles, Brussels, 2017, p. 223 (illustrated)

現代主義的先驅者：席爾斯收藏

林壽宇 《一月》 油畫 鋁 畫布 1970年作 款識:《JANUARY 1970》1970 RICHARD LIN (畫背) 來源 倫敦, Marlborough Fine Art 畫廊 達拉斯, James E. Clark 收藏 林肯, Clark 畫廊 林肯, John Boyer 收藏 現藏者購自上述來源 出版 〈從台灣到中國: 抽象藝術先鋒 (1955-1985)〉 ，展覽圖錄， 伊克塞爾博物館，布魯塞爾，2017年，第223頁 (圖版)

HK$ 450,000-650,000 US$ 57,700-83,300

Ben Nicholson 1934 (relief), 1934 Collection of the Tate Modern, London © Angela Verren Taunt 2018 / All rights reserved / ARS, NY / DACS, London

班·尼克森 《1934(浮雕畫)》 1934年作 倫敦，泰特現代藝術館收藏

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‘I believe that this piece is very representative of my work. I still remember painting it and recall each detail vividly along the way…I remember feeling a particular connection to this piece.’

Zhang Xiaogang in Conversation with Phillips, April 2018

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Pioneers of Modernism: A Selection from The Scheeres Collection

*O♦ 12. Zhang Xiaogang

b. 1958

Bloodline: Big Family No.9 signed and dated ‘Zhang Xiaogang [in Chinese] 1996 Zhang Xiaogang [in Pinyin]’ lower right oil on canvas 148.7 x 189.2 cm. (58 1/ 2 x 74 1/ 2 in.)

Painted in 1996.

Provenance Serieuze Zaken Gallery, Amsterdam Private Collection, The Netherlands Acquired from the above by the present owner Exhibited Beijing, Gallery of the Central Academy of Fine Arts, Zhang Xiaogang: Bloodline: The Big Family 1997, 13 - 25 December 1997, n.p. (illustrated) Finland, Sara Hilden Art Museum, Zhang Xiaogang, 22 September 2007 - 13 January 2008, p. 34 (illustrated); further illustrated on exhibition invitation The Netherlands, Groninger Museum, Go China! Writing on the Wall: Chinese New Realism and Avant-Garde in the Eighties and Nineties, 23 March - 26 October 2008, pp. 114-115 (illustrated) Literature Hanart TZ Gallery, Umbilical Cord of History: Paintings

by Zhang Xiaogang, Hong Kong, 2004, p. 96 (illustrated) Gary G. Xu and Jonathan Fineberg, Zhang Xiaogang: Disquieting Memories, London, 2015, no. 66, p. 102 (illustrated) Rosa Maria Falvo and Bruce Gordon Doar eds., BLOODLINES: The Zhang Xiaogang Story, Italy, 2016, p. 342 (illustrated)

現代主義的先驅者：席爾斯收藏

張曉剛 《血緣系列9號- 大家庭》 油畫 畫布 1996 年作 款識：張曉剛 1996 Zhang Xiaogang (右下) 來源 阿姆斯特丹, Serieuze Zaken 畫廊 荷蘭私人收藏 現藏者購自上述來源 展覽 北京中央美院畫廊， 〈血緣系列- 大家庭〉 ， 1997年12月13 - 25日，無頁數 (圖版) 芬蘭，Sara Hilden 藝術博物館， 〈張曉剛〉 ， 2007年9月22日 - 2008年1月13日，第34頁 (圖版); 及印於邀請卡 荷蘭，格羅寧格博物館， 〈加油中國！寫在牆上： 八十年代及九十年代的中國新現實主義與前衛藝術〉 ， 2008年3月23日 - 10月26日，第114-115頁 (圖版) 出版 漢雅軒， 〈時代的臍帶：張曉剛繪畫〉，香港，2004年， 第96頁（圖版） 徐鋼與Jonathan Fineberg， 〈張曉剛: 不安的回憶〉 ， 倫敦，2015年，圖版66，第102頁 Rosa Maria Falvo 與 Bruce Gordon Doar 編， 〈血緣系列: 張曉剛的故事〉，意大利，2016年，第342頁（圖版）

Estimate Upon Request 估價待詢

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Presenting an extremely rare rendition by highly sought-afer contemporary Chinese artist Zhang Xiaogang, Bloodline: Big Family No. 9 ofers a master work from his most compelling body of works- the Bloodline (1993 – 1999) series. The iconic threemember family portrait has been described as being modelled afer a photograph of the artist’s brother as an infant and his parents. Existing between the collective vision of socialist China and his own dissonant voice, Zhang created the very frst ‘family’ painting as a mode to negotiate the conficts of group versus individual identity in early 1990s China. As a result of this series of meticulously rendered solitary fgures and family clusters inspired by the artist’s Cultural Revolution-era family photographs, Zhang’s reputation grew signifcantly, especially afer the artist was invited to exhibit several paintings from this seminal body of works in the world’s most important venues including the 1994 São Paulo Biennial and the 1995 Venice Biennale. Since then, Zhang’s esteem and the particular distinction of Bloodline has only grown to garner increasing critical attention and international acclaim. (K. Markley, ‘Zhang Xiaogang Artist Index and the Bloodline Series,’ Artnet News, February 26, 2012) Fresh to the market, Bloodline: Big Family No. 9 exemplifes a mature work by an artist accredited as one of the leading fgures of contemporary Chinese art.

Imbuing an intricate psychological dimension to the present lot, all three members of Bloodline: Big Family No. 9 stare solemnly straight-ahead towards the viewer. Around the right sides of the woman’s mouth, baby’s forehead and man’s eye, blocks or patches of light furthermore resemble birth marks, aged flm, symbols of social stigma, or, alternatively, a “lingering sense of the sitter’s self-assertion.” (‘Zhang Xiaogang,’ Saatchi Gallery Artist Profle) Positioned around a baby based directly on the artist’s brother, illustrated in a bright red colour, the young man and woman—drawn from Zhang’s mother and father—wear modest cotton jackets and conservative haircuts, customs indexical to the Cultural Revolution era. While red is auspicious in Chinese culture, Zhang’s proclivity towards this hue also references the ubiquitous Mao-era slogan, “the Red, Bright and Illuminous” (紅、光、亮), a statement that prescribed the homogenised socialist realist style characterised by the “sleek surface” and fltered, “theatrical illumination” mandated of all art created during that time. (Gao M.L. quoted in 1995 in J. Chi Zhang, ‘The Meaning of Style: Postmodernism, Demystifcation, and Dissonance in Post-Tiananmen Chinese Avant-Garde Art,’ in R. Eyerman and L. McCormick, Myth, Meaning, And Performance: Toward A New Cultural Sociology Of The Arts, New York: Routledge, 2016) Infused from birth with the revolutionary colour of the red fag to furthermore signal the ‘birth’ of a new political regime, the red baby also appeared in Zhang’s earlier momentous painting exhibited at the 1992 Guangzhou Biennial, Genesis – Birth of a Republic No.1 (1992). The central baby fgure moreover remind critics of China’s controversial One-Child Policy introduced in 1978. Depicted with noticeably mature facial features in a realist style, both red babies convey peculiarly sombre and detached expressions indicating a preternaturally self-conscious awareness of being born into an era of political turmoil rife with tension and uncertainty. This is perhaps all the more signifcant considering that Zhang based the present work on a photograph taken on the occasion of his elder brother’s 100th Day celebration, injecting the work with a palpable sense of trepidation for the future.

Invoking the title of the series, barely perceptible red threads weave around the baby- connecting him to his parents and linking the father fgure to a space beyond the limitations of the canvas.

Throughout the Bloodline series, Zhang ingeniously references Mexican painter Frida Kahlo’s use of red lines such as in the shared veins of The Two Fridas (1939).

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Though Zhang’s ‘bloodlines’ evoke the universality of memories of the Cultural Revolution, these red threads also recall how during that period, children were urged to draw clear lines between themselves and parents accused of transgression. Thus, in comparison to Kahlo’s explicitly exposed veins, Zhang’s ‘bloodlines’ are more elusive in meaning, denoting both the familial relations between fgures and the troubling “chains that restrain them in the darkness.” (H. Yukihiro, Avant-garde China: Twenty Years Of Chinese Contemporary Art, Osaka: National Museum of Art, 2008) Though the image springs from a personal narrative, Bloodline: Big Family No. 9 can be interpreted as illustrative of a nation’s memory.

“The way I understand the big family is always associated with the danwei [the state-sanctioned work unit] and my own family… being a member of a big family is an identity deeply rooted in the Chinese blood…” explains Zhang; “the phrase ‘big family’ stemmed from a Maoist slogan, ‘We all live in a big revolutionary family.’ This slogan emphasises collectivity and conformity, not individuality.” (Zhang Xiaogang quoted in J. Fineberg and G. G. Xu, Zhang Xiaogang: Disquieting Memories, London: Phaidon, 2015, p. 83).

Painted primarily in black and white, Zhang’s Bloodline series borrows the language of photography, a medium that was considered precious due to its costliness at the time, to represent individual histories within the strict confnes of formula. In Autumn of 1992, Zhang spent three months in Germany experiencing in person for the frst time the modern western art he had studied profusely as a student through reproductions in books. Zhang’s encounter with Gerhard Richter’s exploitation of photography in painting as a means of undermining the photograph’s assumed truth value irrevocably altered Zhang’s relationship to painting. According to art critic Huang Zhuan, Richter’s use of photography prompted Zhang to consider “how to create a psychological reality on canvas… that is simultaneously phantasmagorical and substantial, complete with feelings of time and distance.” (Huang Zhuan quoted in J. Fineberg and G. G. Xu, Zhang Xiaogang: Disquieting Memories, London: Phaidon, 2015, p. 75) The blemish-free, impermeable efect of Zhang’s fgures lacking in any visible brushstrokes illustrate the artist’s interest in re-touched studio photographs that standardise and imbue ideological culture onto private family matters. (Zhang Xiaogang, quoted in Huang Z., ‘Experience, Identity and Judgement, Interview with Zhang Xiaogang’, Gallery, no.5-6, 1996. Cited in J. Chang T.Z., ed., Umbilical Cord of History: Paintings by Zhang Xiaogang, Hong Kong: Hanart TZ Gallery, 2004, p. 46).

Reading the Bloodlines series through the lens of the psychological trauma resulting from the Cultural Revolution does not comprehensively elucidate the emotional power of Bloodline: Big Family No. 9. Though Zhang’s repeated mechanisms in Bloodlines, including the stif poses and colourless settings serve to group Zhang’s subjects as part of a collective referring to the lost concept of individuality, scholars have also pointed out that the issues of “dissonance between ofcial and the remembered past, between individually perceived and publicly acknowledged truth, have global resonances too.”(J. Fineberg and G. G. Xu, Zhang Xiaogang: Disquieting Memories, London: Phaidon, 2015, p. 12) The blank expressions, exaggerated by the similar facial features of all members of the present lot, invite viewers to fll the void within the image with their subjective stories, experiences and refection.

Zhang has written that these fgures represent “souls struggling one by one under the forces of public standardisation,” with “faces bearing emotions smooth as water but full of internal tension,” a description not necessarily having only to do with the cultural specifcity of China but could also reveal the global issues afecting change in the world today. ( Zhang Xiaogang quoted in M. O’Dea, ‘Artist Dossier: Zhang Xiaogang,’ Art + Auction 34, no. 7, March 2011, pp.103-106).

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Above: Zhang Xiaogang Family Portrait, 1993 Collection of the Fukuoka Asian Art Museum, Japan 上: 張曉剛 《全家福》1993年作 日本，福岡亞洲美術館收藏 Courtesy of the artist

Below: Zhang Xiaogang’s elder brother with their parents, on the occasion of his 100th Day Celebration 下 : 張曉剛哥哥與父母，攝於其兄百日紀念

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Zhang Xiaogang Genesis Number One, The Birth of a Republic, 1991 Private Collection 張曉剛 《創世篇1號：一個共和國的誕生》 1991年作 私人收藏

Zhang Xiaogang Red Baby, 1993 Collection of Johnson Tsong-zung Chang 張曉剛 《紅嬰》1993年作 張頌仁收藏

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《血緣系列9號－大家庭》乃深受歡迎的現代中國 藝術家張曉剛之珍罕作品，亦是引人入勝的《血緣》 （1993-1999）系列之中最具代表性作品。一家三口 的畫像別具意味，據說乃參照畫家的親哥哥在嬰兒 時期與雙親的合照畫成。處身於社會集體主義之下 的中國與渺小個人的異見之間，於1990年代初期 創作出首幅「家庭」畫作，望藉此調和集體與 個人之間的衝突。畫家以文革時期的家庭照為 藍本，繪製出一系列細緻的個人與家庭畫像，因而 聲名大噪；當中數幅作品分別於1994年及1995年 參加聖保羅雙年展及威尼斯雙年展，此後更加 引人矚目。自此，對張曉剛的讚譽以及《血緣》 系列的稱道，愈發吸引評論家注視及國際讚賞。 (K. Markley,《藝術家索引- 》,Artnet News, February 26, 2012)， 《血緣系列9號－大家庭》被譽 為是現代中國藝術首屈一指的巔峰之作。 畫作充滿複雜精細的心理維度。圖中三人均以 莊嚴目光直視前方的觀畫人；位於女人嘴角右方、 嬰兒額頭及男人眼睛的淺色斑塊既像胎記，又似 舊底片，可以是社會污名的標誌，或是「三人自我 宣言的殘留感覺。」「 ( 張曉剛」薩奇畫廊藝術家 檔案)嬰兒以奪目色彩描繪，是以畫家兄長作為 藍本，而圍坐嬰兒兩旁的年輕男女則是畫家的 父母，他們的樸素棉襖和保守髮型均是文革時期的 典型扮相。在中國文化裡，紅色代表吉祥，但同 時，這種張曉剛喜用的色彩亦帶出毛澤東時代常見 的口號「紅、光、亮」－口號代表社會主義、現實 主義風格畫作的單一標準，當時所有作品均須以 「井然有序的呈現」以及經過過瀘的「劇場光線」 為特色。 紅色的嬰兒自出生就帶有革命紅旗的色彩，進一步 標誌新政體的「誕生」。他曾在張曉剛重要作品、 曾參加1992年廣州雙年展的《創世篇一號－一個 共和國的誕生》 （1992年作）中出現。身處畫作中央 的嬰兒也使畫評人聯想到自1978年推出後爭議 不絕的一胎政策。兩幅畫作中的紅色嬰兒均以現實 風格描繪，面部特徵成熟，表達出特殊的沉重和 抽離感，暗喻異於尋常的自我意識。他們似乎明白 自己生於政治動盪的時代，將要面對壓力與無常 變幻。更重要的是，張曉剛以兄長出生百日所拍下 的照片作為藍本，或許正是要為畫作注入明顯的 不安感。 畫中，一些隱約的紅線圍繞在嬰兒的身旁， 連繫 他與父母，也連接父親與畫布以外的空間，與系列 標題《血緣》互相呼安。而在整個《血緣》系列中， 張曉剛亦巧妙地引用墨西哥畫家芙烈達·卡蘿 以紅線表達的模式，與她的作品《二個芙烈達》 (1939年作)一脈相承。雖然張曉剛的「血緣」喚起 大眾對文革的回憶，但這些紅線也使人聯想起在 那個年代被迫與被指犯下過失的雙親劃清界限 的孩子。

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因此，相比起卡蘿的清晰脈絡，張曉剛的「血緣」來 得更隱晦，既代表畫中人的家庭關係，亦標誌著令 人不安的「將他們束縛於黑暗的枷鎖。」(H. Yukihiro, 前衛中國: 中國當代藝術二十年, 大阪國家美術館, 2008)雖然《血緣系列9號－大家庭》源自個人經歷， 但它也可被視為民族回憶的表述。張曉剛曾解釋道： 「我對大家庭的理解，一直與單位（國家批准的 工作機構）和自己的家庭分不開……作為大家庭 的一員，是滲透了中國人血液的一種身份……。 『大家庭』這句話來自毛澤東主義的口號： 『我們 是革命大家庭。』口號強調集體和從眾，卻沒有 個體。」( J. Fineberg and G. G. Xu《張曉剛: 不安的記憶》，倫敦: Phaidon, 2015, p. 83) 在文革時期，由於價格昂貴，攝影是一種特別受到 珍視的媒介。張曉剛的《血緣》系列借用攝影語言， 以黑白為主調，在公式化強硬框架之內帶出個人 故事。1992年秋天，張曉剛曾於德國居住三個月， 首次親眼看到學生時期在書中看過的現代西方藝術 作品。在看到格哈德·李希特如何將攝影運用於 畫作、顛覆眾人對攝影真確性的假設後，張曉剛對 繪畫的看法徹底改變。據藝評家黃專所說，李希特對 攝影的運用，促使張曉剛思考「如何在畫布上創造 一個……變幻莫測但又實在、具有時間和距離感 的心理現實。」畫作中的人物毫無瑕疵，難以參透， 不帶任何可見的筆觸痕跡，呈現了畫家對經修整的 攝影照片的看法：這些照片將私人家庭生活變得 單一刻板，並注入意識形態文化。( Huang Z., 《經驗，認同與判斷--訪談張曉剛》, no.5-6, 1996，錄於漢雅軒， 〈時代的臍帶：張曉剛繪畫〉， 香港，2004年，第46頁) 透過文革造成心理創傷的視角細看《血緣》系列， 並未能全面闡明《血緣系列9號－大家庭》所帶來 的心靈震撼。雖然張曉剛在系列中重複運用相同 手法－包括僵硬姿勢及欠缺色彩的背景等，來表達 失去個體的概念，但有學者指出，畫作亦反映了 「官方歷史與記憶之間的不協調，個人感知與公眾 認知的真相之間的不協調。這在世界各地均可造成迴 響。」(J. Fineberg與徐鋼， 《張曉剛: 不安的記憶》， 倫敦，2015年，第12頁)空洞的表情經作品中三人 相似的面部特徵進一步放大，邀請觀畫人以個人 故事、經歷與反思填補其中的空白。張曉剛曾寫道， 這些人物代表了 「面對大眾單一標準的壓力，一個個 靈魂的掙扎，」在「平靜如水的表情背後，是充滿 張力的感受」－這不僅是中國文化特色之下的人物， 亦是當今世界變化的全球議題。(M. O’ Dea, 《藝術家檔案:張曉剛》Art + Auction 34, no. 7, 2011年3月, 第103-106頁)

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Pioneers of Modernism: A Selection from The Scheeres Collection

13. Fang Lijun

b. 1963

Series 2 No.10 signed and dated ‘Fang Lijun [in Chinese] 1992-1993’ on the reverse oil on canvas 70.1 x 116.4 cm. (27 5/8 x 45 7/8 in.)

Painted in 1992-1993.

Provenance Serieuze Zaken Gallery, Amsterdam Private Collection, The Netherlands Acquired from the above by the present owner Exhibited Berlin, Haus der Kulturen der Welt; Rotterdam, Kunsthal; Oxford, The Museum of Modern Art (presently Modern Art Oxford); Odense, Kunsthallen Brandts Klædefabrik; Roemer-und PelizaeusMuseum Hildesheim, China Avant-Garde: Counter-Currents in Art and Culture, 30 January 1993 – 27 November 1994 Literature Jochen Noth, Kai Reschke and Wolfger Poehlmann eds., China Avant-Garde: Counter-Currents in Art and Culture, Berlin, 1994, p. 323 Carol Lu, Living Like a Wild Dog: 1963-2008 Archival Exhibition of Fang Lijun, Taipei, 2009, p. 218 (illustrated) Endlessness of Life: 25 Years Retrospect of Fang Lijun, exh. cat., Taipei, 2009, p. 218 (illustrated) Peng Lu and Chun Liu, Fang Lijun: Works Catalogue, Beijing, 2010, p. 239 (illustrated)

現代主義的先驅者：席爾斯收藏

方力鈞 《系列二 (之十)》 油畫 畫布 1992-1993年作 款識: 方力鈞 1992-1993 (畫背) 來源 阿姆斯特丹, Serieuze Zaken 畫廊 荷蘭私人收藏 現藏者購自上述來源 展覽 柏林，Haus der Kulturen der Welt; 鹿特丹，Kunsthal; 牛津， 現代美術館; 歐登塞，Kunsthallen Brandts Klædefabrik; 希爾德斯海姆, Roemer-und Pelizaeus-Museum Hildesheim 〈中國前衛藝術展〉，1993年1月30日- 1994年11月27日 出版 岳恆，Kai Reschke 與 Wolfger Poehlmann 編， 〈中國前衛藝術展〉，柏林，1994年，323頁 盧迎華著， 〈像野狗一樣生活：1963-2008方力鈞文獻檔案展〉， 台北，2009年，218頁（圖版） 〈生命之渺：方力鈞創作25年展〉 ，展覽圖錄，台北，2009年， 218頁（圖版） 呂澎、劉淳著， 〈方力鈞：編年紀事〉 ，北京，2010年， 239頁（圖版）

HK$ 6,000,000-9,000,000 US$ 769,000-1,150,000

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Fang Lijun Series 2 No. 2, 1991-1992 Collection of the Museum Ludwig Köln, Germany 方力鈞 《系列二 (之二)》1991-1992年作 德國，科隆路德維希博物館收藏

Known for his depictions of rebellious bald-headed fgures embodying the unique psychological state of a rising generation in modern China, Fang Lijun created Series 2 No. 10 in 1992, just as the artist was becoming critically renowned in the international art world as a leading fgure of China’s new modern art movement.

Responding to the trauma resulting from his having grown up during the Cultural Revolution, Fang creates works that engage with a profound sense of disenchantment and disillusionment afecting an entire generation especially following the afermath of the events of Tiananmen Square in 1989. In the early 1990s, Fang was named by Li Xianting, an art critic and inventor of the term “Cynical Realism,” as a key fgure of the movement. (J. Supangkat, ‘China Avant-Garde and Contemporary Art,’ in Fang L.J. and A. Ochs, Fang Lijun: Life Is Now [in conjunction with Fang Lijun’s Solo Exhibition at the National Gallery, Jakarta, 10 May - 18 May 2006]) Though the style of Cynical Realism has been characterised by a “mix of ennui and rogue humour,” Karen Smith accentuates that what sets Fang’s paintings apart, is his work being rooted in the human condition rather than in politics. (Ben Davidson quoted

by K. MacMillan, ‘Fang Lijun: the Laboratory of Art and Ideas at Belmar’ Artforum International, November 2007; K. Smith and M. Brouwer, Nine Lives: The Birth Of Avant-Garde Art In New China, 2010) His works created in 1992 in particular attracted global attention earning him invitations to some of the most prestigious exhibitions including the 1993 and 1999 Venice Biennale and the 1994 São Paulo Biennial. Coming from a series of only eleven works, paintings from Series 2 have been collected by such key institutions as the Museum Ludwig in Cologne, Germany, and Fukuoka Art Museum, as well as by major private collectors.

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A work never before seen on the market, Series 2 No. 10 is from a series that very infrequently becomes available to potential collectors. Augmenting the rarity and singularity of this work, the present lot provides the only circumstance in which a painting from the much-admired 1992 series highlights the artist’s female acquaintance in the foreground as a keystone fgure. Ofering a plethora of visual information not present in other works from the series, this dynamic painting showcases the woman as a central fgure with her palms pressed together beside her face showing a slightly provocative expression emphasised by her subtle smile and knowing eyes. With her long neck and elegantly reserved composure, she is fanked by two robust men, one laughing and the other smiling demurely, amidst a backdrop of rippling blue water dotted with three bald fgures emerging from the ocean gasping for air.

Modelled afer the artist himself, imagery of the bald-headed fgure whether yawning, grinning, or staring vacantly, have echoed throughout Fang’s works since 1989 as a symbol of popi, a term borrowed from a Chinese folk adage signifying a rogue or punk character. Critic Li Xianting examines Fang’s recurring shaved head motif in relation to Popi as “a solution towards internalised self-salvation,” a sentiment found throughout Chinese history especially during times of political restriction. (Li X.T., ‘The “Shaved Head POPI” Created by Fang Lijun’, in R. Malasch, P. Hovdenakk, and Li X.T., Fang Lijun, Amsterdam: Stedelijk Museum Amsterdam, 1998) Swaggering towards the viewer, a bald protagonist famboyantly faunts a brightly coloured and patterned swimsuit, fashion not depicted in other 1992 works, instilling not only a stark contrast to the conservative Cultural Revolution era uniforms of the past but also to the subdued blue or grey shirts donned by other characters in the series. Exclaiming cheerfully or beaming inanely, Fang’s bald-headed characters exemplify Fang’s translation of popi’s rebellious mockery into self-mockery, an emblem of personal escape from a system of meaning. The bald people swimming in Series 2 No. 10 furthermore foreshadow Fang’s acclaimed series of woodcuts created beginning in 1995 that re-investigate the imagery of the swimmer coming up for air.

Though the image of the bald man lost on the seashore and avoiding eye contact with the water is a major theme in the 1992 paintings, the present lot is unlike many of its counterparts in that it reveals several fgures who actually take the daring leap into the water, an audacious move that also prefgures Fang’s following blue Swimming series. Water frst appears in Fang Lijun’s paintings as far back as 1984. However, Fang does not seriously engage with the topic until the 1990s during which the artist looked to the indeterminacy and malleability of the medium as a central theme in his painting. As an artist concerned with portraying humans and humanity in his work, the theme of water becomes a critical lens through which Fang views the boundlessness of human nature. “Water is very close to my understanding of human nature,” Fang asserts, it is “liquid, not rule-bound… uncertain, like human feelings. You can’t live without water… but too much water will drown you.” In the early 1990s, Fang himself was ofen seen swimming and experimenting with an underwater camera at the pool in the Friendship Hotel, where he lived for a period of time with his wife and where many other artists convened. In contrast to the confrontational stance of the work created by the ’85 New Wave artists and the general idealism of the 1980s, the oblivious bald-headed fgures illustrated in the present lot profoundly describe the bludgeoning sense of helplessness afecting the state of mind of Fang’s generation in China.

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The fgures swimming in the background of Series 2 No. 10 reference both the artist’s personal interests in the leisure activity and the widely disseminated image of Mao Zedong who on July 16, 1966 took a vigorous and well-reported swim in the Yangtze River near the Wuhan bridge. This highly recognisable image of the Chairman swimming proliferated a statement implying Mao’s fearlessness and robust health—a counterattack against his critics—that also served as a call to China’s younger generation to dive into a political struggle to overthrow Mao’s opponents. (R. H. Solomon, ‘The Chairman’s Historic Swim,’ Time, September 27, 1999) What has consequently resulted from this call to action according to Fang, however, is a spiritually absent world denoted by the tsunami-like background of the present work, where the repetition of bald-headed fgures in both the foreground and backdrop depict the stripping of individual identities, Fang’s visual metaphor for the Chinese people.

Series 2 No. 10 illuminates what is categorised as the artist’s “second period” of works (1990-1992), characterised by Fang’s preoccupation with juxtaposing imagery that circulated in China during the 1980s and became recognisable on a nationwide scale through the controversial River Elegy (Heshang). Imagery within the television series broadcasted the cliché of a bifurcated vision of the old China versus the modern West. In contrast to Fang’s early paintings in which fgures never leave the safety of the land or the protection of the Great Wall, Series 2 No. 10 depicts a shif towards a greater sense of openness and experimentation with several fgures appearing before a commanding expanse of blue sea. Although Series 2 No. 10 expresses the sense of freedom permeating the works from this period, Fang’s ambiguous narrative and enclosed composition blocking any view of the horizon ultimately capture the anxious mood of a group of people who have been forced by Deng Xiaoping’s Open-Door policy program to look beyond the Great Wall at the vast stretches of an unfamiliar world. Though the foregrounding fgures appear joyful, they nevertheless turn away from the ocean while their unsettlingly cropped and enlarged bodies expose the masked apprehensions of exploring the unknown.

Fang Lijun’s paintings stand out amongst other works by artists from his generation as he eschews narrative altogether. Though distinctive, Fang is still considered one of the earliest proponents of the Cynical Realist school having participated in the milestone 1989 exhibition, China/Avant-Garde hosted at the National Art Museum of China, the country’s most important arts venue, even before his graduation from the Department of Printmaking at the Central Academy of Fine Arts in Beijing. In 1993, the artist also participated in the ground-breaking exhibition, China’s New Art, Post 1989 in Hong Kong, the 45th Venice Biennale, and China/Avant-Garde in Berlin. Currently in the collection of Stedelijk Museum in Amsterdam, a related work to the present lot, Series 2, No. 2 (19912) furthermore made the cover of the New York Times Magazine.

Fang quickly became internationally known, showing at the aforementioned international biennials and the pivotal exhibition Inside Out, curated by Gao Minglu, held jointly in New York City at the Asia Society and MoMA P.S. 1 in 1998-99. Fang Lijun has played a crucial role in the development of contemporary Chinese art, and so the study and discussion of his work will indisputably continue to have an impact on the future direction of art in China and beyond. (D. Eccher and Fang L.J., Fang Lijun: The precipice over the clouds, Milano: Charta, 2012)

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方力鈞創造的光頭人物形象反叛乖張，是中國現代社會新興一代 的獨特心理寫照。1992年的《系列二(之十)》就是其中一個例子， 當時這位藝術家正在國際藝術界竄起，是中國新當代藝術運動的 風頭人物。方力鈞生長於文革年代，那些震撼的經歷一直影響 着他，因此他的作品總是散發一種冷眼旁觀的態度和幻滅感， 這種心態曾經影響一整代中國人，而且在1989年天安門事件之 後尤甚。1990年代初，藝評家栗憲庭首創「玩世現實主義」 一詞，稱方力鈞是此風潮的主要人物。(Jim Supangkat， <中國前衛及當代藝術>，方力鈞及阿歷山大·奧克斯， 《Fang Lijun: Life Is Now》，雅加達國家美術館方力鈞個人展覽，2006年5月 10-18日) 雖然玩世現實主義的風格往往「混雜無聊、潑皮幽默」， 卡倫·史密斯特別強調方力鈞的藝術表現與眾不同之處，是他的 作品植根於人的生存環境，而不是政治。(引述賓·大衛森， 卡伊·麥米蘭，<方力鈞：貝爾馬的藝術和創意實驗室>，載於 《Artforum International》 ，2007年11月，2018年3月27日登入； 卡倫·史密斯與瑪麗安·寶華著， 《九條命：新中國前衛藝術 的誕生》，2010年)方力鈞在1992年創作的作品尤其引起國際 關注，多次獲邀參與藝術展覽盛會，如1993年及1999年威尼斯 雙年展、1994年聖保羅雙年展。德國科隆路德維希博物館、 日本福岡美術館等各地著名博物館與重要私人收藏亦有典藏這個 系列的作品。 《系列二(之十)》首次現身於藝術市場，同系列作品亦極少釋出。 這幅作品的視覺元素非常豐富，前景是以藝術家的女性友人為 主角，此構圖在同系列中並未曾有過。女子站在畫面中央，雙手 合十捧在臉側，秋波暗送，面露淺笑，頗有一絲挑逗意味。 她的脖子纖長，身姿秀麗，站在兩個粗獷男子中間，其中一個在 大笑，另一個安裝羞怯地微笑，各人身後的背景是一片泛著漣漪 的藍色水域，有三個光頭人物從水裡冒出頭來呼吸。

Above: Fang Lijun Series 2 No. 3, 1991-1992 Collection of the Fukuoka Asian Art Museum, Japan 上: 方力鈞 《系列二 (之三)》1991-1992年作 日本，福岡亞洲美術館收藏 Below: Fang Lijun Series 2, No. 5, 1991-1992 Collection of the Stedelijk Museum, Amsterdam 下: 方力鈞 《系列二 (之五)》1991-1992年作 阿姆斯特丹，市立博物館收藏

方力鈞按照自己的樣子塑造出光頭形象，他們或在打呵欠、咧嘴 嬉笑、雙目無神地盯著某處，這些形象自1989年開始反複出現在 他的作品中，是「潑皮」的象徵。 「潑皮」源自中國民間俗語，意指 一些玩世不恭或流氓的低俗作風。方力鈞反複表現這些光頭人物， 藝術評論家栗憲庭將這與「潑皮」聯上關係，認為這是「一種內心 自我救贖的方法」，這種情感在中國歷史上不鮮見，尤其是在政治 壓抑的時期。(栗憲庭， 《方力鈞創造的光頭潑皮》，羅伯·馬拉殊， 佩·賀丹納克，栗憲庭， 《方力鈞》 ，阿姆斯特丹市立博物館，1998 年)畫中其中一個光頭男子穿着鮮豔花俏的泳褲，大搖大擺地走向 觀者，這個形象並未出現在其他1992年的作品中，這不僅與文革時 代趨向一致的保守服裝形成強烈對比，也與系列裡其他作品的人物 所穿的藍色或灰色衣服相差甚大。這些光頭人物通常在歡呼振奮、 或咧嘴傻笑，可見方力鈞將原本反叛、憤世嫉俗的潑皮形象，轉化 成自嘲，象徵個人渴望逃避的意義。在《系列二(之十) 》裡，游泳的 光頭人物預示方力鈞在1995年開始創作的木版畫，這個系列從另一 個角度表現泳者浮上水面呼吸的形象，在藝術界普遍獲得好評。 1992年一系列作品中的光頭男子，大多是在海邊遊蕩，而且眼睛 都不望向水面。這幅作品與其他《系列二》不同之處，是畫中幾個 人物都浸在水中，這勇敢的舉動預示了之後的「藍色游泳」系列。 早於1984年，水開始出現在方力鈞的油畫作品裡。不過，直至 1990年代他才開始認真探討這個題材，他看到了水的不確定性和 柔順伸展性，並以此為創作的中心主題。方力鈞致力通過作品表現 人類和人性，他以水為透視鏡，觀察到人性的無限本質。「水很接近 我對人性的理解」，方力鈞指出它是「流動的，不受規條所限…… 不確定，像人的感覺。人不能離開水而活……但太多水會淹沒人。」 (引述方力鈞， 《1998 No. 2》作品專題文章，刊登於蘇富比，當代 藝術，2012年4月2日，香港)在1990年代初，方力鈞與妻子有一段 時間住在友誼賓館，許多藝術家也會在這裡聚集。他經常在賓館裡 的游泳池游泳，或帶著水底相機在水中試驗。

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1980年代的中國社會整體上瀰漫着一股理想主義，而「85新潮」 藝術家的作品大多立場鮮明、持反抗態度。方力鈞的光頭人物卻 深刻地表現出一種越來越逼人的無助感，這種不安的心態影響著 方力鈞那一整代的中國人。 《系列二(之十)》背景中游泳的人物，既反映方力鈞個人對游泳 的愛好，也暗指一幅流傳甚廣的毛澤東照片——1966年7月16日， 毛澤東在武漢大橋旁的長江暢泳，被媒體廣泛報導。在這幅著名 的照片中，毛主席年屆高齡仍在長江游泳，宣示其無所畏懼的 精神，及其體魄壯健，以抗擊那些批評他的人，順道號召年輕 一代群起進行政治鬥爭，打倒毛澤東的反對者。(理查德 H. 所羅門， 〈毛主席游泳的歷史一刻〉， 《時代雜誌》 ，1999年9月 27日，2018年4月11日登入，http://content.time.com/time/ world/article/0,8599,2054250,00.html.) 然而在方力鈞眼中， 這次號召行動的結果，只是突顯了一個精神缺失的世界，猶如這幅 作品中海嘯般的汪洋背景。在前景和背景上重複出現的光頭人物， 代表被剝奪的個人身份——這個視覺寓言，實質上就是中國人生存 狀態的寫照。 《系列二(之十)》是方力鈞的「第二階段」作品（1990-1992年） ， 此時期作品的主要特色是呈現一些對比鮮明的影像，它們因一部 極具爭議的政論電視節目《河殤》而在八十年代流行全國。這部電視 片系列展現了舊中國與現代西方的強烈視覺反差。方力鈞的早期作 品裡的人物從未離開過土地或長城的包圍， 但《系列二(之十)》 卻展示一種較開放的態度，藝術家開始將幾個人物佈置在廣闊無邊 的藍色海洋前。 《系列二(之十)》表達的自由氣氛，雖然在同一時期 的其他作品亦可見，但方力鈞對人物的敘述曖昧不明，構圖也充滿 壓迫感——擁擠的空間使觀畫者無法看見海平面，結果倒是捕捉了 一種人民普遍的焦慮情緒。這種焦慮源於鄧小平的改革開放政策， 迫使國人將目光放在長城之外，移到一個廣闊的陌生世界上去。 前景的人物表面看似歡樂無憂，但卻背對著海洋，只露出半截的 龐大身軀暴露了他們對於探索未知的疑懼。 方力鈞在同輩藝術家中顯得與別不同，原因是他的作品不作任何 敘述。方力鈞的藝術風格鮮明獨特，但他仍被視為玩世現實主義 流派的先鋒，而且參與過1989年的「中國前衛藝術」展。這場具有 里程碑意義的展覽在全國頂級藝術場地——國家美術館舉行。 當年方力鈞參展的時候，仍是北京中央美術學院的版畫系學 生。1993年，方力鈞參與多場展覽，包括破天荒的香港「後八九 中國新藝術」展、第45屆威尼斯雙年展、柏林「中國/前衛藝術」 展。與本畫同系列的《系列二(之二)》 （1991-92年作）目前由 阿姆斯特丹市立博物館收藏，更曾經登上《紐約時代》雜誌封面。 之後，方力鈞在國際間聲名鵲起，除了參與上述的雙年展，也參與 了一場由高名潞策展、規模龐大的1998-99年海外中國現代藝術展 「Inside Out」 ，該展由紐約亞洲協會和P.S.1當代藝術中心合辦。 方力鈞在中國當代藝術發展史上發揮著重要角色，研究和 討論他的作品，對於中國藝術發展的走向無疑繼續有著深刻的 影響。(丹尼奧·艾克與方力鈞， 《方力鈞：雲上的絕壁》，Milano: Charta，2012年)

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Pioneers of Modernism: A Selection from The Scheeres Collection

14. Yue Minjun

b. 1962

Penguin signed and dated ‘yue minjun [in Pinyin] 2000’ lower lef oil on canvas 140.3 x 107.8 cm. (55 1/4 x 42 1/ 2 in.)

Painted in 2000.

Provenance Private Collection, Singapore Acquired from the above by the present owner Exhibited Semarang Contemporary Art Gallery, Fruits of Change, 31 January - 9 February 2004 Literature Zhang Qunsheng, Today’s Chinese Painters, Yue Minjun: The Lost Self, Hebei, 2005, p.128 (illustrated)

現代主義的先驅者：席爾斯收藏

岳敏君 《企鵝》 油畫 畫布 2000年作 款識：yue minjun 2000 (左下) 來源 新加坡私人收藏 現藏者購自上述來源 展覽 三寶壟當代藝術畫廊， 〈變化的成果〉， 2004年1月31日-2月9日 出版 張群生主編， 〈今日中國畫家，岳敏君：迷失的自我〉， 河北，2005年，第128頁（圖版）

HK$ 1,500,000-2,000,000 US$ 192,000-256,000

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Regarded as one of the leading representatives of Cynical Realism, Yue Minjun articulates the highly recognisable humorous portraits of himself with the wide-mouthed expression of laughter in Penguin. In this distinctive painting, the iconic laughing character wraps his body around a furry penguin as if he is climbing or clinging onto the large fightless bird. Expressing a slight upward slant of the mouth and squinted eye, the penguin tilts its head back with its javelin-beak as if to share in the hysteric laughter alongside Yue and the viewer perhaps in reaction to the absurdity of the scene.

As an artist infuenced early in his career by Surrealism and Social Realist propaganda art, Yue masterfully embeds social commentary veiled behind the satirical mask of his gufawing faces to weave China’s tumultuous experience into his work with discretion. Rifng on the upbeat portrayal of proletariat and military heroes portrayed in Socialist paintings and propaganda that proliferated within the visual environment during the Cultural Revolution, Yue’s iconic smiles express the compulsory mask of satisfaction demanded in a society within which the appearance of the masses had become a state priority. (Nazanin Lankarani, ‘The many faces of Yue Minjun,’ New York Times, 5 December 2012).

Afer creating a sensation at the 48th Venice Biennale in 1999, Yue gained international fame within both the contemporary art market and the permanent collections of numerous museums around the world. As such, the recurring theme of laughter within Yue’s oeuvre has been subject to a multitude of interpretations.

Theorist Li Xianting describes Yue’s self-portraits as a “selfironic response to the spiritual vacuum and folly of modern-day China.” (Li Xianting quoted in ‘Yue Minjun,’ Saatchi Gallery) In the catalogue accompanying Yue’s retrospective show held in 2012 at the Fondation Cartier in Paris, François Jullien furthermore writes that the frozen laugh of Yue’s work “puts up a wall, makes any interiority of limits, bars any kind of feeling. As nothing more than a series of explosions, it shows that there is nothing to communicate.”(F. Jullien, “No Possible Subject,” in Yue Minjun and Hervé Chandès, Yue Minjun: L’Ombre du fou rire, Paris: Fondation Cartier pour l’art contemporain, 2012, pp. 27-34).

岳敏君是中國玩世現實主義的領銜代表藝術家之一。藝術家在此幅 《企鵝》中勾勒出他標誌性的咧嘴大笑自嘲畫像，而這個經典笑容 人物緊挨著一隻毛茸茸的企鵝，好像要爬上去或是奮力抓緊這隻 飛不起來的大鳥。企鵝的嘴巴微微上揚，瞇眼斜視，仰著腦袋， 張著又尖又長的喙，像是在附和岳敏君的神經質狂笑。觀者也不由 對著這滑稽荒謬的場面而苦笑。 岳敏君在藝術事業早期受超現實主義和社會主義樣版畫的影響， 其畫作中哈哈大笑的自畫像表面誇張諷刺，內裡蘊藏他對社會 狀況的註腳，謹慎融入中國社會中的浮躁與喧鬧。在文化 大革命中，人們周遭的視覺環境幾乎全是亢奮人心的勞動階級 和抗戰英雄等社會主義繪畫和宣傳品。岳敏君筆下標誌性的笑臉引 申出在這個社會中必須偽裝的滿足面具，以及國家最關注的群眾 面貌。 （Nazanin Lankarani, <岳敏君的眾生像>， 《紐約時報》， 2012年12月5日） 岳敏君在1999年第48屆威尼斯雙年展中得到極大迴響，於當代 藝術市場和不少國際美術館永久收藏中都名聲鵲起。其作品中的 大笑主題也面對著各種解讀。藝術理論家栗憲庭形容其自畫像 為「現代中國的愚昧和空虛靈魂的自嘲回應」 。 （栗憲庭，錄於 《岳敏君》 ，薩奇畫廊）而在2012年於巴黎卡地亞當代藝術基金會 舉辦的岳敏君回顧展圖錄中，弗朗索瓦·朱利安亦提到岳敏君作品中 凝固的笑容「建起一堵墻，禁止一切內心世界，阻擋所有情感。 只有一波波爆發，沒有任何交流。」 （弗朗索瓦·朱利安，<沒有可能的 標題>，錄於岳敏君和Hervé Chandès， 《岳敏君：笑臉背後的 陰影》，巴黎：巴黎卡地亞當代藝術基金會，2012年，27-34頁） 與岳敏君筆下典型的扭曲怪誕構圖不同， 《企鵝》因為其冷淡的灰色 調而較為溫和，而抱著柔軟討喜的企鵝的人物雖然略顯強迫， 也算是溫馨場面。儘管岳敏君的作品經常以庸俗媚艷的色調勾畫 狂躁發笑的人物，但此作則採用了比其知名的空洞表達更為細膩的 手法。面對1990年代中國「後新時代」翻天覆地的藝術手法演進， 畫中如碩大毛絨玩具般的企鵝就像是當時瀰漫視覺環境的物質主義 和全球化形態。岳敏君畫中為人熟知的狂笑人物在世界各地得到 關注，足證其魅力。如今，岳敏君依然在北京近郊的工作室繪畫 並雕塑，是這個時代最具影響力的藝術家之一。

In contrast to Yue’s typically contorted and grotesque compositions, however, Penguin, moderated by its cool grey tones, exhibits a comparatively warm-hearted scene describing a fgure embracing a sof endearing animal, albeit forcibly. Though Yue’s works ofen showcase manically cackling fgures rendered in kitsch candy-coloured tones, the present lot describes a more nuanced approach to the artist’s infamously vacuous expressions.

In response to the “post-New Era” of the 1990s that brought forth profound changes to the artistic praxis in China, the penguin resembles a large stufed-animal toy, an index of the forms of materialism and globalisation pervading the visual landscape at the time. The global attention captured by Yue’s famous laughing characters attest to the artist’s popularity. Today, Yue Minjun continues to paint and sculpt in his studio near Beijing and is celebrated as one of the most infuential artists of his generation.

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Pioneers of Modernism: A Selection from The Scheeres Collection

15. Fang Lijun

b. 1963

1994 No. 4 signed, titled and dated ‘Fang Lijun [in Chinese] “94 No.4”’ lower lef; further signed, titled and dated ‘Fang Lijun [in Chinese] “1994. No.4” 1994.1-1995.2’ on the reverse oil on canvas 140 x 179.8 cm. (55 1/8 x 70 3/4 in.)

Painted in January 1994-February 1995.

Provenance Serieuze Zaken Gallery, Amsterdam Collection of Fezi Kahlesi, The Netherlands Acquired from the above by the present owner Literature Sichuan Fine Arts Publishing House ed., Collected Editions of Chinese Oil Painter Volume of Fang Lijun, Sichuan, 2006, p.64 (illustrated) Carol Lu, Living Like a Wild Dog: 1963-2008 Archive Exhibition of Fang Lijun, Taipei, 2009, p. 228 (illustrated) Tingmei Wang and Ruxuan Xie eds., Endlessness of Life: 25 Years Retrospect of Fang Lijun, exh. cat., Taipei, 2009, p.228 (illustrated) Peng Lu and Chun Liu, Fang Lijun: Works Catalogue, Beijing, 2010, p. 262 (illustrated)

現代主義的先驅者：席爾斯收藏

方力鈞 《1994年4號》 油畫 畫布 1994年1月-1995年2月作 款識: 方力鈞《94 No. 4》(左下); 方力鈞《1994 No.4》1994.1-1995.2 (畫背) 來源 阿姆斯特丹，Serieuze Zaken 畫廊 荷蘭，Fezi Kahlesi收藏 現藏者購自上述來源 出版 四川美術出版社編， 〈中國油畫家全集：方力鈞〉 ， 四川，2006年，64頁（圖版） 盧迎華著， 〈像野狗一樣生活：1963-2008方力鈞文獻檔案展〉 ， 台北，2009年，228頁（圖版） 王庭玫與謝汝萱編， 〈生命之渺：方力鈞創作25年展〉 ， 展覽圖錄，台北，2009年，228頁（圖版） 呂澎、劉淳著， 〈方力鈞：編年紀事〉 ，北京，2010年， 262頁（圖版）

HK$ 2,000,000-3,000,000 US$ 256,000-385,000

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As one of two paintings created by Fang Lijun ofered in the present sale, 1994 No. 4 presents a key artwork from the artist’s meditative 1994 blue Swimming series, a concise body of works that has been particularly well-received by an international audience for its universal layering of meanings. Acclaimed by critic Li Xianting as a pioneer alongside Liu Wei of Cynical Realism, Fang creates fctional and ambiguous narratives to examine the shif in China. His works personify sentiments of enervation and angst as a tool to describe the radical change from a collective sense of self-sacrifce to the contemporary state of individualism.

(V. Tong, ‘Chinese Cynical Realism: Fang Lijun and his ‘All Too Human World,’ Art Radar, 27 November 2017) As a leading fgure of China’s avant-garde art movement, Fang has been featured in several historical exhibitions including the 1994 22nd International São Paulo Biennial, one of the earliest exhibitions to bring contemporary Chinese art to a global audience, in which the artist showcased 1994 No. 6, an important early work from the same series as the present lot.

First rendered in 1988 as a breakaway from the ‘85 New Wave Movement, the anonymous bald fgure depicted in 1994 No. 4 represents a hallmark of Fang’s artistic vocabulary.

“I noticed that although a shaved head on its own is very striking, its individuality disappears in a group of shaved heads,” Fang explains. In the present work however, the anonymity aforded by the group setting is replaced by the inundating water that obscures any signs of the fgure’s identity and further emphasises his isolation. This underscores Fang’s notion that “an individual person’s feeling of being omitted and ignored in society is especially strong in our culture.”

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Depicting one of Fang’s many anonymous bald-headed fgures submerged in a body of deep blue water, 1994 No. 4 illustrates the artist’s recurrent fascination with the theme of water. In Laozi’s philosophy, the metaphor of water demonstrates the most suitable and successful living approach. (Zhao T.Y., ‘To Change the Way of Seeing,’ in Fang L.J. and Zhang Z.K., Fang Lijun, Beijing: Today Art Museum, 2006, pp.13-15) In response to Fang’s interest in this subject, Gregory Galligan writes that “water, like other encompassing mediums, evokes both harsh containment and spiritual liberation.” (G. Galligan, ‘Fang Lijun: Arario,’ Art In America 97, no. 4, April 2009, pp. 146-147) Although the blue liquid engulfs and nearly drowns the fgure portrayed in 1994 No. 4 to symbolise the fgure’s powerlessness or loss of voice, the water also serves as a vehicle to facilitate his unrestricted movement. While Series 2 No. 10, another work ofered in the sale created earlier in 1992, plays with the concept of fgures swimming in the water, the present blue work plunges deeper into the subject. Distinct from the cartoon-like renderings in gaudy tones characteristic of Fang’s swimming works from 1995 that heighten the sense of absurdity in his later paintings, the present lot depicts a rather serene image. The work underlines Fang’s highly naturalistic handling of white pigments to depict the sof billowing movement of the water stimulated by the fgure’s body. The appeal of 1994 No. 4, nevertheless lies in Li Xianting’s notion that Fang’s “internal image, underwater swimming, expresses a latent premonition—the deep tranquillity harbours a certain menace.” ( Li X.T., ‘The “Shaved Head POPI” Created by Fang Lijun,’ in R. Malasch , P. Hovdenakk, and Li X.T., Fang Lijun, Amsterdam: Stedelijk Museum Amsterdam, 1998, p. 7)

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While Fang’s early works utilised the widespread visual oppositions of the 1980s “culture debates” propagated by the popular television series ‘River Elegy’ (Heshang), Fang moved beyond the dichotomised ‘River Elegy’ idiom from late 1992 onwards to create 1994 No. 4. (Chou Y.T., ‘The Floating Body in the Art of Fang Lijun: An Artist’s Comment on the Human Condition in Post-Cultural Revolution China,’ China Information, vol. 13, issue 2-3, 1 September 1998, pp. 85-114) Though Heshang utilised contrasting imagery such as land versus sea, yellow versus blue, and individual versus group to represent China as a traditionally landlocked agricultural society in contrast to the blue sea-going culture of the West, the present lot participates in a more complex psychological dilemma. (L.O.F. Lee quoted in Ma S.Y., ‘The Role of Power Struggle and Economic Changes in the “Heshang Phenomenon” in China,’ Modern Asian Studies 30, no. 1, 1996, pp. 29-50) According to scholar Chou Yuting, the lightness of Fang’s fgures in the water refers to their being suspended in a state of ambivalence and irresolution. Evoking a sense of vulnerability that informed Chinese culture during this period, 1994 No. 4 depicts a fgure, naked and alone, trying to exist and stay afoat in the large seemingly endless body of water.

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Despite the culturally specifc lens of Heshang, Fang’s blue water paintings recall memories and stir emotions for a wide ranging international audience due to their representations of unknown territories and explorations of hidden unconscious depths.

(K. Ross, Revue Bibliographique De Sinologie, Nouvelle Série, 18, 2000, p. 306) With regard to the characters depicted in his work, Fang explains, “I work hard to remove any narrative. Perhaps they are individuals, perhaps against the background of society, or among other individuals, or lost in their own dreams. These scenes portray relations, but not specifc stories.” (Fang Lijun interviewed

by Jérome Sans, “A Primitive State of Humanity,” in J. Sans, Y. Chen, and M. Woo, China Talks: Interviews With 32 Contemporary Artists By Jerome Sans = Dui hua Zhongguo : Jieluomu Sangsi yu 32 wei dang dai yi shu jia fang tan, Hong Kong: Timezone 8, 2009) Already a major fgure in China and internationally, Fang continues, with such projects, to push his art in exciting new directions, paralleling the contemporary accelerated pace of change in his home country.

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本次拍賣呈獻兩幅方力鈞作品，其中《1994年4號》， 1980年代，論政電視節目《河殤》席捲全國，掀起 是1994年藍色游泳系列的代表作，更是藝術家當時 了一場「文化反思熱」，節目裡對比鮮明的畫面， 精神思想的寫照。這些作品意涵豐富而且反應當時 被方力鈞套用在早期作品中。自1992年後期起， 中國社會的進程，有其時代意義，因此受到許多 方力鈞逐漸脫離《河殤》的二分語境，創造出 藏家欣賞。藝評家栗憲庭將方力鈞與劉煒並列為 《1994年4號》。(Chou Yuting， 《方力鈞藝術裡浮在 玩世現實主義的先驅。方力鈞那些模棱兩可的 水上的人物：藝術家對文革後中國的人文狀況的 虛構語言及符號反應了中國社會的變化，他將沮喪 評論》， 〈China Information〉，第13冊，第2-3期， 和恐懼的情緒人物化，描述從集體的自我奉獻精神 第 85-114頁，1998年9月1日 《河殤》大量使用 到當代個人主義的劇烈轉變。(Valencia Tong， 對比畫面，例如土地對海洋、黃對藍、個人對群體， 〈中國玩世現實主義：方力鈞與他的俗世〉，Art 將中國的內陸型農業社會，與西方的藍色航海 Radar，2017年11月27日，2018年3月 27日登入方 文化作對照，但這幅作品卻探析更複雜的精神 力鈞曾參與過多場重要展覽，包括1994年第22屆聖 困境。(引述李歐梵 ，Ma, Shu-Yun， 《中國「河殤 保羅雙年展。聖保羅雙年展是最早向國際展示中國 現象」中權力鬥爭和經濟變化的影響》， 〈Modern 當代藝術作品的展覽之一，方力鈞當年的參展作品是 Asian Studies〉第30號，第1期，1996年，第 29《1994年6號》，與本畫同屬一個系列。 50頁) 學者Chou Yuting 指出，方力鈞作品中那些 在水中載浮載沉的人物身軀輕盈，反映他們停滯在 畫中這個無名的光頭人物首次出現在1988年，當時 一個矛盾、猶豫不定的狀態中。 《1994年4號》瀰漫 方力鈞正與「85新潮」運動分道揚鑣，而《1994年 一種脆弱的氣氛，就如當時中國文化的處境， 4號》的光頭人物是其個人藝術詞彙的標誌。 「我注意 畫中的人物赤裸、孤身一人，在看似廣闊無邊的水域 到儘管一個光頭很引人注目，但放在一堆光頭裡面， 裡為存在而掙扎，奮力浮在水面上。 他的個性就消失了」，方力鈞這樣解釋。在這幅 作品中，紛紛擾擾的人海，被換成了淹沒身軀的水。 儘管帶著《河殤》的文化視角，方力鈞的藍色水作品 流動的水掩蓋了人物的身份特徵，突顯出他的孤立 亦代表未知的領域，探索埋藏在深處的潛意識， 無援。這幅畫面道出了藝術家所認為「在我們的文化 因此能引起國際藝術圈共鳴，勾起我們的回憶和 中，個人被社會遺忘和無視的感覺特別強烈。」 情感。羅斯·坎茲， 〈漢學書志評論〉，新系列， 第18輯，2000年，第 306頁關於作品裡的人物， 方力鈞在其他作品也描繪過這樣一個浮沉在深藍色 方力鈞這樣解釋： 「我著力刪除任何描述。他們 水裡的光頭人物， 《1994年4號》代表藝術家對「水」 或許是個體，或是站在社會背景下，或與其他個體 反覆不斷的探討。在老子的哲學思想中，水象徵 在一起，或各自迷失在自己的夢裡。這些場景呈 最具適應力、最無往不利的生存方式。(趙汀陽， 現關係，並非特定的故事。」(方力鈞受傑羅姆·桑 《改變觀看的方式》，方力鈞與張子康， 〈方力鈞〉， 斯訪問， 《人性的原始狀態》，傑羅姆·桑斯、Yun 第 13-15頁，北京：今日美術館，2006年) 對於 Chen、Michelle Woo， 〈對話中國：傑羅姆·桑斯 方力鈞以水為題材，藝術史家格戈利·伽利甘 與32位當代藝術家訪談〉 ，香港：Timezone8， （Gregory Galligan）表示： 「水如其它包圍一切 2009年) 方力鈞在中外藝術界地位顯著，並繼續為他 的媒介，令人想起嚴苛壓制和精神解放。」格戈利· 的藝術發展新方向，反映中國當下變遷的急速步伐。 伽利甘， 《方力鈞：Arario》 ， 〈Art In America〉， 第 4號，2009年4月，第146-147頁，2018年3月 27日登入，Art & Architecture Source，EBSCO 《1994年4號》裡的人被藍色的水包圍、甚至幾乎 淹沒，象徵人的軟弱無力或失去呼聲，但水也是承 載人、讓人自由伸展移動的載體。本次拍賣的另一幅 1992年作品《系列二(之十)》年份較早，雖然也描繪 在水中游泳的人物，但這幅藍色作品對這個主題的 探討卻觸及更深層次。1995年以後，方力鈞的游泳 主題作品中的人物更加卡通化，色調花俏俗麗， 突顯出荒謬的氛圍，而本作的畫面卻靜謐平和。 在這幅作品中可見，方力鈞善用白色顏料，自然 地表現因撥弄而泛蕩的水波。 《1994年4號》的耐人 尋味，正如栗憲庭所指，是方力鈞的「內在形象， 在水下游泳，表達一種潛伏的預感——深沉的寧靜 暗藏著某種威脅。」(栗憲庭， 〈方力鈞創造的光頭 潑皮〉，羅伯·馬拉殊，佩·賀丹納克，栗憲庭， 《方力鈞》，阿姆斯特丹：阿姆斯特丹市立博物館， 1998年，第 7頁)

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Pioneers of Modernism: A Selection from The Scheeres Collection

16. Richard Lin

1933-2011

One and Two oil on canvas 30.5 x 30.5 cm. (12 x 12 in.)

Painted in 1968.

Provenance Gwen Hughes Fine Art, London Acquired from the above by the present owner Exhibited Brussels, Withofs Gallery, Richard Lin, 5 November - 5 December 1970 (printed on special exhibition catalogue) Literature From Taiwan to China: Pioneers of Abstraction (1955 – 1985), exh. cat., Le Musée d’Ixelles, Brussels, 2017, p. 217 (illustrated)

現代主義的先驅者：席爾斯收藏

林壽宇 《一和二》 油畫 畫布 1968年作 來源 倫敦, Gwen Hughes Fine Art 畫廊 現藏者購自上述來源 展覽 布魯塞爾，Withofs 畫廊， 〈林壽宇〉， 1970年11月5日 - 12月5日 (印於展覽手冊) 出版 〈從台灣到中國: 抽象藝術先鋒 (1955-1985)〉 ，展覽圖錄， 伊克塞爾博物館，布魯塞爾，2017年，第217頁 (圖版)

HK$ 90,000-150,000 US$ 11,500-19,200

Exhibition catalogue for Richard Lin’s solo show at Withofs Gallery in 1970, where the present work was featured on the reverse of the catalogue 林壽宇1970年於布魯塞爾 Withofs 畫廊舉行的個展展覽手冊, 此作品印於手冊封底

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Pioneers of Modernism: A Selection from The Scheeres Collection

17. Richard Lin

1933-2011

Composition signed and dated ‘Richard Lin 1958’ on the reverse watercolour on paper 62 x 46 cm. (24 3/8 x 18 1/8 in.)

Painted in 1958.

Provenance Jenna Burlingham Fine Art, Newbury Acquired from the above by the present owner

現代主義的先驅者：席爾斯收藏

林壽宇 《構圖》 水彩 紙本 1958年作 款識: RICHARD LIN 1958 (畫背) 來源 紐伯里, Jenna Burlingham Fine Art 畫廊 現藏者購自上述來源

HK$ 90,000-150,000 US$ 11,500-19,200

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Pioneers of Modernism: A Selection from The Scheeres Collection

18. Zhan Wang

b. 1962

Artifcial Rock No. 92 signed ‘Zhan Wang [in Chinese] 2006 3/4’ on the reverse stainless steel 75 x 40.5 x 21.9 cm. (29 1/ 2 x 15 7/8 x 8 5/8 in.)

Executed in 2006, this work is number 3 from an edition of 4.

Provenance Haines Gallery, San Francisco Acquired from the above by the present owner

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展望 《假山石92號》 不銹鋼 2006年作，共有4版，此作品為第3版。 款識：展望 2006 3/4 (背面) 來源 三藩市，Haines 畫廊 現藏者購自上述來源

HK$ 400,000-600,000 US$ 51,300-76,900

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‘I used fragile porcelain to make the daily things… it is a metaphor that our dreams and ideals are fragile too.’

Liu Jianhua

Pioneers of Modernism: A Selection from The Scheeres Collection

19. Liu Jianhua

b. 1962

Polychrome Ceramic Series – “Games” signed ‘Liu Jianhua [in Chinese] 1/5’ on the underside polychrome ceramic 58 x 58 x 7.8 cm. (22 7/8 x 22 7/8 x 3 1/8 in.)

Executed in 2000, this lot is number 1 from an edition of 5.

Provenance Private Collection, Belgium Acquired from the above by the present owner Literature Liu Jianhua: Porcelain-Like Skin, Hanart TZ Gallery, Hong Kong, 2001, p. 77 (illustrated) Liu Jianhua: Delight and Illusion, ShanghART, Shanghai, 2001, p. 77 (illustrated)

現代主義的先驅者：席爾斯收藏

劉建華 《彩塑系列 - 嬉戲》 陶瓷 2000年作，共有5版，此作品為第1版。 款識：劉建華 1/5（底部） 來源 比利時私人收藏 現藏者購自上述來源 出版 〈劉建華:瓷性的肌膚〉，漢雅軒畫廊，香港，2001年，第77頁 (圖版) 〈劉建華:愉悦和幻想〉，香格纳畫廊，上海，2001年，第77頁 (圖版)

HK$ 80,000-100,000 US$ 10,300-12,800

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‘I have used stainless steel to duplicate and transform natural rockery into manufactured forms. The material’s glittering surface, ostentatious glamour, and illusory appearance make it an ideal medium to convey new dreams [in contemporary China].’

Zhan Wang

Pioneers of Modernism: A Selection from The Scheeres Collection

20. Zhan Wang

b. 1962

Gifs from Heaven Series (in 2 parts) signed and dated ‘Zhan Wang [in Chinese] 1997 1/1’ on stainless steel block (i) granite (ii) stainless steel (i) 33 x 20.6 x 18.1 cm. (12 7/8 x 8 1/8 x 7 1/8 in.) (ii) 33.9 x 21 x 18.5 cm. (13 3/8 x 8 1/4 x 7 1/4 in.)

Executed in 1997, this work is unique.

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展望 《天上來的禮物 》(共兩件) (i) 花崗石 (ii) 不銹鋼 1997年作，此作品為獨版。 款識：展望 1997 1/1 (不銹鋼部分上) 來源 紐約，Barry Friedman 畫廊 現藏者購自上述來源

Provenance Barry Friedman Gallery, New York Acquired from the above by the present owner

HK$ 80,000-120,000 US$ 10,300-15,400

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Pioneers of Modernism: A Selection from The Scheeres Collection

21. Liu Jianhua

b. 1962

Polychrome Ceramic Series – “Obsessive Memories” signed and dated ‘Liu Jianhua [in Chinese] 1999.9’ on the reverse polychrome ceramic 56 x 34 x 15.5 cm. (22 x 13 3/8 x 6 1/8 in.)

Executed in September 1999.

Provenance Christie’s, New York, 1 April 2008, Lot 142 Acquired at the above sale by the present owner

現代主義的先驅者：席爾斯收藏

劉建華 《彩塑系列 - 迷戀的記憶》 陶瓷 1999年9月作 款識：劉建華 1999.9 (畫背) 來源 紐約, 佳士得, 2008年4月1日，拍品編號142 現藏者購自上述拍賣

HK$ 80,000-100,000 US$ 10,300-12,800

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L'École des Beaux-Arts de Indochine and A New Era of Traditional Vietnamese Art Le Pho, Mai Trung Thu, Nguyen Gia Tri and Pham Hau are four prominent artists in the history of Vietnamese modern art.

The four of them were alumni of the Fine Arts College of Indochina (L’École des Beaux-Arts de Indochine) in Hanoi, an arts academy founded on the initiative of French artist Victor Tardieu in 1925.

The Fine Arts College established a system of formal instruction for fne art for the frst time outside of the traditional apprenticeship in the guild system, coupled with extremely comprehensive admissions tests that ensured only the most talented applicants would be admitted.

While the foundational courses at the college focused on training the students in the European oil painting tradition, Tardieu and his faculty encourage the students to experiment with more traditionally Vietnamese media in their practice. In the context of the burgeoning nationalism of colonial Vietnam, the artists collectively sought to nurture an art form they could claim as their own. Silk painting and lacquer art became the two major techniques that the Vietnamese artists would hone to a superior standard – both of which are rooted in traditional Asian culture and so were rich in stylistic references.

As the students of the pioneer batch of the Fine Arts College academy, both Le Pho and Mai Trung Thu were quick to abandon oil painting in favour of ink and gouache on silk. Ink painting allowed for a precision of line that was not easily achieved with oil, while gouache ofered a sureness of colour without completely obscuring the unique grain of the silk surface. Alongside their peers from the frst-graduating batch from the college, Le Pho and Mai Trung Thu travelled to Paris to exhibit in the 1931 Exposition Coloniale, at the Angkor Wat Pavillion under Tardieu’s charge.

Just as their works were well-received by the Parisians and the international audience at the Exposition, they were equally enamoured by the romantic, carefree lifestyle of the Parisian, free from the rigidity of hierarchy and structure in Confucian society. Both artists eventually decided to move to Paris to further their artistic careers, though Vietnam was never far from their hearts and minds.

Mai Trung Thu’s Lady Combing Hair (Lot 22) embodies the artist’s perception of ideal feminine beauty through his delicate linework and muted palette. A demure expression casts across her sof facial features as she gazes at the viewer with futtering eyelids while stroking her silky hair that cascades down her shoulder, mirroring the sheer curtains that fall across the right side of the painting that barely obscure any details from the eyes of the viewer. The long sleeves and draping sash of the traditional ao dai and the sensuously curved silhouette of the rosewood table that sits in the background situate the scene in the artist’s homeland.

Much like Le Pho, Mai Trung Thu remained deeply inspired by Vietnam even while in a new environment.

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Le Diner (Lot 23) is a very early work by the Le Pho and was painted in 1938, in the same year as his frst solo exhibition in Paris. Works from this early stage in Le Pho’s artistic development are rare and highly sought afer as they display his innate skills in painting on silk. Framing the boy as the sole focus of the painting, the artist portrays the child is eating from a bowl with a pair of chopsticks.

The setting is decidedly Asian in its references. Despite being painted in Paris, Le Diner exudes a sense of nostalgia and a longing for the familiar simplicity of life back in Vietnam.

Just as Le Pho and Mai Trung Thu were the masters of silk painting in modern Vietnam, Nguyen Gia Tri and Pham Hau were committed to lacquer as their primary vehicle for expression. The former is credited with elevating lacquer art from decorative art to a richly expressive fne art that was uniquely Vietnamese.

Landscape with Ricefelds (Lot 24) typifes the essence of Nguyen Gia Tri’s mastery of the medium. The intricate details of the chosen landscape are not spared in this unusual small, square format. Fine lines guide the wheat grown in the padi terraces, with smoothly engraved plants framing the sides of the vignette. The gold paint acts as an accent to the scene, illustrating the areas where the warm sunlight would have grazed the tops of the leaves. The artist employs the Western concept of a vanishing point to suggest depth in the landscape, enhanced by the bright ochre tones of the foreground blending into a darker umber towards the background.

Similarly, Pham Hau’s beautifully designed lacquer box, View of a Temple (Lot 25) is rich in detail despite its limited surface – a testimony to the skill of the artist. The large banana leaves glimmer in the golden sunlight, owing the fullness of their form to the artist’s expert handling of tonal variations. Instead of a vanishing point, Pham Hau opts to layer elements in the scene to achieve depth, much like in traditional Japanese ukiyo-e prints. Even in the distance, the leaves of the trees are carved individually, and the windows of the buildings marked out one by one. The lacquer box is a true treasure, a record of the patience and technical dexterity displayed by the artist.

The works in this collection demonstrate the artists’ keen appreciation of the pictorial structures of the West while maintaining a clear vision to develop traditional art forms to serve the images of the 20th century. Regardless of whether they spent their entire lives in Vietnam, or travelled the world to further their artistic careers, these artists were continually drawing inspiration from their country, its people, and its culture, in most of their oeuvre.

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Pioneers of Modernism: A Selection from The Scheeres Collection

22. Mai Trung Thu

1906-1980

Lady Combing Hair signed and dated ‘MAI THU 1943’ with one seal of the artist, upper right ink and gouache on silk 35.2 x 27.6 cm. (13 7/8 x 10 7/8 in.)

Executed in 1943.

Provenance Collection of Pierre Le Tan, son of the artist Le Pho Acquired from the above by the present owner in 1998

現代主義的先驅者：席爾斯收藏

梅忠恕 《仕女梳髮圖》 水墨 水粉 絹本 1943年作 款識: MAI THU 1943 (右上) 藝術家鈐印一枚 (右上) 來源 藝術家黎譜兒子 Pierre Le Tan 私人收藏 現藏者於1998年購自上述來源

HK$ 150,000-250,000 US$ 19,200-32,100

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23. Le Pho

1907-2001

Le Diner signed ‘Le Pho [in Chinese and English]’ with one seal of the artist, top lef ink and gouache on silk 28.6 x 21.8 cm. (11 1/4 x 8 5/8 in.)

Executed circa 1938.

Provenance Private Collection, Paris Acquired from the above by the present owner in 1997

現代主義的先驅者：席爾斯收藏

黎譜 《用餐者》 水墨 水粉 絹本 約1938年作 款識: 黎譜 Le Pho (左上) 藝術家鈐印一枚 (左上) 來源 巴黎私人收藏 現藏者於1997年購自上述來源

HK$ 100,000-150,000 US$ 12,800-19,200

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河內印度支那藝術學院 之越南藝術先鋒

黎譜、梅忠恕、阮嘉智和范光厚是越南現代藝術史上 的四位頂尖藝術家。他們都是河內印度支那藝術學院 的校友，該校在1925年由法國藝術家韋陀·塔迪歐 創立。這間藝術學院創建了一套正式的美術訓練 體系，首次脫離行會制度裡的傳統學徒制，而且 入學試考核內容廣泛全面，務求只錄取最有才華的 申請者。 雖然學院的基礎課程主要教授歐洲傳統油畫，但塔迪 歐和學院鼓勵學生在創作過程中嘗試更多越南傳統 藝術媒材。在越南殖民年代，國家民族主義正在 冒起，這些藝術家都努力嘗試孕育出真正屬於自己 的藝術形式。越南藝術家將絹畫和漆畫的技術發揚 光大，而這兩種藝術形式都源於亞洲傳統文化，賦予 人豐富的藝術風格靈感。 黎譜和梅忠恕都是藝術學院的首批學生，他們很快 捨棄油畫，轉向用水墨和粉彩在絹上作畫。用墨水 描繪的線條精準，油彩則不然，而粉彩顏色艷麗 實在，卻不會掩蓋絹面獨有的質感紋理。黎譜和梅忠 恕與一眾藝術學院首批畢業生在塔迪歐的帶領下， 前往巴黎參與1931年的殖民地博覽會，在吳哥窟館 展出作品。在展覽會上，他們的作品獲得在地和世界 各地觀眾認可，而巴黎人浪漫自由的生活方式、 不同於亞洲儒家社會的嚴謹禮教和等級區分，使他們 由衷嚮往。兩位藝術家最終決定移居巴黎，尋求更進 一步發展藝術事業，但他們的心始終未曾遠離越南。 《仕女梳髮圖》 （拍品22）線條細膩，色調柔和，體現 梅忠恕心目中的理想女性美。畫中人五官柔和，眼神 嫵媚，一邊撫摸垂落過肩的頭髮，一邊眼凝觀畫者。 畫面右邊的窗紗透薄若無，簾後的任何細節都無法 逃過觀畫者的目光。傳統長襖的長袖和披帶，背景中 花梨木桌的婉曲線條，一一顯示這裡是藝術家的 故鄉。梅忠恕和黎譜一樣，即使人在新環境，故鄉 越南的人事景物依舊觸碰著他們的心靈。

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《用餐者》 （拍品23）是黎譜的早期作品，繪於 1938年，同年他在巴黎舉行了第一場個展。黎譜 的早期作品展現了他在絲絹繪畫的天賦技巧， 於歐洲非常罕見，極受藏家歡迎。畫面以男孩為 唯一焦點，描繪他用筷子從碗內吃東西的模樣。 場景充滿亞洲元素。黎譜在巴黎繪畫的《用餐者》 流露出一種思鄉情懷，藝術家將越南那熟悉的簡樸 生活描繪在作品之中。 黎譜和梅忠恕都是越南現代絹畫大師，阮嘉智和 范光厚則專注於漆畫。阮嘉智將漆畫從裝飾藝術， 提升為一門越南獨有的美術形式。 阮嘉智在漆藝方面的優秀技巧，在《稻田風景》 （拍品24）裡盡數展現。這幅正方形的作品尺寸 特別小，但風景的細節卻詳盡無遺。細線勾勒的麥子 順著梯田間生長，植物沿著畫框內邊蜿蜒伸展。 金色顏料點綴畫面，為樹葉鍍上溫暖的陽光。藝術家 運用西方藝術概念裡的透視法，賦予畫面深度， 而前景的明亮黃褐色與背景越往後越深的茶褐色漸進 融合，亦進一步加強了景深效果。 范光厚設計的漆盒《寺廟風景》 （拍品25）儘管表面 空間有限，但細節一樣豐富，藝術家的技藝由此 可證。碩大的蕉葉在金色陽光下閃耀，藝術家運用 精湛的色調變化技巧，表現出豐茂的蕉葉形象。 范光厚不用透視法，而是用層次去表現畫面深度， 就像日本傳統的浮世繪版畫一樣。即使是遠處的 蕉葉，藝術家都逐一刻畫，建築物的窗子亦細膩 描繪。這件漆盒是當之無愧的珍寶，見證了藝術家 創作時的堅韌耐力和爐火純青的漆藝造詣。 這個系列的作品展示這幾位藝術家對西方圖像結構 的賞析，同時銳意將傳統藝術形式發揚光大，以應 對二十世紀的世界萬象。這些藝術家一生不論是 從未離開越南，還是遠走世界去追求藝術發展，他 們在大部分創作中都不斷向祖國與它的人民和文化 吸取靈感。

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Pioneers of Modernism: A Selection from The Scheeres Collection

24. Nguyen Gia Tri

1908 - 1993

Landscape with Ricefelds signed ‘Ng Tri [in English]’ lower right lacquer, eggshell white and gold paint on panel 23.5 x 23.5 cm. (9 1/4 x 9 1/4 in.)

Executed circa 1946.

Provenance Collection of Évariste Jonchère, teacher of lacquer at the École des Beaux Arts, Hanoï from 1932-1946 (gifed directly by the artist) Collection of Madame E. Jonchère-Debiol Acquired from the above by the present owner

現代主義的先驅者：席爾斯收藏

阮嘉智 《稻田風景》 漆畫 蛋彩 金漆 木板 約1946年作 款識: Ng Tri (右下) 來源 河內美術學院漆畫藝術導師 Évariste Jonchère 收藏， 1932-1946年 (直接得自藝術家本人) E. Jonchère-Debiol 女士收藏 現藏者購自上述來源

HK$ 100,000-150,000 US$ 12,800-19,200

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25. Pham Hau

1903-1995

View of a Temple signed ‘Pham Hau [in Chinese]’ with one seal of the artist, lower right red lacquered rectangular box with polychrome lacquered cover 7.3 x 32.5 x 17.4 cm. (2 7/8 x 12 3/4 x 6 7/8 in.)

Executed circa 1946.

Provenance Collection of Évariste Jonchère, teacher of lacquer at the École des Beaux Arts, Hanoï from 1932-1946 (gifed directly by the artist) Collection of Madame E. Jonchère-Debiol Acquired from the above by the present owner

現代主義的先驅者：席爾斯收藏

范光厚 《寺廟風景》 紅漆 長方形盒子 彩繪漆表面 約1946年作 款識: 范光厚 (右下) 藝術家鈐印一枚 (右下) 來源 河內美術學院漆畫藝術導師 Évariste Jonchère 收藏， 1932-1946年 (直接得自藝術家本人) E. Jonchère-Debiol 女士收藏 現藏者購自上述來源

HK$ 60,000-90,000 US$ 7,700-11,500

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Pioneers of Modernism: A Selection from The Scheeres Collection

26. Sanyu

1895-1966

Reclining Leopard signed and numbered ‘Yu [in Chinese] SANYU’ and ‘2/50’ lower lef and right respectively linocut in black on paper 19 x 26 cm. (7 1/ 2 x 10 1/4 in.)

Executed in 1930s, this work is number 2 from an edition of 50.

Provenance Kunstzaal van Lier, The Netherlands Private Collection, The Netherlands Acquired from the above by the present owner Literature Rita Wong, SANYU Catalogue Raisonne: Prints, Taipei, 2017, no. P40, p.139 (another example illustrated)

現代主義的先驅者：席爾斯收藏

常玉 《卧豹》 橡膠版 黑墨 紙本 1930年代作，共有50版，此為第2版。 款識: 玉 SANYU (左下) 2/50 (右下) 來源 荷蘭, Kunstzaal van Lier 畫廊 荷蘭私人收藏 現藏者購自上述來源 出版 衣淑凡著,〈常玉版畫全集〉, 台北, 2017年, 圖版P40, 139頁 (同系列作品圖版)

HK$ 40,000-80,000 US$ 5,100-10,300

Under the tutelage and guidance of his father from a young age, Sanyu learned the skills of traditional Chinese seal carving; processes which would become central to the artist’s print-making. In his works from the 1930s, these skills are refned, and materialise in the artist’s later habit of carving patterns directly into impasto. From this, one senses the artist’s ability to transmute old skills, and his mastery of them. Most uniquely, though the artist’s roots in printmaking are Chinese, Sanyu utilises Western tools such as metallic and rubber plates, diferentiating himself from his Eastern counterparts in which wooden plates were most commonly used.

At the turn of the 20th Century, easy access to rubber plates in Europe facilitated artists to print more autonomously, without relying so heavily on outside factors. In 1932, Sanyu employed this method of production, making him one of the earliest artists to create prints in such a way.

常玉自幼在父親教導下學習中國傳統印璽篆刻， 我們也可以在其三十年代油畫作品中看到他經常 直接在油彩上刻畫圖案，由此可以觀察到常玉 在發展版畫作品時的熟練及關連性。常玉的版畫是 使用金屬版和橡膠版等西方的凹版媒材, 非中國所 熟知的木刻版畫。 二十世紀初價格平易近人的橡膠版畫在歐洲流行， 而且藝術家可以自行操作印製。常玉在1932年開始 製作此類版畫，是最早始用的藝術家之一。 「橡膠版不應被當作木版的廉價替代品，它賦予版畫 獨特的個性，和木刻版畫大異其趣，值得我們深入 研究。畫版的刻痕直接取決於雕刻者的感官，即使 再微小的干擾，都會令手指施加多餘力道，破壞 整體畫面。對繪圖者來說，雕刻橡膠版才是正統的 方式。」-- 馬諦斯 (瓦特·利伯曼，«馬諦斯：圖像作品 五十年»，紐約，1956年，第13-14頁。)

“The Linoleum should not be used as a cheap substitute for wood because it gives to a print its own special character, quite diferent from woodcut and therefore should be studied.

The gouge is controlled directly by the sensibility of the engraver. Indeed, this is so true that the least distraction during the executing of a line causes a slight pressure of the fngers in the gouge and infuences the drawing for the worse.

Engraving in linolenum is a true medium for the painter illustrator.” - Henri Matisse (Quoted from Walter Lieberman, Matisse: 50 Years of His Graphic Works, New York, 1956, pp.13-14)

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27. Sanyu

1895-1966

Nude signed ‘Yu [in Chinese] SANYU’ lower right ink and charcoal on paper 44.2 x 55.4 cm. (17 3/8 x 21 3/4 in.)

Provenance Private Collection, Paris Acquired from the above by the present owner circa 1998 Literature Rita Wong, SANYU Catalogue Raisonne: Drawings and Watercolours, Taipei, 2014, no. D0043, electronic index p. 11 (illustrated)

現代主義的先驅者：席爾斯收藏

常玉 《裸女》 水墨 炭筆 紙本 款識: 玉 SANYU (右下) 來源 巴黎私人收藏 現藏者約1998年購自上述來源 出版 衣淑凡著， 〈常玉素描與水彩全集〉，台北，2014年， 圖版D0043，電子附錄11頁 (圖版)

HK$ 200,000-300,000 US$ 25,600-38,500

Born in Sichuan in 1895, Sanyu was the youngest child in a wealthy family who owned a silk factory. As a young boy who trained in Chinese calligraphy, he was always encouraged to savour his love for art. Afer a trip to Japan in 1918 where he encountered Modern Western Art, he lef Asia for Paris and its Avant-garde scene and arrived there in 1920. Once settled, unlike many of his contemporaries who studied at schools which taught the strict academic rules of painting, he chose to further his studies at the Académie de la Grande Chaumière, a school dedicated to painting and sculpture free from academic constraint. It was there that he spent several years mastering the art of sketching. Sanyu soon became a familiar feature of Montparnasse. At the Académie, he befriended Alberto Giacometti and his fellow Parisian-Chinese artist Pang Xunqin. In 1929, Henri-Pierre Roché, who had already supported the careers of Duchamp, Braque and Brancusi, agreed to be his dealer.

It is in Sanyu’s drawings that we see his concept and experimentation in perspective. His love for photography is noticeably evident through the play of perspective, where he takes on the view of a wide-angle camera lens to accentuate the hips and thighs of his nudes. One of the artist’s most loyal and well-known supporters and friends, the celebrated poet Xu Zhimo, once said that his nudes had the ‘the thighs of the universe’.

常玉1895年生於四川；一個擁有絲綢工廠的富裕家 庭，是家中老么。 從小接受中國書法的訓練，家中 總是鼓勵他去發展對藝術的熱愛。 常玉1918年至日 本旅遊，在那裡他接觸了現代西方藝術，啟發他離開 亞洲，前往巴黎；這個現代藝術的舞台。1920年常 玉初抵巴黎時，不像同代的旅法畫家選擇正規學院派 的美術學校就讀，他卻選擇了學風自由的「大茅屋 學院」習畫，而且花了數年的時間於此練習素描。 常玉很快的融入蒙帕納斯的藝術家群。 在大茅屋， 他結識了阿爾伯托·賈克梅蒂和來自同鄉的藝術家 龐薰琴，龐回憶當時畢加索曾經給常玉畫像的事。 1929年，亨利 - 皮埃爾·羅榭開始當起常玉的 經紀人，羅榭曾經協助過為杜尚、布拉克、布朗庫西 等藝術家作藝術推廣。 常玉的素描作品展現了對透視的概念與實驗。因為 喜愛攝影，常玉便嘗試以攝影機的廣角鏡頭視角， 誇大臀部與大腿的比例，他的好友徐志摩曾戲稱常玉 畫的裸女是「宇宙大腿」。 幼時的書法訓練使得常玉於其素描上運用水墨來傳達 人體之美，並顯得得心應手，書法的筆觸和運筆 的節奏，創造出生動、且副有變化的線條，與铅筆 或碳筆的筆觸絶然不同，不但能展現律動和韌性， 演繹出簡單並典雅的中式美學。

Having had years of rigorous practice in traditional Chinese calligraphy since a young age, Sanyu brilliantly incorporates the ink-wash technique into his nude drawings, evoking the beauty of the fesh. Moving away from the traditions of Western sketching through the use of charcoal and pen, Sanyu instead uses the rhythm of the calligraphy brush to create vividly subversive lines of the fesh, not only showing his ability to create fow and resilience in movement, but also demonstrating the simple yet exquisite qualities of Chinese ink painting.

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28. Sanyu

1895-1966

Reclining Nude signed ‘Yu [in Chinese] SANYU’ lower right ink and charcoal on paper 20.7 x 44.4 cm. (8 1/8 x 17 1/ 2 in.)

Provenance Private Collection, Paris Acquired from the above by the present owner circa 1998 Literature Rita Wong, SANYU Catalogue Raisonne: Drawings and Watercolours, Taipei, 2014, no. D0014, electronic index p. 9 (illustrated)

現代主義的先驅者：席爾斯收藏

常玉 《側臥裸女》 水墨 炭筆 紙本 款識: 玉 SANYU (右下) 來源 巴黎私人收藏 現藏者約1998年購自上述來源 出版 衣淑凡著， 〈常玉素描與水彩全集〉 ，台北，2014年， 圖版D0014，電子附錄9頁 (圖版)

HK$ 100,000-200,000 US$ 12,800-25,600

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Pioneers of Modernism: A Selection from The Scheeres Collection

29. Sanyu

1895-1966

Standing Nude signed ‘Yu [in Chinese] SANYU’ lower right ink and charcoal on paper 50.7 x 20 cm. (19 7/8 x 7 7/8 in.)

Provenance Private Collection, Paris Acquired from the above by the present owner circa 1998 Literature Rita Wong, SANYU Catalogue Raisonne: Drawings and Watercolours, Taipei, 2014, no. D0167, electronic index p. 20 (illustrated)

現代主義的先驅者：席爾斯收藏

常玉 《裸女站姿》 水墨 炭筆 紙本 款識: 玉 SANYU (右下) 來源 巴黎私人收藏 現藏者約1998年購自上述來源 出版 衣淑凡著， 〈常玉素描與水彩全集〉，台北，2014年， 圖版D0167，電子附錄20頁 (圖版)

HK$ 120,000-220,000 US$ 15,400-28,200

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Property of an Important Asian Collector

30. Lee Man Fong

1913-1988

Balinese Dancer signed ‘M. F. Lee’, with one seal of the artist lower lef oil on masonite 89.5 x 54 cm. (35 1/4 x 21 1/4 in.)

Provenance Collection of Artist Liu Kang, Singapore (gifed directly from the artist) Thence by descent to the present owner

重要亞洲私人收藏

李曼峰 《峇里舞者》 油畫 纖維板 款識: M. F. Lee 鈐印: 曼峰 (左下) 來源 新加坡, 藝術家劉抗私人收藏 (直接得自藝術家本人) 現由上述藏家家屬繼承作品

HK$ 220,000-350,000 US$ 28,200-44,900

Lee Man Fong was three years old when his family emigrated to Singapore. Growing up, he was trained in the Lingnan style of Chinese brush painting, and oil painting. In 1932, Lee moved to Jakarta to become an editor of a Chinese newspaper, and eventually took up painting full time.

At that time, Bali served as an inspiration for many important artists such as Rudolf Bonnet and Miguel Covarrubias. In 1941, Lee went to Bali for the frst time and spent several months there. This trip proved instrumental in the development of his characteristic use of rich colours, and rendering of everyday scenes. Thereafer, the artist continued to hold successful solo exhibitions in Indonesia.

In 1949, the artist was awarded a scholarship to paint in the Netherlands, and eventually attaining recognition through various exhibitions in Europe. Lee’s illustrious career reached a high point during his stint as Palace Artist in President Sukarno’s Palace from 1961 to 1966.

It was during circa late 1960s to 1980s that Lee Man Fong and Singaporean artist Liu Kang were deeply involved in the same art circle, and the present lot was gifed during their friendship. Liu Kang was a founding member and President of the Singapore Arts Society and is credited with developing the Nanyang style of painting. Similarly, it was a historic trip to Bali in 1952, which enabled artists Liu Kang and his peers to crystallise the aesthetic characteristics of the Nanyang style of painting.

The friendship between Liu and Lee undoubtedly ignited infuences on each other’s artistic development, as both artists concerned themselves with creating a distinct artistic language for the region. From 1967 onwards, Lee Man Fong stayed in Singapore for the next twenty years, and held high profle solo exhibitions, returning to Jakarta in 1986. Lee’s multicultural exposure contribute to his talent as one of the greatest pioneers of Southeast Asian Art.

李曼峰三歲時隨家人移居新加坡，他在兩位老師 的教導下習得油畫和國畫嶺南派的訓練。1932年， 李曼峰去了印尼雅加達成了中文報紙的編輯，之後 轉為全職畫家。 當時的峇里島為眾多重要藝術家如魯道夫·邦尼和 米高·柯瓦盧畢亞斯提供了創作靈感。1941年李曼峰 首次前往峇里並在島上生活數月。此行為李曼峰日後 的藝術創作生涯奠下了重要的根基，成就了這位 畫家獨特的藝術風格。李曼峰的畫色彩豐富，結合 寫實畫風，呈現人生百態。後來，李曼峰就一直 在印尼舉行個展，在藝術界闖出了一片屬於 自己的天地。1949年，在獲得獎學金前往荷蘭並 待了三年，終於在歐洲的多個展覽中打響了國際 知名度。1961至1966年間，李曼峰的藝術生涯在 蘇加諾總統府任職專職畫師時達到高峰。 在二十世紀六十年代末至八十年代，李曼峰和新加坡 藝術家劉抗深切地融入了同一個藝術圈，這次拍賣 的作品即是李曼峰致贈給劉抗的禮物，以見證他們 的友誼。劉抗為新加坡藝術學會的創始人暨會長， 他對發展南洋畫派的貢獻良多。1952年的一次歷史 性的峇里島之旅，使藝術家劉抗及其同僚能夠將南洋 畫派的審美特徵結合。 劉抗與李曼峰之間的友誼無疑引發了彼此藝術發展 的相互影響，因為兩位藝術家都關心為該地區創造 獨特的藝術語言。 從1967年起，李曼峰從雅加達 返回新加坡，至此在新加坡駐留二十年，並舉辦了 數場重要個人展覽，其後於1986年返回雅加達。 李曼峰多元文化的閱歷累積成為他的養分，成就他為 東南亞藝術偉大先驅之一。

Members of the Singapore Commercial Art Society, dated 26 March 1967. Liu Kang (frst from the lef), Lee Man Fong (third from the lef, Cheong Soo Pieng (sixth from the lef).

Courtesy of Liu Kang's family

星洲美術廣告協會成員，1976年3月26日。 劉抗（左一） 、李曼峰（左三）及鐘泗濱（左六） 。 圖：劉抗家屬

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31. Hurvin Anderson

b. 1965

Naila (Movement) signed and dated ‘Hurvin A 2010’ on the reverse acrylic on paper layered on board 29.5 x 20.4 cm. (11 5/8 x 8 in.)

Executed in 2010.

Provenance Thomas Dane Gallery, London Private Collection, Asia Acquired from the above by the present owner

赫爾文·安德森 《 奈拉（動態）》 壓克力 紙本 裱於木板 2010 年作 款識：Hurvin A 2010 (畫背) 來源 倫敦，Thomas Dane 畫廊 亞洲私人收藏 現藏者購自上述來源

HK$ 200,000-300,000 US$ 25,600-38,500

Quick, almost haphazard brushstrokes convey a sense of urgency, as if to capture the image before it fades away. Hurvin Anderson’s Naila (Movement) at frst glance feels incomplete - the artist’s deliberate lack of detail forms a visual obstacle to understanding the subject. As the title suggests, the fgure’s underlying silhouette creates a back and forth motion, animating the still image into one on constant playback.

The fatness of the background renders the space unrecognisable, the subject is neither here nor there, almost as if she was from a distant memory.

The 2017 Turner prize nominee’s use of juxtaposition between fguration and abstraction has continued to be present in this work. The fgure is spotlighted through the wash of yellow in the background, its fatness further accentuating the rich dark tones of her skin peeking through her translucent fabric. Her intimate attire conveys a sense of familiarity and comfort, yet the viewer cannot help but be distanced by the food of light between them. A British painter of Jamaican descent, Anderson’s characteristic style efectively visualises this sense of ambiguity towards his cultural heritage.

A nod to Malian photographer Seydou Keita’s portraits and his use of local textiles as a physical representation of his sitters’ identities, Anderson also attempts to capture the intimacy of his female subject through her movement and attire. Having only had second-hand experience with the tropical landscapes of Jamaica and Trinidad (the latter where he did an artist’s residency), Anderson’s portrait of the female fgure suddenly comes across as a superfcial, idealised perception of his cultural background. The multiple push-pull elements in the work conveys the artist’s ongoing exploration of his personal identity, a sense of yearning to understand his cultural heritage, and the uncertainties that come with.

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筆觸隨性瀟灑的運行於畫紙上，藝術家意圖抓住即逝的 影像。一眼望過去，赫爾文·安德森的畫作《奈拉 （動態）》似乎未完成，其實是他故意將某些細節之處 遺漏，製造視覺障礙，讓觀眾自行腦補，在想像中 將作品完整化。就像其標題描述的那樣，人影在運動中 前後搖晃，似錄影機一直在回放一幕靜止的場景。 背景是如此平實，我們面對的好像是一個陌生的世界， 畫中女子若有若無，仿佛是來自一片遙遠的記憶。 與2017年「透納獎」的提名作品一樣， 《奈拉（動態）》 將具象和抽象並存、運用到作品的創作過程中。鮮黃的 背景突顯了畫作中的人物 ，襯托出輕薄衣物下透出的 黝黑肌膚。女子身上的內衣令人感覺貼身舒適，但她與 觀眾之間，被藝術家所營造的一道光束隔離。安德森 是一名英國牙買加裔畫家，他的畫風把握了自身徘徊於 兩種文化之間的衝突。馬里攝影師塞杜·凱塔會用其所 拍攝對象的本土國家的服飾表現其各自的種族國籍。 和凱塔一樣，安德森也嘗試用女模特的身姿行動和服飾 來安現她真實的身份。安德森並不是在熱帶土生土長的 牙買加和特立尼達島居民（特立尼達島曾作為他的藝術 駐留地） ，這麼看來，他所畫的女性人物就會顯得突兀， 膚淺做作，是安德森將自己種族文化背景理想化的 產物。畫筆在作品上來回掃動，象徵著安德森在繼續 尋根，他渴望知道自己究竟屬於哪個文化，以及 隨之而來，對於歸屬感的困惑和不安。

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∑

32. Ib Kofod-Larsen

1921-2003

Pair of ‘Elisabeth’ armchairs, model no. U 56 Brazilian rosewood, leather Each: 71.5 x 79 x 78 cm. (28 1/8 x 31 1/8 x 30 3/4 in.)

Executed by master cabinetmakers Christensen & Larsen, Copenhagen, Denmark. Underside of each with manufacturer’s mark. Designed in 1956, produced in early 1960s.

Provenance Den Permanente, Copenhagen, early 1960s Private Collection, Copenhagen (acquired directly from the above) Literature Lena Larsson, ‘Snedkerlaugets utställning 1956’, Dansk Kunsthåndværk, no. 6, 1956, p. 136 Dansk Kunsthåndværk, no. 7, 1956, p. 148 for an advertisement ‘Noter, anmeldelser og indlæg’, Dansk Kunsthåndværk, no. 34, 1961, p. 20 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 365 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, pp. 13, 49 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 163 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, p. 101

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 20 September–7 October 1956, Stand 28.

依比･可法･拉森 《伊麗莎白扶手椅一對》型號 U 56 巴西黑黃檀木 皮革 此作品於1956年設計，並由丹麥哥本哈根木匠名師 Christensen & Larsen 於1960年代早期製造。 款識: 製造商標籤於二張座椅下方 來源 哥本哈根，Den Permanente，1960年代早期 哥本哈根私人收藏 (直接購自上述來源) 出版 Lena Larsson著， 《Snedkerlaugets utställning 1956》 ， 〈Dansk Kunsthåndværk〉 ，第6集，1956年，第136頁 〈Dansk Kunsthåndværk〉，第7集，1956年，第148頁 （廣告圖版） 《Noter, anmeldelser og indlæg》， 〈Dansk Kunsthåndværk〉，第34集，1961年，第20頁、 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar, 第3集: 1947-1956年〉 ，哥本哈根, 1987年, 第365頁 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar, 第4集: 1957-1966年〉 ，哥本哈根, 1987年, 第13、49頁 Noritsugu Oda著， 〈丹麥椅子〉，三藩市, 1996年, 第163頁 Per H. Hansen著， 〈芬·祖爾之家〉 ，奧斯特菲爾登, 2014年, 第101頁

此型號曾於1956年9月20日至10月7日在哥本哈根 丹麥藝術與設計博物館〈哥本哈根細工木匠公會〉 展出，展位編號28。

HK$ 150,000-250,000 US$ 19,200-32,100

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Property of an Important Private Collector

33. KAWS

b. 1974

Final Days Afrormosia wood 210 x 195 x 137 cm. (82 5/8 x 76 3/4 x 53 7/8 in.)

Executed in 2014, this work is number 2 from an edition of 3 and 2 artist’s proofs.

Provenance Galerie Perrotin, Hong Kong Acquired from the above by the present owner

重要私人收藏

KAWS 《末日》 非洲柚木 2014年作，共有3版與2版藝術家試作版，此作為第2版。 來源 香港，貝浩登畫廊 現藏者購自上述來源

HK$ 3,000,000-5,000,000 US$ 385,000-641,000

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Sculpted from a gorgeous dark brown African hardwood and weighing in at a half tonne, Final Days is an exemplary work by the intrepid Brian Donnelly, known as KAWS. The artist’s classic revisions of iconic popular culture characters are not only immediately recognisable but are also in the spotlight now more than ever. Featuring KAWS’s idolised alterations applied to a hatless Kurf inspired by The Smurfs, the present lot showcases the unmistakable crossed-out eyes, bones imitating hair and ears, distorted mouth and impeccable fabrication that characterise the artist’s signature work. Though he is internationally known for his compelling cross-pollination of distinct imagery, materials, and cultural references, KAWS raises the stakes considerably incorporating for the frst time the richly coloured, extremely durable afrormosia to articulate Final Days. Imbued with the spiritual energy of the historic lumber, this novel combination of timeless dark hardwood and contemporary iconography frst debuted at the artist’s major 2014 exhibition of the same name at the Contemporary Art Centre of Málaga.

The charisma of Final Days emanates from its uncanny relatability as the work represents one of the artist’s most convincing explorations into the inner-world of humanity. Lumbering towards the viewer with its arms held out like an endearing cartoon zombie, the character featured in the work adopts a gait and expression that distances the piece from any association with the innocent world of fantasy and childhood. Eliciting sensations of melancholy and loss, Final Days conveys feelings inherent to the human condition that are balanced with the artist’s sophisticated sense of humour and charming cartoon aesthetic. Though Kaws states that his work “is a mirror of his own state of mind… and a way of understanding the world around him,” (KAWS quoted by Arie Bouman, "KAWS at the Modern Art Museum of Fort Worth," 11 January 2017) he further elucidates, "it’s not important for me to impose those thoughts on the viewer. I would much rather have the work fnd new meaning to the people that take the time to view it. I don’t make work with any specifc audience in mind." (KAWS interviewed

by Grace Banks, "Kanye West-favourite KAWS Exhibits His Sculptures at Yorkshire Sculpture Park," Forbes, 29 February 2016)

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While the masterful Warholian-style re-appropriation of pop icons in Final Days stems from the artist’s early venture into the visual culture of New York City street art, the present lot truly emerges from the deep-seated respect for crafsmanship and the world of collecting as a mode of identity construction that KAWS encountered when he travelled to Japan in 1996. The integrity of craf in Japan inspired a new way of thinking for the artist. According to KAWS, “artists like [Takashi] Murakami… really opened up a lot of doors on acceptance and crossover projects.”

(KAWS interviewed by Tobey Maguire, "KAWS," Interview Magazine, 27 April 2010) In response to the conventional distinction between “toys” and “sculptures,” KAWS clarifes, “to me it’s the same thing… I always thought it was funny how people like to put things in categories and label them… in the end, my thought process is the same.” (KAWS quoted in "KAWS," Modern Painters vol. 25, no. 10, November 2013, p. 31-32) To create this largerthan-life wooden sculpture, KAWS had cut the wood pieces in Amsterdam before shipping them to Maastricht for hand-fnishing, making Final Days a truly global work of art. This level of expertise and precision furthermore extends from the artist’s admiration of Jef Koons, whom KAWS commends, “I appreciate his perfectionist mentality. It’s so over the top.” (KAWS interviewed by Tobey Maguire, "KAWS," Interview Magazine, 27 April 2010) KAWS’s ruthlessly honed works have carved out a unique path in the international art world assimilating Pop Art and abstraction. Whether in reaction to the recognisable fgures from childhood cartoons or the empathetic tendencies of his many characters, KAWS’s prolifc work speaks beyond pop culture.

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KAWS, Final Days, 2013, 6 metres tall example exhibited at Frieze Sculpture, London, 5 July-8 October 2017 Photo: Danielle So

KAWS 《末日》, 2013年作 同系列高度6米的作品展於倫敦 Frieze Sculpture, 2017年7月5日-10月8日

《末日》這件作品採用了深褐色的非洲硬木，重達半 公噸，可視為藝名為KAWS的藝術家布萊恩·唐納利 之代表作。藝術家重新詮釋流行文化的經典手法， 在此顯得愈加鮮明。KAWS以偶像化的方式將靈感來 自藍色小精靈角色克夫，這件作品裡主角沒有戴著 帽子，眼睛是其慣用的X型符號，頭髮及耳朵看起來 則像是骨頭的形狀，變形的嘴部及精細的作工， 皆俱備了KAWS代表性的特色。KAWS在國際藝壇 為人稱道的是在於他能巧妙地跨界圖像、材質及 文化典故，在此，藝術家更進一步地自我挑戰， 首次採用了色調深沉、質地堅韌的非洲柚木來創作 《末日》這件雕塑。憑藉著歷史悠久的木材所挾帶的 精神能量，KAWS創新結合了穿越時間的黑色硬木及 當代圖像，這件作品首次在2014年馬拉加當代藝術 中心的同名展覽中亮相。 《末日》這件雕塑的魅力源於讓人能與自身連結的奇 妙力量，成功展現出藝術家對人類內心世界最 令人折服的探索。作品中人物展開雙臂，像是個 可愛的卡通殭屍般呈現在觀眾面前，然而他的步履和 表情，卻與純真的幻想世界和童年產生了一種斷層。 《末日》不僅抒發了憂鬱和失落感，同時也傳達出藝 術家獨到的幽默、讓人著迷的卡通式美學，以及 和人類共同的心理狀態之間所揣摩出的平衡點。雖然 KAWS曾言，他的作品「是反映他內心狀態的一面 鏡子…以及去理解他所處的世界的一個方法」(摘錄 自亞莉·布曼所著《KAWS在福特沃斯當代美術館》， 2017年1月11日)，他作出更進一步解釋： 「把想法 強加到觀眾身上對我來說一點也不重要。我寧願 作品能為每個不同觀看的人帶來不同的意義。 我的作品並不是特地為某種觀眾所創作的。」(摘錄 自KAWS與葛瑞思·班克絲之面談《肯伊·威斯特的最 鍾愛的藝術家KAWS於約克郡雕塑公園展出雕塑》， 福布斯雜誌，2016年2月29日)。

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安迪·沃荷式的普普圖像在《末日》固然清晰可見， 這與藝術家早期探索紐約市街頭藝術的視覺文化有 高度關聯。然而KAWS在1996年遊歷日本，見識到 當地精湛工藝以及透過收藏來建立身分地位的社會， 因而他在這件作品中也傳達了他對於在日本所見所聞 的深刻敬意。日本工藝對於完美始終如一的追求， 激發了藝術家的新思維方式。他曾言： 「像村上(隆) 等藝術家，著實為人們的接受度及跨界創作開啟了 無數的大門。」(摘錄自KAWS與托比·馬奎爾之面談 《KAWS》，Interview雜誌，2010年4月27日)。而對 於傳統眼光裡「玩具」及「雕塑」之間的差異，他近 一步解釋： 「對我來說是一樣的…我總覺得很有趣， 人們喜歡把事物歸類然後貼上標籤…但終究而言， 我的思考過程都是一樣的。」(摘錄自《KAWS》 現代畫家雜誌，25冊，第10期，2013年11月， 第31-32頁)。為了創作這件比真人比例來得大的 木雕，KAWS先在阿姆斯特丹將木材切好，才在 馬斯特里赫特以手工刻製完成， 《末日》也可說是 一件行遍全球的作品了。作品展現出高度的專業 及精準，這也得益於藝術家對傑夫·昆斯的欽佩， 他讚揚道： 「我欣賞他的完美主義心態，它是如此 的極致。」(摘錄自KAWS與托比·馬奎爾之面談 《KAWS》，Interview雜誌，2010年4月27日)。 KAWS精雕細琢的諸多作品，在國際藝壇開發出一條 揉合了普普藝術及抽象藝術的嶄新途徑，無論是 以童年卡通中熟知的角色來著手創作，或是從他本身 多重性格的移情書寫，KAWS豐富的作品從流行文化 出發，也超越了流行文化。

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Property of an Important European Collector

34. Takashi Murakami

b. 1962

MPGMP, 1960→2012 signed and dated ‘TAKASHI 2012’ on the overlap acrylic on canvas 200 x 160 cm. (78 3/4 x 62 7/8 in.)

Executed in 2012.

Provenance Galerie Perrotin, Paris Acquired from the above by the present owner

重要歐洲私人收藏

村上隆 《MPGMP, 1960→2012》 壓克力 畫布 2012 年作 款識：TAKASHI 2012 (畫背) 來源 巴黎，貝浩登畫廊 現藏者購自上述來源

HK$ 5,000,000-7,000,000 US$ 641,000-897,000

‘My own personal position is drawn from how well I can arrange the unique fowers of Asia, moreover the ever strange blossoms that have bloomed in the madness of the defeated culture of postwar Japan, into work that will live within the confnes of Western art history.’

Takashi Murakami

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© Takashi Murakami/KaiKai KiKi

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Jef Koons Puppy (Vase), 1998 © Jef Koons

傑夫·昆斯 《小狗（花瓶） 》1998年作

MPGMP, 1960→2012 presents the iconic sensory deluge of brightly coloured impossibly intricate imagery that has canonised Takashi Murakami as one of the most celebrated artists of our time.

Drawing inspiration from anime, manga, otaku, popular culture, as well as his PhD in nihonga, Murakami’s lionised works bridge tradition and the worlds of contemporary art, design, animation, fashion and contemporary culture. As the king of the vivid psychedelic style he coined “Superfat,” Murakami ofers a captivating, meticulouslyexecuted painting composed of countless stylised skulls rendered in multifarious, primarily red hues.

Encapsulating the two-dimensional graphic style and “fattening” of high and low culture defning the artist’s notion of “Superfat,” MPGMP, 1960 →2012 exemplifes key characteristics that have allowed the artist to reach deifcation in some circles for his ability to simultaneously straddle East and West, old and new, mainstream and subculture.

Though Murakami is known for his motley of Neo-pop characters and motifs, ofen described as “eye candy,” the present lot underscores a profound shif that occurred in his work afer meeting his mentor, the Japanese Art Historian Nobuo Tsuji, in 2009. Since then, Murakami has imbedded a deeper engagement in his work with historical Japanese art that has fuelled both the artist’s prodigious imagination as well as ample critical interest. Embellished with a cascade of chromatic skulls, MPGMP, 1960 →2012 details Murakami’s fascination with the highly decorative and patterned Rinpa style that originated from the Edo-period of artistic revival.

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Created in the year following the disastrous Tōhoku earthquake and tsunami that struck Japan in 2011, the present lot furthermore evokes the Buddhist concept Shogyo mujo connoting the transience of life. “The expression ‘shogyo mujo’ is very important in Japanese culture,” explains Murakami, “but no one genuinely understands it.

Afer these disasters, people fnally understood it in all its brutality.” (Takashi Murakami quoted in Massimiliano Gioni, “Takashi Murakami: SUPERFLAT TO SUPERNATURAL.” Flash Art International, 45, no. 284, May 2012, p. 52-56) Murakami’s fxation on skulls and preoccupation with the Buddhist concept of life’s ephemerality also extends to the western phenomenon of vanitas, a moralising still-life artwork that emerged in 17thcentury Holland illustrating symbolic objects curated to remind viewers of their mortality. Like these memento mori, Murakami’s MPGMP, 1960 →2012 features skulls to signify death and when seen from a distance, appears like a bed of wild fowers to further emphasise the fragility of life. In comparison to Andy Warhol’s Skulls (1976), the present lot shares Warhol’s use of vivid colours juxtaposed against macabre subject matter, a technique that evokes the curious entanglement of beauty and death inherent to the human condition. When placed next to Puppy (Vase) (1998), Murakami’s Shogyo mujo can moreover be compared to Jef Koon’s immaculate white porcelain vase that nearly immortalises his signature West Highland Terrier as a stark contrast to the bundle of short-lived cut fowers that the work is meant for. Re-purposing elements from throughout art history and contemporary culture, Murakami’s hyper-colourful, anime-infused painting ofers a master work by one of today’s most lauded artists.

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Andy Warhol Skulls, 1976 Collection of Tate/National Galleries of Scotland © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

安迪·沃荷 《骷顱》1976年作 泰特/蘇格蘭國家美術館收藏

村上隆作為我們這個時代最著名的藝術家之一， 在《MPGMP, 1960 → 2012》中帶來極具代表性的 感官盛宴，用富麗的色彩堆砌出不可思議又錯綜複雜 的圖像。村上隆的靈感來自於動畫、漫畫、宅男、 流行文化，以及其博士學位所研習的「日本畫」， 其中最為人稱道的是在於他將傳統及多元領域 的結合，包括了當代藝術、設計、動畫、時尚及 當代文化。作為「超平面」色彩亮麗、目眩神迷之 風格的創始者，村上隆在這件作品中精心繪製了數不 清風格化的骷顱頭，運用了五花八門的色彩，烘襯著 紅色的主色調。 《MPGMP, 1960 → 2012》中二維平面 的圖像風格，不僅「平面化」了高級與低俗藝術之間 的差異，也呼應了藝術家所鼓吹的「超平面」概念， 作品展現了村上隆創作中重要的代表元素以及其出 神入化地成功將東西、新舊、主流與次文化融合的 高度功力。 儘管村上隆是以其多元的新普普風格及主題稱著， 也往往被形容為過於討喜的視覺感，這件作品標記了 他在2009年遇到日本藝術史學家辻惟雄後的一個 重要轉變。這位恩師自此啟發了村上隆透過創作 去更深刻地探究日本傳統藝術，點燃了他驚人的 想像力與高度的批判力。滿滿的彩色骷顱頭點綴了 《MPGMP, 1960 → 2012》整幅畫，詳實地展現出 村上隆對源於江戶時代藝術復興的琳派，其中充滿 高度裝飾性和豐富圖案之風格的迷戀。2011年日本 經歷了災難性的311大地震及海嘯，這件作品創作 於隔年，更進一步探觸了佛教中「諸行無常」的 概念，感念著生命的短暫。村上隆曾言： 「諸行無常 在日本文化是相當重要的，但沒有人真正理解。 直到經歷過這些災難後，人們終於領略了這個殘酷 的真理。」(節錄自馬西米蘭諾·吉歐尼《村上隆： 超平面到超自然》Flash Art International雜誌， 45，284期，2012年5月，第52-56頁)。

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村上隆對於骷顱的迷戀以及對佛教中生命稍縱即逝的 概念，亦能進一步延伸到十七世紀風行於尼德蘭地區 的虛空派繪畫之影響，該繪畫風格往往以充滿符號性 的靜物，來提醒著人們終將一死的無可避免性。正如 同這些西方古典中死亡警示的繪畫，村上隆這幅作 品在運用大量的骷顱頭來代表死亡的同時，從遠處來 看，也像是滿地盛開的野花，從而更加深了對於生命 脆弱的強調。與安迪·沃荷的《骷顱》(1976年作)相較 起來，這件作品同樣是以豔麗色彩來對照著可怕的 主題，用近似的手法將美麗與死亡這兩個長存於 人類生存狀態的元素巧妙地交織在一起。然而當與 傑夫·昆斯《小狗(花瓶)》(1998年作)相較之時， 昆斯以完美無瑕的白瓷花瓶來永恆化了他的招牌西部 高地梗犬，鮮明對比著瓶中那束鮮花短暫的生命， 這與村上隆作品中所要表達的諸行無常，也是不謀 而合。村上隆貫穿東西藝術史及當代文化，這幅 高彩度及充滿動漫元素的繪畫正是這位當代藝術大師 的傑出代表作。

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35. Jonas Wood

b. 1977

Untitled (Grid Pot) signed with the artist’s initials, titled and dated ‘2009 “(GRID POT) UNTITLED” JBRW 2009’ on the reverse oil on linen 61.3 x 51 cm. (24 1/8 x 20 1/8 in.)

Painted in 2009.

Provenance Shane Campbell Gallery, Chicago Private Collection (acquired from the above in 2009) Gagosian Gallery, New York Acquired from the above by the present owner Exhibited Chicago, Shane Campbell Gallery, Jonas Wood, 19 September - 31 October 2009

喬納斯·伍德 《無題 (柵格盆子)》 油畫 麻布 2009年作 款識：2009 (GRID POT) UNTITLED JBRW 2009 (畫背) 來源 芝加哥，Shane Campbell 畫廊 私人收藏（於2009年購自上述來源） 紐約，高古軒畫廊 現藏者購自上述來源 展覽 芝加哥，Shane Campbell 畫廊， 〈喬納斯·伍德〉 ， 2009年9月19日-10月31日

HK$ 500,000-800,000 US$ 64,100-103,000

‘Matisse, Picasso, Braque, Calder, Monet, Vuillard, Bonnard, van Gogh, Stuart Davis, and Hockney have all been very real infuences to me. When I was a young child, my family would speak about these artists as examples of greatness in painting.’

Jonas Wood

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Property of an Important European Collector

36. Liu Wei

b. 1972

Purple Air D1 signed, titled and dated ‘Liu Wei [in Chinese and Pinyin] “Purple Air D1” 2008’ on the reverse oil on canvas 180.3 x 220.1 cm. (70 7/8 x 86 5/8 in.)

Painted in 2008.

Provenance Minsheng Bank (acquired directly from the artist) Arnaude Sarrade, Geneva Acquired from the above by the present owner

重要歐洲私人收藏

劉韡 《紫氣 D1》 油畫 畫布 2008年作 款識：劉韡 LIU WEI《PURPLE AIR D1》2008 (畫背) 來源 中國民生銀行 (直接購自藝術家本人) 日內瓦，Arnaude Sarrade 現藏者購自上述來源

HK$ 1,500,000-2,000,000 US$ 192,000-256,000

‘The computer is like a big brain that is constantly thinking, and I am only organising…

But its method of thinking is totally diferent from mine. It is just pure logic into colour.’

Liu Wei

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Captivating in its scale and dynamism, the present lot is a classic early example from Liu Weiâ&#x20AC;&#x2122;s most iconic painting series Purple Air, meticulously regenerating various segments of Beijing into digitalised geometrical structures of bright progressive hues of pinks, yellows, blues and greens.

Painting a myriad of densely-packed vertical and horizontal lines all over the canvas with colours indicative of his personal sentiments to the city, Liu Wei conjures up a fantastical metropolis packed with high-rise buildings, ruled by the pixels of the globally digitalised world. Partially obscured yet peeping through the foreground, the looming moon behind the protruding branch of a pine tree breaks up the composition, creating a sharp contrast to the linear structure.

Seeking to transform and re-explore traditional Chinese landscape painting, the added elements of the moon and the pine tree imbues the work with an Eastern spirituality. Like other works from the same series, Purple Air D1 is in fact not made with a brush but digitally rendered on a computer which is then painted onto a larger canvas. This series emerged at a time of recognition and acclaim for the artist, where Liu exhibited at the Shanghai Biennale in 2004 and the Venice Biennale in 2005. 2008 also marks the year in which Liu won a Contemporary Chinese Art Award (CCAA), and the beginning of the Purple Air series for which he became renowned.

The present work, is thus one of the few early examples that represents a milestone and crucial turning point for the artist, where he not only underwent a change in artistic direction, but also in concept.

As one of Chinaâ&#x20AC;&#x2122;s leading contemporary artists and deeply involved in the Post-Sense Sensibility group, Liu has worked in an array of styles and media ranging from sculpture, painting, installation and photography. Sharing a distaste for the political idealism and rationality of his predecessors, Liu embraced irrationality, improvisation and intuition as part of a generation in China that grew up during a period of rapid change and urbanisation. Frequently looking to his surroundings for inspiration in found objects and architectural constructions, Liu breaks away from subversively referencing politics to expressing his views of a changing material landscape.

Purple Air D1 is an enthralling work that condenses the ethos of Beijing and contemporary China, as well as that of the digitalized world where Liu fnds a personal sense of order within the turbulent disorder of contemporary landscape.

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「電腦如同大腦一樣不斷思考，而我所做的只是 整理…但它的思考方式與我迥然不同。它只是將 純粹的邏輯轉換成顏色。」劉韡 本件拍品尺幅宏大，充滿活力，是劉韡早期最為標 誌性的「紫氣」系列的經典之作，運用漸進式明亮色 調，如粉色、黃色、藍色、綠色等，細膩地將北京的 點點滴滴融入這數字化的幾何結構之中。在畫布上 描繪縱橫交錯的密集線條，顏色融入其對於這座城市 的私人情愫，劉韡營造出一個高樓林立、數字化、 像素化的迷幻都市。一輪明月半遮半隱於前景之下， 穿過探頭的松樹枝枒，打破橫縱交織的構圖，與線性 結構形成鮮明對照。

作為中國當代藝術家的領軍人物之一，深入「後感 性」藝術家群體，劉韡創作風格多變，使用媒材 廣泛，包括雕塑、繪畫、裝置和攝影等。與前輩 藝術家一樣反感政治理想主義及理智主義，劉韡作 為成長於快速變革與城市化進程的新一代中國人， 信奉非理性、即興發揮、本能直覺。劉韡善於從 生活周遭獲得靈感，無論是現成品或是建築物， 他總能脫離政治意象，表達他對於變化中的物質景觀 的獨特見解。 作品《紫氣D1》引人入勝，既體現了當代中國與北京 風潮，又營造出一個數字化世界，於當代世界的一片 騷亂中為劉韡提供一絲秩序慰藉。

作品充盈著東方精神，額外添加的月亮與松枝旨 在改變、重新探索傳統中國山水畫。正如此系列的 其他作品一樣， 《紫氣 D1》並非由畫筆繪製，而是 由電腦數位渲染隨後繪製在大幅畫布上。藝術家 創作這一系列作品時期，其藝術表現廣受讚譽。 2004年劉韡參展上海雙年展，2005年參展威尼斯 雙年展。2008年劉韡榮獲中國當代藝術獎，並開始 創作馳名的「紫氣」系列。本件作品《紫氣D1》 是標誌藝術家里程碑和關鍵轉折的早期作品之一， 象徵他在藝術創作方向及觀念上的重大轉變。

Beijing, China skyline at the Central Business District Source: Shutterstock

中國北京商業中心區之天際線

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37. Hans J. Wegner

1914-2007

‘Valet’ chair, model no. JH540 teak, oak, brass, leather 94.5 x 50 x 50 cm. (37 1/4 x 19 5/8 x 19 5/8 in.)

Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside branded with manufacturer’s mark and JOHANNES HANSEN/ COPENHAGEN/DENMARK. Designed in 1953.

Provenance Private Collection, Denmark Literature Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Møbelkunstner, Copenhagen, 1965, pp. 56-58, 98 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 246-47 Noritsugu Oda, Danish Chairs, San Francisco, 1996, pp. 116-17 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 6, 65-66, 128

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 25 September–11 October 1953, stand 2.

漢斯·韋格納 《Valet椅子》型號 JH540 柚木 橡木 黃銅 皮革 此作品於1953年設計，由丹麥木匠大師 Johannes Hansen 製造。 款識：JOHANNES HANSEN/COPENHAGEN/ DENMARK(椅子底部) 來源 丹麥私人收藏 出版 Johan Møller Nielson著， 〈Sitting Pretty: Wegner en Dansk Møbelkunstner〉 ，哥本哈根，1965年，第 56-58、98頁 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar, 第3集: 1947-1956年〉 ，哥本哈根, 1987年, 第246-247頁 Noritsugu Oda著， 〈丹麥椅子〉，三藩市, 1996年, 第 116-117頁 Christian Holmsted Olesen著， 〈Wegner: just one good chair〉，展覽圖錄，丹麥設計博物館， 哥本哈 根，2014年，第6、65-66、128頁 此型號曾於1953年9月25日至10月11日在哥本哈根 丹麥藝術與設計博物館《哥本哈根細工木匠公會》展出， 展位編號2。

HK$ 60,000-80,000 US$ 7,700-10,300

Designed by architect Hans J. Wegner in 1953, the organic form of the present lot playfully synthesises multiple functions. Refecting the inspiration behind its name, the innovative chair is simply transformed into a stand to rest items of clothing, whilst revealing a box to store small personal belongings. As Wegner explained, ‘the chair is the piece of furniture that is closest to human beings. You can give it the personal touch’. One account of the chair’s origins describe a conversation between Wegner, architecture professor Steen Eiler Rasmussen, and silversmith and designer Kay Bojesen discussing the trouble of storing one’s suit whilst they slept.

Handcrafed by master cabinetmaker Johannes Hansen, the ‘Valet’ chair’s sculptural form is equally constructive as it is aesthetic. The curved form and integrated construction of the chair’s back support refects Wegner’s study of Chinese chairs dating to the eighteenth and nineteenth-centuries.

本件拍品由建築師漢斯·韋格納於1953年設計， 其有機形態俏皮地融合了多種功能性。正如作品名 背後的巧思，這件頗具獨創性的椅子可以轉化為 放置衣物的架子，且餘有一個小空間可以儲藏私人 物品。正如韋格納所述， 「椅子是與人最親近的 家具。你可以讓它展現人性化的一面」。韋格納、 建築教授斯坦·埃勒拉·斯穆森、銀器匠及設計師 卡伊·博喬森曾在討論這件椅子起源時提到它源自 入睡時無處掛置西裝的困擾。 《Valet椅子》由木匠大師約翰內斯·漢森手工製作， 雕塑般形態既有結構感，又飽含美感。椅背的曲面和 綜合結構反映出韋格納對中國十八、十九世紀家具 椅的研究。 1951年，韋格納於丹麥設計學院春季展覽中展出 第一版有四條椅腿的《Valet椅子》。丹麥國王 費德烈克九世一見到這件早期版本即下單訂購。 然而韋格納不滿意初期樣板，又重新設計了現有 三條椅腿的型號，費德烈克九世隨後收藏了十件 該《Valet椅子》。

In 1951, Wegner presented his frst version of the ‘Valet’ chair with four legs at the Spring Exhibition of the School of Arts and Crafs. Upon seeing this early version, King Frederick IX of Denmark immediately placed an order for the chair. However, dissatisfed with the design, Wegner reworked his initial version to create the present three-legged model, of which King Frederick acquired ten for his collection.

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38. Finn Juhl

1912-1989

Early two-seater sofa, model no. FJ 41 Bangkok teak, fabric 82 x 135 x 78 cm. (32 1/4 x 53 1/8 x 30 3/4 in.)

Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Designed in 1941, produced in 1960s.

Provenance Private Collection, Copenhagen, 1960s Literature G.B. De Searpis, ‘Finn Juhl, architetto danese’, Domus, nos. 252-53, November-December 1950, p. 21 Bent Salicath, ‘Finn Juhl and Danish Furniture’, Architects’ Year Book 6, London, 1955, p. 145 Niels Vodder Furniture, Copenhagen, 1959, p. 15 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 159 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, p. 127 Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 26, 30 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 23-24, 72, 183, 191, 206

芬·祖爾 《雙人沙發》型號 FJ 41 曼谷柚木 皮革 此作品1941年設計，由丹麥哥本哈根木匠名師 尼爾斯·弗德於1960年代製造。 來源 哥本哈根私人收藏，1960年代 出版 G.B. De Searpis， 〈Finn Juhl, architetto danese〉 ， 第252-53集，1950年11月-12月，第21頁 Bent Salicath著， 《芬·祖爾與丹麥家具》 ， 〈Architects’Year Book 6〉，倫敦，1955年，第145頁 〈尼爾斯·弗德家具〉 ，銷售圖錄，哥本哈根，1959年，第15頁 Grete Jalk 編， 〈Dansk Møbelkunst gennem 40 aar, 第二集: 1937-1946年〉，哥本哈根，1987年，第159頁 Patricia Yamada編， 〈Finn Juhl Memorial Exhibition〉， 展覽圖錄，大阪，1990年，第127頁 Esbjørn Hiort 著〈芬·祖爾：家具、建築及應用藝術〉， 哥本哈根，1990年，第26、30頁 Per H. Hansen 著， 〈芬．祖爾之家〉，奧斯特菲爾登， 2014年，第23-24、72、183、191、206頁

HK$ 80,000-120,000 US$ 10,300-15,400

Finn Juhl’s house Ordrupgaard Museum, Copenhagen Photo: Henrik Sørensen

芬·祖爾的家 哥本哈根，奧德羅普格美術館

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The present model sofa was executed by the Danish master cabinetmaker Niels Vodder for the 'Copenhagen Cabinetmakers’ Guild' in 1941. The sofa eloquently defnes its adherence to sculptural forms, much infuenced by twentieth-century European artists. This was clearly demonstrable, when Finn Juhl installed a wall-mounted plaster relief by the sculptor Hans Arp directly above the sofa whilst exhibited. Esbjørn Hort, who attended the Royal Academy of Fine Art’s School of Architecture at the same time as Juhl, observed the architect’s sophisticated curatorial approach to exhibitions in his biography stating: ‘it is obvious that he was highly infuenced by contemporary sculpture. He himself emphasised this by exhibiting his furniture together with works of art of the day’.

In 1942, when Juhl completed his own house – now part of the Ordrupgaard Museum, Copenhagen – he furnished it, as he did his exhibitions, with contemporary art and ceramics, as well as, many of his own furniture designs, including two of the present model sofa and a ‘Chiefain’ armchair all executed by Vodder.

Further discussing Juhl’s house Hort writes that: ‘A cherished dream had come true. Finn Juhl had always seen his furniture as part of a spatial efect. He believed that furniture, applied art, and fne art should form an entity in a home. He now had the opportunity to carry out this idea in practise’. When interviewed in 1981, by the Danish Journalist Mike Rømer for ‘Space and Form’, Juhl reminisced over the humble beginnings of his collaboration with Vodder: ‘it all began because I wanted to design a couple of tables for myself and the apartment I had received during my time at the Art Academy. As I knew Niels Vodder, the master cabinetmaker, through Mogens Voltelen, I asked him to make them for me. Afer that it was only natural that it also was Vodder whom I asked when I began to participate in the annual Fall Exhibition of the Cabinetmakers’.

The present lot is an example of Juhl’s reaction against standardisation, whilst attempting to subvert the formal, set by the once indomitable force of the The Royal Danish Academy of Fine Arts, School of Architecture and Design under the architect Kaare Klint. Both Juhl’s and Vodder’s reputations are indissolubly connected, a symbiotic partnership that lasted productively for decades. Only the prodigious talent of the cabinetmaker Vodder could have produced such elegantly and sculpturally formed works of furniture designed by Juhl. Now formally catalogued and titled as the ‘FJ 41’ sofa, the design was once referred to erroneously as the so-called ‘Poet’ sofa. Concluding from Vodder catalogues dating to 1956 and 1959, this designation proved to be incorrect. Additionally, the catalogues illustrate an adaption to the design of the legs with the further refnement from the original clubbed foot to the more elegant cone-shaped leg.

Much of the success and international recognition of twentiethcentury Danish design can arguably be attributed to Juhl. Notable among Juhl’s international projects are his design of Trusteeship Council Chamber at the United Nations Headquarters, New York, awarded by the fellow of The Royal Danish Academy of Fine Arts, and his role as architect of the exhibitions for ‘The Arts of Denmark: Viking to Modern’ held at The Metropolitan Museum, New York in 1961. Edgar Kaufmann, Jr., Director of the Industrial Design Department, New York, was an advocate of Juhl’s work and collaborated with him on the aforementioned exhibition. A patron and lifelong friend to Juhl, Kaufmann, Jr. later refected on the architect’s work in his essay ‘Product and Process’, writing: ‘His forms are masterful, now as when they were new. They are capable of a plenitude of embodiments still unexplored. Juhl is no performer, he is a creator. We need more of him’.

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這張沙發是丹麥家具大師尼爾斯·弗德於1941年為 「哥本哈根家具協會」製造的。在二十世紀歐洲藝術 的引導下，它勇敢地向世人宣告自己將雕塑藝術堅持 到底的志向。 在展覽這件作品時，芬·祖爾在沙發 上方的墻上安上了漢斯·阿爾普的塑料浮雕。家具與 雕塑，兩者間的關係，—目了然。 艾斯伯恩·霍爾特 曾和祖爾在同一間學校﹣皇家美術學院建築分院 學習，霍爾特發現祖爾的策展手法相當，純熟老練， 在霍爾特的自傳當中，他說道： 「很明顯，他深受 當代雕塑的影響。將自己的家具與當代藝術結合 在一起，向觀眾呈現設計作品受當代藝術影響的 一面」。 1942年，在完成自住房屋的設計和建造之後 — 現為 哥本哈根奧德如普卡德博物館的一部分，祖爾好好地 將屋子裝飾了一番；不僅如此，還在裡面承辦展覽。 整棟房子被當代藝術和陶瓷、祖爾的家具作品、 以及兩件與本件作品一樣的沙發和另一件由他本人 親手設計的「酋長」扶手椅所環抱。對於祖爾的 房子，霍爾特在自傳中這樣評論： 「他終於實現了 自己的夢想。芬·祖爾一直認為家具應該作為空間的 一部分。他相信家具、各類藝術以及古典藝品應該 在空間內齊聚一堂。 現在，他終於有機會將自己的 夢想付諸現實。1981年，在接受丹麥記者麥克·羅默 有關「空間與形狀」的採訪中，祖爾回憶起當初是 如何與弗德開始合作，這是一場無心插柳柳成蔭的 經歷： 「在美院讀書時我繼承了一套公寓，並想親自 為公寓做幾張桌子。通過摩根斯·沃特藍，我認識了 家具大師尼爾斯·弗德，我告訴他說我想讓他為我 設計家具，就這樣，自然而然地合作起來。後來， 弗德問我想不想參加一年一度的秋季家具展」。 這張沙發是一件呈現祖爾顛覆家具設計創作 標準的家具設計作品，它推翻了曾一度被認為無法 逾越，由丹麥皇家藝術學院建築設計分院建築師 卡爾·克林特立下的家具設計規範。祖爾和弗德， 惺惺相惜，合作共事數十載。弗德，天賦秉承， 也只有他能夠按著祖爾的藍圖製造出造型優雅且雕塑 感十足的家具。這張沙發，原名是「FJ 41」沙發, 曾被人誤稱為「詩人」沙發，經1956年至1959年期間 出版的弗德圖錄核實， 「詩人」一詞實屬錯誤。圖錄 還向讀者們展示了沙發腳部的演變過程，逐漸由方方 正正，中規中矩，變成形同斗笠，優雅玲瓏。 國際上負有盛名的二十世紀丹麥設計藝術作品，其中 諸多出自祖爾之手。祖爾還承接了各類國際合作 項目，其中重要的幾項有：丹麥皇家美術學院頒發 的獲獎項目﹣紐約聯合國總部託管會議廳設計， 以及擔任1961年在紐約大都會博物館舉行的「丹麥藝 術：維京至現代」展覽建築設計師一職。紐約工業 設計部主管埃德加·考夫曼十分支持祖爾，不但 如此，還一同合作參展，作為祖爾的藏家和一輩子 的朋友，考夫曼在自己的文章「產品與工序」寫下了 這麼一段： 「無論是現在還是當初，他的作品， 至始至終，純熟講究。你會在它們身上會發現無限 的可能。祖爾不是一位表演者，他是一位創造者。 我們需要他，以及更多祖爾創作的家具設計。」

01/05/18 09:19

39. Finn Juhl

1912-1989

Important and early ‘Chiefain’ armchair, model no. FJ 49 A Bangkok teak, leather 93.3 x 103 x 89 cm. (36 3/4 x 40 1/ 2 x 35 in.)

Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Underside branded and impressed NIELS VODDER CABINETMAKER/COPENHAGEN DENMARK. Designed in 1949, produced in early 1950s.

Provenance Private Collection, Copenhagen, early 1950s Literature G.B. De Searpis, ‘Finn Juhl, architetto danese’, Domus, nos. 252-53, November-December 1950, p. 23 Nona Triennale di Milano, exh. cat., Milan, 1951, p. 443 Svend Erik Møller and Viggo Sten Møller, Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 1927-1951, Copenhagen, 1951, p. 82 Bent Salicath, ‘Finn Juhl and Danish Furniture’, Architects’ Year Book 6, London, 1955, pp. 145-46, 155 Esbjørn Hiort, Modern Danish Furniture, New York, 1956, pp. 54-55 Niels Vodder Furniture, Copenhagen, 1959, front cover, pp. 10-11 Eva Hamilton, ‘Modern design iG Gammal miljö’, Svensk DAM, no. 11, 18 March, 1964, p. 41 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 124-25, 233, 311 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, passim Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, front cover, pp. 23, 40-41 Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 187 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 47 Noritsugu Oda, Danish Chairs, San Francisco, 1996, pp. 92-93 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, pp. 106, 187-89 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, passim

HK$ 500,000-800,000 US$ 64,100-103,000

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芬·祖爾 重要及早期《酋長椅》型號 FJ49A 曼谷柚木 皮革 此作品於1949年設計，由丹麥哥本哈根木匠名師 尼爾斯·弗德於1950年代早期製造。 款識: CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK (刻於椅子底部) 來源 哥本哈根私人收藏，1950年代早期 出版 G.B. De Searpis， 〈Finn Juhl, architetto danese〉， 第252-53集，1950年11月-12月，第23頁 〈Nona Triennale di Milano〉，展覽圖錄，米蘭， 1951年，第443頁 Svend Erik Møller、Viggo Sten Møller 著， 〈Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 1927-1951〉，哥本哈根，1951年，第82頁 Bent Salicath著， 《芬·祖爾與丹麥家具》 ， 〈Architects’Year Book 6〉，倫敦，1955年，第145-146、155頁 Esbjørn Hiort 著， 〈現代丹麥家俱〉 ， 紐約，1956年，第54-55頁 〈尼爾斯·弗德家具〉，哥本哈根，1959年，封面、第10-11頁 Eva Hamilton， 《Modern design iG Gammal miljö》， 〈Svensk DAM〉 ，第11集，1964年3月18日，第41頁 Grete Jalk 編， 〈Dansk Møbelkunst gennem 40 aar, 第三集: 1947-1956年〉，哥本哈根，1987年， 第124-125、233、311頁 Patricia Yamada編， 〈Finn Juhl Memorial Exhibition〉， 展覽圖錄，大阪，1990年，各處 Esbjørn Hiort 著〈芬·祖爾：家具、建築及應用藝術〉， 哥本哈根，1990年，封面、第23、40-41頁 Mrtin Eidelberg編， 〈Design 1935-1965: What Modern Was〉 ，紐約， 1991年，第187頁 Irene de Guttry 與 Maria Paola Maino 著， 〈Il Mobile Italiano Degli Anni ‘40 e‘50〉，巴里， 1992年，第47頁 Noritsugu Oda 著， 〈丹麥椅子〉，三藩市，1996年，第92-93頁 Arne Karlsen 著， 〈丹麥家具設計：二十世紀，第2集〉， 哥本哈根，2007年，第106、187-189頁 Per H. Hansen 著， 〈芬·祖爾之家〉，奧斯特菲爾登，2014年，各處

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In 1949 Finn Juhl designed the model ‘FJ 49 A’ armchair, which became primarily known as the ‘Chiefain’, a title rarely used by the architect as he referred to it as the ‘Big Chair’. When interviewed in 1981, by the Danish journalist Mike Rømer for ‘Space and Form’, about the ‘Chiefain’ Juhl reminisced over its moniker and revealed the following story: “King Frederik and Queen Ingrid used to be good enough to come and open our exhibitions, and aferwards they would make a round of the stands. When a journeyman cabinetmaker came in carrying the ‘Chair’, someone asked me what it was for. Jokingly I said it was for King Frederik. We quickly realized that we could neither call it the ‘King Chair’ nor the ‘King Frederik Chair’. The King had never requested this of us, and besides, we had never asked him. So I passed it of by saying it was for an African chief- and the name stuck with it. As a matter of fact, a photograph was taken of King Frederik in the chair”…

The ‘Chiefain’ when frst exhibited at the Cabinetmakers’ Guild was well received and described in Politiken as being ‘so full of life that it seems to be almost quivering with vitality. It is expensive and as delicate as a thoroughbred must be.’ Finn Juhl designed some of his fnest cabinet made furniture for the Cabinetmakers’ Guild and the ‘Chiefain’ must be considered one of his most accomplished designs. Almost every year from the late 1930s to the early 1950s Juhl presented designs at the Cabinetmakers’ Guild that were executed by the master cabinetmaker Niels Vodder.

The synergy and symbiosis of these two artistic characters created masterpieces of twentieth century design.

In discussing the master cabinetmaker Niels Vodder, the Danish architectural journalist Henrik Sten Møller refers to the cabinetmaker as an ‘original crafsman with a distinct sense of humour.’ He then goes further to explain possibly why Vodder would have ever agreed to collaborate with Juhl: ‘The reason why Niels Vodder became Finn Juhl’s cabinetmaker was that nobody else wanted to produce his furniture. They thought the furniture too strange and furthermore ofen technically complicated’ (Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, p. 18). Although the collaboration between Juhl, then aged twenty-fve, and Vodder began in 1937, it was not until the breakthrough period of 1944-1949 at the Cabinetmakers’ Guild in which Juhl began to incorporate his burgeoning organic and percipient approach towards furniture design. Professor Noritsuga Oda writes in his essay ‘My Recollections of Finn Juhl’ that “the seat and backs, now had become independent of the legs, making the chairs seem lighter – almost sculptures foating in air. Creative as they were, Juhl’s designs might not have been successful three-dimensional objects without the crafsmanship of the master cabinetmaker Niels Vodder.” The ‘Chiefain’ armchair features masterfully handcrafed, accentuated and organic stiles, produced in exquisite Bangkok Teak. The stiles support the shield-formed backrest whilst elegantly revealing the interstice between the seat and the load-bearing legs. The following statement by Juhl is manifested within the construction of the ‘Chiefain’: ‘I have always been interested in analysing a piece of furniture’s diferent parts, surely a consequence of my early excitement for Corbusier’s cubist architecture.’

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芬·祖爾於1949年設計《FJ 49 A》扶手椅，往後多被 廣泛稱為《酋長椅》，芬·祖爾自己卻把它稱為「大椅 子」。1981年丹麥記者麥克·羅默為《空間與形式》 採訪祖爾，問到關於《酋長椅》的暱稱，祖爾透露了 如下故事： 「國王弗雷德里克和皇后英格麗德以往常 來為我們的展覽開幕，並且隨後會參觀一圈。當一個 剛出師的木匠拎著這個椅子的時候，有個人問我它是 什麼。我略開玩笑地說這是為國王弗雷德里克做的。 隨即我們意識到既不能叫它《國王椅》也不能叫做 《國王弗雷德里克椅》，因為國王並沒有要求我們製 作這張椅子，此外，我們也從來沒有問過他的意見。 所以，我只好說這是為一位非洲酋長所製作的，這就 是暱稱的由來。不過，倒是有一張國王弗雷德里克坐 在這張椅子上的照片…」 《酋長椅》在木匠公會展展出時大受好評，丹麥 《政治報》形容椅子「好像因載滿生命力而顫動， 並如同一匹純種駿馬般昂貴而優雅」。芬·祖爾為 匠師協會展設計了不少傳世佳作，其中又以《酋長 椅》為其顛峰之作。1930年代末至1950年代初， 芬·祖爾幾乎每年都在年度匠師協會展發佈由自己 設計，並由尼爾斯·弗德製作的作品。充滿藝術 天賦的兩人協手合作共創了二十世紀設計領域的 無數傑作。 丹麥建築記者亨瑞克·史坦·摩勒把木匠大師 尼爾斯·弗德譽爲「具有獨特幽默感的原創型工匠」， 並進一步解釋沃德與祖爾合作的原因： 「尼爾斯·弗德 之所以成爲芬·祖爾的傢俱匠師，是因爲沒有其 他人願意生產他的傢俱。其他人都認爲他的傢俱形態 過於奇怪而且製作工藝複雜。」 （派翠莎·山田編， 《芬·祖爾回顧展》展覽圖錄，大阪，1990年， 第18頁）於1937年，彼時25歲的祖爾便開始與 沃德合作，但直至1944 - 1949年於匠師協會的突破 時期，祖爾才開始將其萌芽中的有機觀念和敏銳洞察 融入傢俱設計。織田憲嗣教授於《芬·祖爾回憶錄》 一文中寫道「椅座和椅背游離於椅腿，使得椅子看上 去更輕巧——猶如漂浮在空氣中的雕塑。祖爾的設計 充滿創意，但假若沒有木匠大師尼爾斯·弗德的精湛 工藝，也無法變成如此成功的立體成品。」 《酋長椅》 的支架由曼谷柚木所製成，純手工製造，其形狀 如有機物般自然又非常突出，除了支撐盾形墊背， 也優雅地展露出椅墊與堅固椅腳之間的空隙。談論 《酋長椅》的設計時，芬·祖爾曾這樣說道： 「我向來 對分析家具的不同構成部件很感興趣，想必是因為 我從年輕時就熱愛柯比意的立體派建築。」

01/05/18 09:20

Property of an Important European Collector

40. George Condo

b. 1957

Writer signed and dated ‘Condo 06’ on the reverse oil on canvas 136.6 x 157.5 cm. (53 3/4 x 62 in.)

Painted in 2006.

Provenance Luhring Augustine, New York Gary Tatintsian Gallery, Moscow Phillips, London, 10 February 2016, Lot 122 Acquired at the above sale by the present owner Exhibited Moscow, Gary Tatintsian Gallery, George Condo, 8 May - 8 August 2008

重要歐洲私人收藏

喬治·康多 《作家》 油畫 畫布 2006年作 款識：Condo 06 (畫背) 來源 紐約，Luhring Augustine 畫廊 莫斯科，Gary Tatintsian 畫廊 倫敦，富藝斯，2016年2月10日，拍品編號122 現藏者購自上述拍賣 展覽 莫斯科，Gary Tatintsian 畫廊， 〈喬治·康多〉， 2008年5月8日-8月8日

HK$ 2,000,000-3,000,000 US$ 256,000-385,000

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Situated in a non-specifc yet playfully macabre landscape, George Condo’s absurd and consciously lewd Writer confronts the viewer head on. Carefully amalgamating a pantheon of stylistic references from the breadth of art history – from the renaissance to cubism – Condo turns the academic genre of portrait painting on its head, irreverently delving into modes of caricature and the grotesque.

Painted in 2006, Writer can be seen as an extension of Condo’s important series known as the existential portraits. By intercepting the genre of portraiture with fctive personas and surreally deformed fgures, Condo provides provocative models of the social identities we create and live by. Condo presents a world of modern professions driven by basic instincts and primal desires. Grimacing with a protruding jaw and bulbous red cheeks, Writer bears all the hallmarks of Condo’s iconic fgurative vocabulary.

Notably, brushwork is particularly expressive, creating a dynamic surface that vibrates with the raw aesthetic impulses of the artist; a ftting stylistic choice given that the subject parodies the idea of the over-confdent, creative individual. Above all it is Condo’s ability to capture the spectrum of human emotions, psychological states and the existential plight of humanity, which has made him one of the most revered painters of his generation.

Having once worked in Andy Warhol’s factory as a writer and silk screener, Condo’s journey to notoriety began in the New York art scene in the 1980s. Having befriended the most important new artists of that time, namely Jean Michel Basquiat and Keith Haring, Condo was determined to carve out his own unique aesthetic idiom. Unlike his contemporaries, instead of looking to the streets and urban life for inspiration he turned to art history.

Focusing on portraiture, Condo has continually referenced Old Master painters such as Velázquez as well as 18th and 19th century Neoclassicists such as Ingres. Most importantly, however, Condo takes the greatest infuence from Picasso. The partial abstraction of his fgures and the distortion of particular body parts to create composite fgures make concrete reference to the modern master.

Indeed in the 1980s Condo began using the terms ‘psychological cubism’ and ‘artifcial realism’ to defne his approach.

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In mid-1990s, Condo refned his now iconic treatment of the face. Bulging eyes, disk-like ears, and a clenched overbite all convey the quintessentially manic or depressive currents that underlie his works.

As the artist has noted: ’I wanted to capture the characters in these paintings at the extreme height of whatever moment they’re in – in that static moment of chaos.’ (George Condo, quoted in Ralph Rugof, ‘The Enigma of Jean Louis: Interview 14 March 2006’, George Condo: Existential Portraits: Sculpture, Drawings, Paintings 2005/2006, exh. cat., Luhring Augustine, New York, 2006, p. 8).

Condo’s portraits also evoke the type of allegorical portraits popularised in renaissance Northern Europe, where fgures are shown to embody a particular role or virtue. Having used varied subjects, from Madonnas and clowns to cartoons and Playboy bunnies, in the present example Condo turns to the profession of the writer to create another allegory for the 21st century. Rather than using the typical portrait format, Condo opts for a landscape orientation, with the elongated naked body dissecting the horizon and dominating the frame. At a stark perpendicular, an oversized pencil cuts the picture plane vertically and acts as a crude auxiliary phallus. Typical of allegory, the writer is identifed by objects which Condo has flled with duplicitous meanings: the bottle the fgure clutches could be full of either ink or alcohol, whilst the erect writing implement symbolises the creative bravado of the sitter. The highly sexualised scene and confrontational gaze subtly references both Titian’s Venus of Urbino and Manet’s Olympia. But with shaggy hair that blends with the grass, Condo caricatures his writer as a solitary egotist; inebriated, confdent and hostile to the world, yet flled with existential angst.

Ralph Rugof has commented on the duplicitous nature of Condo’s portraits, as crucial part of their ability to arrest the viewer: ‘these fgures can be seductive and repulsive at the same time. They embody a position that is simultaneously frightening and appealing. This is something that also comes across in the way that they solicit diferent kinds of looks from the viewer, and how they ofen look back at us with eyes that don’t match or don’t even seem to belong to the same face’ (Ralph. Rugof, Ibid., pp. 8-9). Exemplifed in Writer, Condo’s paintings gain their emotional potency from this unique ability to sustain and elicit emotional paradoxes. As the artist surmised himself: ‘… hysteria, joy, sadness, desperation. If you could see these things at once that would be like what I’m trying to make you see in my art’ (George Condo, quoted in Stuart Jefries, “George Condo: ‘I was delirious. Nearly died’”, The Guardian, February 10, 2014, online).

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Édouard Manet Olympia, 1863 Collection of the Musée d'Orsay, Paris 愛杜爾·馬奈 《奧林琵雅》1863年作 巴黎，奧荷賽博物館收藏

喬治·康多《作家》這幅作品設定在一處非特定卻又 帶著一些恐怖趣味的場景，他刻意營造出一種荒誕及 猥褻，直接衝擊著觀者的感官。他廣泛地從藝術史觀 的角度，上自文藝復興下至立體派，引用了不同 風格，並謹慎地揉合在其作品中，顛覆了肖像畫這個 學院派繪畫，一無反顧地帶向極度諷刺及怪誕的 方向。創作於2006年， 《作家》一作可視為康多被認 為十分重要的存在主義肖像系列的延伸。透過虛構角 色及超現實變形的軀體，他打破了肖像畫的常態， 藉此挑戰著人們所創造及依循的社會身分。透過 繪畫，來呈現由人類基本本能和原始慾望所驅動的 現代職業之樣貌。 《作家》裡的人物，有著突出的 下巴和紅紅圓圓的臉頰，帶著看似痛苦又似鬼臉的 難解表情，再再展現了康多具代表性的視覺語彙。 值得一提的是，他在此使用的筆觸特別富有表現力， 創造出充滿動態的肌理表面，顯示出藝術家一股生猛 的美學衝勁；這樣的表現技法，更巧妙提點出畫中 人物過度自信又具創作爆發力的性格。此外，康多 更深層捕捉到了人類內心情感、心理狀態及人性中 存在主義式的窒礙處境，因此也讓人推從他是該世代 最被景仰的藝術家之一。 康多曾在安迪·沃荷的「工廠」工作室擔任作家及 絹版印刷的工作，他的藝術生涯於1980年代的紐約 展開。他與當時最重要的幾位藝術新寵交往甚密， 其中包括了尚·米榭·巴斯奇亞及凱斯·哈林，他下定 決心要找出屬於自己的藝術語彙。當時的藝術家 往往在街頭或都市生活尋找靈感，康多卻回頭反顧 藝術史。以肖像畫為創作主軸，他不斷向古典大師 如維拉斯奎茲，或是向十八及十九世紀新古典主義的 藝術家如安格爾等借鏡靈感。然而其中最重要的是， 他深刻浸淫於畢卡索的影響之中。從其半抽象的形 體、肢體的刻意變形，皆可看出他鑿實引用了畢卡索 這位現代大師的語彙。在1980年代，康多也的確用 了「精神病立體主義」及「人造寫實主義」來定義他的 創作手法。 在1990年代中期，他精簡化了人物面部表情的處 理，也因而成為他後來的代表性風格。突出的眼睛、 像圓盤一樣的耳朵，及緊咬著的暴牙，皆表達出了蘊 藏在作品底下典型的狂躁或抑鬱的暗流。如康多曾經

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提過： 「我想要捕捉畫中這些角色在當下 最亢奮的狀態，一個在混亂中的恆定瞬間。」(摘錄自 羅夫·魯格夫所著《尚·路易之謎：2006年3月14 日面談，喬治·康多：存在主義的肖像：雕塑、 素描、油畫 2005/2006》，展覽圖錄，Luhring Augustine畫廊，紐約，2006年，第8頁)。 康多的肖像創作也同時令人緬想起文藝復興時期歐洲 北方所風行充滿寓意的肖像畫，當時肖像的主角往往 是為了表現某個特定角色或是一種美德。康多畫中 的角色千變萬化，他曾畫過聖母、小丑、卡通人物以 及花花公子的兔女郎，在這件作品中，藝術家在此 將作家這個職業轉化成二十一世紀的一個現代寓言。 首先，他一反肖像畫直立的格式，轉而採用一般畫風 景橫式的構圖，再將主角拉長的裸體橫跨切分著 畫中的地平線，主宰著畫面。而一支超大的鉛筆， 像是個誇飾加大版的男性性器官一般，直聳聳又粗野 地垂直豎立在畫面中央。正如典型的寓言，康多筆下 的作家，乘載了雙重意義：主角手裡緊握著的瓶子， 裝的可能是墨水或是酒，而筆直的書寫工具則是象徵 了主角的大膽創造力。畫中情慾高張及主角大膽直視 的目光，不禁讓人聯想起堤香的《烏比諾的維納斯》 和馬奈的《奧林琵雅》。然而，主角身上雜亂的頭髮 及體毛，幾乎要與草地融為一體，康多滑稽地將他 塑造成一個孤獨、自我中心、醉醺醺、自信、對世界 充滿敵意，卻又充滿了存在焦慮的角色。 羅夫·魯格夫曾評論道，康多肖像畫中雙重的本質， 是他能深深吸引觀者的重要因素。 「這些人物可以 很誘人，也同時可以令人作噁。他們表徵了一個 同時令人懼怕又吸引人的狀態，這與他們往往邀請著 觀者以不同的觀看方式有關，或是他們直視著觀者 的雙眼常常看起來不對稱、或根本看起來不屬於 同一張臉孔」(摘自羅夫·魯格夫，lbid，第8-9頁)。 康多在 《作家》作品中體現了他的高度表現力， 既能維繫又能引發人類內心似是而非之間情感衝突 的情緒張力。正如同藝術家曾這樣自述： 「…歇斯 底里、喜悅、悲傷、絕望。如果你能同時看到這些， 那就是我所想讓你在我的藝術裡看到的東西。」 (摘自史都華·傑夫瑞司《喬治·康多：我神智不清， 近乎死亡》，衛報，2014年2月10日，網路)。

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Finn Juhl George Condo KAWS Nam June Paik Anish Kapoor

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Property of an Important European Collector O♦

41. George Condo

b. 1957

Black Standing Figures oil, acrylic, oilstick and chalk on canvas 152.4 x 254 cm. (60 x 100 in.)

Executed in 2000.

Provenance Private Collection (acquired directly from the artist) Artcurial, Paris, 21 April 2009, Lot 366 PaceWildenstein, New York Private Collection Christie’s, London, 17 February 2011, Lot 266 Simon Lee Gallery, London Acquired from the above by the present owner

重要歐洲私人收藏

喬治·康多 《黑色站姿人物》 油畫 壓克力 油棒 粉筆 畫布 2000年作 來源 私人收藏 (直接購自藝術家本人) 巴黎，Artcurial，2009年4月21日，拍品編號366 紐約，佩斯-威爾頓斯坦畫廊 私人收藏 倫敦，佳士得，2011年2月17日，拍品編號266 倫敦，Simon Lee畫廊 現藏者購自上述來源

HK$ 6,500,000-8,500,000 US$ 833,000-1,090,000

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Lef: George Condo Diaries of Milan, 1984 Collection of The Museum of Modern Art, New York © 2018 Georges Condo / Artists Rights Society (ARS), New York

左: 喬治·康多 《米蘭日記》1984年作 紐約，現代藝術館收藏 Right: Jean Dubufet Large Black Landscape, 1946 Collection of the Tate Modern, London © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

右: 尚·杜布菲 《大型黑色風景》1946年作 倫敦，泰特現代藝術館收藏

George Condo’s Black Standing Figures engulfs the viewer: stretching over two metres wide and nearly life-sized in height, this large-scale painting is like a wall flled with frenetic grafti.

Painted in 2000, this work appears largely black and white from a distance, yet there is an immense variety of texture and an impressive range of colour on closer inspection, as the scrawled fgures reveal themselves to have been rendered using a wide variety of techniques. This palimpsest-like composition recalls the energy of the paintings of Condo’s friends and fellow artists, Jean-Michel Basquiat and Keith Haring, whom he knew during his years in New York in the 1980s. At the same time, it pays tribute to Brassaï’s celebrated photographs of the street art incised in the walls of mid-twentieth-century Paris. Condo’s ability to cannibalise a range of artistic and conceptual infuences, transforming them into something new, is a hallmark of his work.

An incredibly erudite artist, Condo abandoned the New York of Haring and Basquiat, instead choosing to spend a number of years in Paris, immersed in the wealth of the European canon and tradition of visual culture. These he absorbed, eventually processing them and imbuing them with the new, vigorous energy that is so apparent in Black Standing Figures. Condo has depicted these massed fgures with a manic edge that is heightened by the fragmentary, elusive appearance of the people themselves: here, a hand is glimpsed, there, hair, elsewhere, breasts, all coalescing to give the impression of a crowd facing us. Condo depicts this crowd with disjointed and distorted features in a manner that recalls his now-iconic ‘pods,’ or ‘antipodal beings’, a notion taken from Aldous Huxley’s work Heaven and Hell. There, Huxley discussed the ability to access the ‘antipodes’, areas of the mind reached through meditation or hallucinogens. Certainly, looking at Black Standing Figures, there is a clear sense of hallucinatory power to the image.

Condo has introduced a new, raw mentality to the work, continuing the distortions of the ‘psychological Cubism’ he has explored in other paintings.

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Stylistically, Black Standing Figures appears to compress a range of infuences. As well as the grafti of Haring or the paintings of Matta, there is a clear tribute to Pablo Picasso, and in particular to the works of the post-war period when he was in a relationship with fellow artist Françoise Gilot. There is a resemblance in the strong use of lines to carve up and cover the space of the canvas that relates to Picasso’s 1948 painting, La cuisine (Museum of Modern Art, New York). That work in itself was inspired by an earlier proposal for a sculpture to be created as a monument to the poet Guillaume Apollinaire. The fgures in Condo’s work also recall the depictions of Françoise herself, for instance the Femme-Fleur depictions showing her as a fower. Condo has taken a similar transformative process as Picasso’s, yet has given it a new spin.

This picture has a deliberately sinister edge that has little to do, in terms of atmosphere, with the fauns and satyrs that Picasso painted in a similar style in Antibes in the post-war years. Instead, there is the sense that these characters have sprung fully-formed from the darker recesses of the mind.

Discussing his own work, Condo has said: ‘I like to think about Picasso… because he took a bicycle seat and a pair of handlebars and made a bull’s head: he reconfgured a manmade thing into a natural thing. What I’ve done is the reverse: I’ve turned it back into the bicycle’ (Condo, quoted in S. Baker, George Condo: Painting Reconfgured, London, 2015, p. 47). Condo has created something that is emphatically manmade. Not only that, its surface insists upon the viewer’s awareness of the impressive variety of techniques that have been employed to harness the image. There is a clear focus on the notion of image-making itself.

In some of Condo’s paintings, the focus is on a lone fgure or small group, ofen referencing the Old Masters. Black Standing Figures forms part of another approach that he has taken in a number of works, which feature an all-over composition. This was a process that Condo began in another work, Diaries of Milan of 1984, now in the Museum of Modern Art, New York. Over the years, he has sometimes returned to this process, flling the entirety of the canvas with a fgurative composition that essentially becomes a pattern through its rhythm and regularity, harnessing an energy akin to that of Action Painting while remaining anchored to the image of the crowd. In Black Standing Figures, Condo has thus achieved abstract ends through fgurative ends.

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喬治·康多的《黑色站姿人物》迎面而來：兩米多寬， 真人般高，如同一堵又寬又高的墻，無邊無際，塗鴉 交錯縱橫，佈滿整幅畫面。這幅作品作於2000年， 遠處觀望，色彩大部分為黑白，凝神近看，會發現 畫作的質地由多種元素組成；不僅如此，色彩頗為 多樣，令人驚歎。畫面上的人，寥寥草草，向觀眾們 透露畫作本身是由不同的創作手法組成的。 《黑色站 姿人物》交匯融合了不同的畫風，讓人不禁聯想 尚·米榭·巴斯奇亞和凱斯·哈林的作品。這兩位畫家 是康多於80年代期間在紐約結交的朋友。 《黑色站姿 人物》也是向布拉塞致敬之作，紀念他的著名攝影 作品：捕捉二十世紀中法國街頭巷尾墻壁上的街頭 藝術。康多的作品個性獨特，最為令人稱奇的是這位 畫家可以將有一定跨度且不同的藝術行為和概念， 以及它們影響整合在其作品之中，創造出一種全新 的藝術體驗。

《黑色站姿人物》受多方面藝術風格影響。作品除了 體現哈林的塗鴉和馬塔作品的畫風，還明顯带有 巴布羅·畢加索畫作的蹤影，尤其戰後畢加索與 女藝術家弗朗索瓦絲·吉洛在戀愛關係中畫出的作品 的風格。 《黑色站姿人物》與畢加索1948年的作品 《菜餚》(現藏紐約現代藝術博物館）有著幾分神似， 兩幅作品均被粗重的線條覆蓋。 《黑色站姿人物 》的 創作靈感源自康多早期的一件用來紀念詩人 紀堯姆·阿波利泰爾的雕塑作品。康多畫上的人物 讓人們聯想到弗朗索瓦絲，畢加索的作品《女人﹣ 花朵》將弗朗索瓦絲畫成了一束花。和畢加索一樣， 康多在自己的作品中也運用了類似的影射，變革畫 風；不但如此，還附上新的意義。 《黑色站姿人物》， 絲絲陰險，但是它絕不是為了刻意營造畢加索在戰後 於昂蒂斯所畫作品的氣氛，故意模仿其中牧神和 薩蒂爾的形象。《黑色站姿人物》的人物形象更像 由人類思想意識的更深層中成型。

康多是一位非凡的畫家，多才多藝。他離開了在當時 以哈林和巴斯奇亞為主導的紐約藝術圈，隻身前往 在談及自己的作品時，康多表示： 「我喜歡思考 巴黎，一待就是好些年，深受歐洲傳統文化以及 畢加索……他將自行車坐墊和把手組合在一起，做成 視覺藝術的熏陶。最終，他將自己認識和體驗到的 牛頭：將人工製造的物件搖身一變，變得猶如自然 一切以一種全新的姿態在作品《黑色站姿人物》 生成。而我做的，卻恰恰相反：將自然生成的事物 如栩如生地向世人娓娓道來。康多以誇張的手法將 逆反，變成如自行車一般人工製作生成的產物」 人群在畫面上表現出來，誇張的程度似乎有些瘋狂。 （康多原話，摘自2015年於倫敦發行西蒙·貝克著 畫中人物，支離破碎，虛無縹緲：這兒冒出來 《喬治·康多：重組畫作》第47頁）。顯然，康多的 一隻手，那兒冒出來幾束頭髮，又不知道在什麼地方 作品是人工製造的。不但如此，畫面強調的是觀眾們 露出乳房。人物肢體糾結在一起，我們就好像面對 是否意識到畫作是由多種不同的繪畫技巧構造完成 一群人，雜亂無章，熙熙攘攘。康多將畫中人物的形 的。康多的作品明顯強調的是畫作本身的作畫技巧。 象特徵分離扭曲， 令人想起阿道司·郝胥黎在其 在他的一部分作品當中， 會將注意力集中在某個人 著作《天堂與地獄》提出的具有標緻性的現代理念： 或是某小組人物身上，與歐洲早期繪畫大師的作品 「極限」，或「無限」。這本書涉及了郝胥黎對於人的 有所共通。和康多部分作品一樣， 《黑色站姿人物》 意識進入「無限」性的討論。 「無限」是一種人在冥想 將畫布填滿，以另一種姿態展現在世人眼前。正如 或是迷幻藥的影響下才可達致的境界。不可置否， 康多的另一幅作品《1984米蘭日記》，現藏紐約現代 《黑色站姿人物》魔力彰顯，朦朧迷幻。康多在這幅 藝術博物館。年復一年，康多有時會再次將畫布 作品中注入了嶄新的藝術思維模式，不但如此， 填滿，佈滿人物，繞有興味，如抽象潑灑畫派一般 他一如既往，繼續發掘探索「精神病立體派」的 鏗鏘，同時亦不失對於人物群組的細緻描寫。作品 多種變形。 《黑色站姿人物》，康多用具象表達了抽象的情懷。

Pablo Picasso La cuisine (The Kitchen), 1948 Collection of The Museum of Modern Art, New York © 2018 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

畢加索 《菜餚》1948年作 紐約，現代藝術館收藏

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Property of an Important American Collector

42. KAWS

b. 1974

Untitled signed and dated ‘KAWS 09’ on the reverse acrylic on canvas 182.9 x 182.9 cm. (72 x 72 in.)

Painted in 2009.

Provenance Galerie Perrotin, Paris Private Collection Phillips, New York, 6 March 2014, Lot 3 Acquired at the above sale by the present owner

重要美國私人收藏

KAWS 《無題》 壓克力 畫布 2009年作 款識：KAWS 09 (畫背) 來源 巴黎，貝浩登畫廊 私人收藏 紐約，富藝斯，2014年3月6日，拍品編號3 現藏者購自上述拍賣

HK$ 2,000,000-3,000,000 US$ 256,000-385,000

‘When I was in school, my mind would be on painting.

I guess that's the only thing I've ever really been focused on.’

KAWS

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KAWS reimagines one of the most absorbing personalities in contemporary culture to create Untitled featuring KAWSBOB. Rendered exclusively in enthralling matte red tones, Untitled exemplifes the artist’s position within the historical continuum that began with Pop Art, straddling the line between fne art and commerce. Stripped of his typically cheery yellow hue, the indefatigable character who is known for his hyperactivity, eagerness to please and dogged optimism becomes the subject of archetypical KAWS interventions to refect the artist’s signature crossed-out eyes and abstraction.

Though KAWSBOB retains the highly expressive bulging eyes, protruding nose and two buck teeth indexical to the adored cartoon character, the portrait is zoomed in, bluntly cropped and strangely removed from the undersea context of the popular children’s television series.

Having grown from the culture of downtown Manhattan in the 1990s, KAWS’s cartoonish style is rooted in the artist’s early career who would mediate public advertisements with his own seamlessly brushstroke-free additions. These interventionist artworks were so skilfully executed that it was difcult to distinguish the artist’s work from the original advertisement, a perfectionist mentality still evident in KAWS’s work today. In response to conventional distinctions between high versus low art, KAWS explains, “to me they involve the same thought process, so it’s funny that when I work big in bronze, it’s called a sculpture, but something I do that’s small and plastic is called a toy.” (KAWS quoted in Carlo McCormick, “From the Streets to TV to Fine Art Galleries, KAWS Is Everywhere,” Paper, November 4, 2013) Though his current work channels the bright colours, commercialist attitudes, and refned graphic languages of Pop Artists Claes Oldenburg, Tom Wesselmann, and more recently, Takashi Murakami, KAWS has married the legacy of Pop Art with his own legendary re-appropriation of contemporary culture icons, an aesthetic that has amassed widespread appeal from viewers worldwide.

KAWS在《無題》作品中，重新詮釋當代文化裡全球 為之風靡、眾所皆知的卡通人物。KAWS選擇了 以不帶光澤的紅色來當作為這幅畫的單一主色調。 以美術史的角度來看，不難看出KAWS承襲了普普 藝術的風格，從容遊走在純藝術及商業之間。這個 卡通人物總是活力十足，愛取悅人又擁有著無可救藥 的正面思考，KAWS在此完全以紅色取代了他讓人 熟知的一身黃色，並畫上了藝術家一貫的風格：眼睛 被加上了十字型的X符號以及被抽象化的整體形象。 雖然我們能仍從大大凸凸的眼睛、翹翹的鼻子還有 兩顆大暴牙認出他，但藝術家不僅將他的臉部放大 又只擷取局部，然而也將節目中大家熟悉的海底的 場景給抽離了。 KAWS在上世紀90年代曼哈頓下城風行的文化下 成長，他帶著卡通風格的作品，與他早期生涯有 極大的關聯，他當時就常常將自己特有的符號天衣 無縫地畫在公眾場所的廣告上。他的手法純熟，以至 於往往讓人無法辨識他所畫上去的是否是廣告原作 的一部分。他這樣力求完美的精神，至今不滅。對於 傳統眼光來界定高級藝術和低級藝術的區分，KAWS 曾這樣回應： 「對我來說，兩者之間的創造過程是 相同的，我發現這很有趣，當我用了銅材質來作件 大作品，就會被稱作是雕塑，但我若用了塑膠來作件 小作品，就會被稱作玩具。」(引自於KAWS在卡羅· 麥康米克所著《從街頭到電視到純藝術畫廊，KAWS 無所不在》Paper雜誌，2013年11月4日刊載。) 儘管 KAWS的作品帶著明亮的色彩、商業取向的態度， 以及像是普普藝術前輩克雷斯·歐登堡、湯姆·衛索 曼或當代的村上隆，他仍在承襲普普藝術的同時， 以其獨特重新去詮釋解構 當代文化符號的風格 美學，席捲全球的矚目。

KAWS: Where The End Starts, Exhibited at Yuz Museum, Shanghai, 2017 〈KAWS: 始於終點〉 上海,余德耀美術館展覽, 2017年

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43. Tomoo Gokita

b. 1969

Women in Crime signed, titled and dated ‘“WOMEN IN CRIME” T.G. 2015’ on the reverse acrylic gouache on canvas 227.3 x 181.8 cm. (89 1/ 2 x 71 5/8 in.)

Executed in 2015, this work is accompanied by a certifcate of authenticity issued by Taka Ishii Gallery.

Provenance Taka Ishii Gallery, Tokyo Acquired from the above by the present owner

五木田智央 《同謀女子》 壓克力水粉 畫布 2015年作，並附石井孝之畫廊之保證書。 款識： 《WOMEN IN CRIME》T.G. 2015 (畫背) 來源 東京，石井孝之畫廊 現藏者購自上述來源

HK$ 700,000-1,000,000 US$ 89,700-128,000

‘When I was playing with black and white colours on my palette, I was surprised by how beautiful the gradations were.’

Tomoo Gokita

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Property of an Important American Collector

44. Nam June Paik

1932-2006

Big Shoulder signed ‘Nam June Paik [in Hanja] PAIK’ on the front mixed media, antique cabinets, televisions, laser disc player and laser disc 233.7 x 264.2 x 45.7 cm. (92 x 104 x 17 7/8 in.)

Executed in 1998.

Provenance Private Collection (acquired directly from the artist in 1998) Private Collection, New Jersey Phillips, New York, 14 November 2014, Lot 268 Acquired at the above sale by the present owner Exhibited New York, Shin Gallery, Nam June Paik, 9 July - 31 August 2014

重要美國私人收藏

白南準 《大肩膀》 綜合媒材 古董櫥櫃 電視機 激光唱片機 激光唱片 1998年作 款識：白南準 PAIK (正面) 來源 私人收藏 (於1998年直接購自藝術家本人) 新澤西州私人收藏 紐約，富藝斯，2014年11月14日，拍品編號268 現藏者購自上述拍賣 展覽 紐約，申畫廊， 〈白南準〉，2014年7月9日 - 8月31日

HK$ 1,800,000-2,200,000 US$ 231,000-282,000

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Towering over the viewer, Big Shoulder is one of Nam June Paik’s now-iconic robots. Executed in 1998, this imposing fgure comprises television sets and antique furniture, wedded together to create this impressive monument. With its use of laser discs, the televisions themselves relay images that ensure that this sculpture is dynamic, constantlychanging, animated and almost alive. Paik was one of the great artistic pioneers of the second half of the Twentieth Century, one of the earliest adopters of video art. He was a prominent member of the Fluxus group, and worked alongside some of the most groundbreaking artists of his age, including Joseph Beuys, John Cage and Allan Kaprow. A virtuoso pianist, Paik would ofen incorporate music into his works, as well as performance in his ‘Happenings’. One of his greatest innovations was his use of televisions and the surrounding video technology, which he harnessed from the 1960s onwards. Paik made clothes and furniture that featured televisions, commenting on the potential of the medium. Big Shoulder continues that exploration of the role of the television, of visual information, in the modern world.

The fusion of the television sets with the antique furniture that has been used to house them and form the bulk of Big Shoulder bridges the past and the present, and introduces the future. This robot continues a theme explored in his 1964 work, Robot K-456, now in the Flick Collection at the Hamburger Bahnhof, Berlin.

That work was a skeletal, remote-controlled robot which took its name from a work by Wolfgang Amadeus Mozart. It was designed to walk, move its arms, play clips of speeches made by the recently-assassinated President John F. Kennedy, and even defecated on command, ejecting beans.

Paik would return a number of times to the theme of the robot that fuses the anthropomorphic and the technological. For instance, in 1986, he made his Family of Robot, of which the Father and Mother are now in the Nagoya City Art Museum, while the Baby is in the Art Institute of Chicago. While the ‘ofspring’ was constructed out of aluminium furniture and television sets to give a ‘newborn’ appearance, the ‘parents’ were made by retasking vintage radio sets and antique furniture, like Big Shoulder. This gives the sculpture a sense of age, weathering and experience that is deliberately at odds with the visual efects on the screens. It refects Paik’s fascination with the way that new media could link humanity and engage from day to day, bringing about a new change in our interactions with the world.

By the time that Paik made Big Shoulder, he was an internationally-recognised artist. Indeed, in 1993, his exhibition in the German Pavilion at the Venice Biennale had won the Golden Lion. In 1998, he received the highly coveted Kyoto Prize, a distinction received by Roy Lichtenstein, Tadao Ando among many others.

Nam June Paik with "Marco Polo", part of his "Golden Lion" award winning installation "Electronic Superhighway" outside the German Pavilion at the Biennale di Venezia 1993 Photo: Roman Mensing, artdoc.de

白南準與《馬可波羅》 (藝術家獲得「金獅子」獎的藝術裝置品 《電子高速公路》系列之一) 攝於1993年威尼斯雙年展，德國展館外面

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聳立於觀者面前的《大肩膀》，是白南準標誌性的 機器人系列作品之一。本件作品創作於1998年， 由電視機、古董傢俱等組合成碩大機器人形象，塑造 出奪人氣勢。通過激光唱片，電視機轉播的畫面 營造出雕塑時刻變化的動感，栩栩如生。作爲二十 世紀下半葉的藝術先驅，白南準是最早採用影像作 爲創作形式的藝術家之一。他是激浪派藝術運動 的傑出成員，並與其同時代最具開創性的藝術家們 並肩作戰，包括約瑟夫·博伊斯、約翰·凱吉、 艾倫·卡普羅等人在內。作爲一位受過正規訓練的 鋼琴演習者，白南準時常將音樂融入其作品，並將 表演融入其偶發藝術中。自1960年以來白南準善用 電視機及其相關影像技術，成爲他偉大創新之一。 白南準製作過描繪電視機的衣服和傢俱，藉此探索此 類媒介的無限可能。 《大肩膀》延續了對電視機和 視覺信息在當今世界所扮演角色的探索。

噴射出豆子。白南準隔一段時間便會重回創作 機器人的主題，妙用擬人化與科技感的融合。例如 其1986年的作品《機器人之家》，其中《父與母》 現藏於名古屋市美術館，而《孩子》現藏於芝加哥 藝術博物館。 《孩子》由鋁製傢俱和電視機組成，頗 有新生兒之貌，而《父與母》則由重組的復古收音機 和古董傢俱組成，如同《大肩膀》一樣。這旨在賦予 雕塑年代和歲月感，特意與屏幕上播放的視覺效果 形成對比。作品反映出白南準着迷於新媒體與人性 及日常生活的千絲萬縷聯繫，爲大衆與世界互動的 方式帶來前所未有的改變。 白南準創造《大肩膀》時，已是國際知名的 藝術家。1993年，他於威尼斯雙年展德國館的 展覽榮獲金獅獎。1998年，他被授予廣受垂涎的 京都獎，位列同等榮譽的有羅伊·李奇登斯坦、 安藤忠雄等。

電視機和古典傢俱的融合，不僅勾勒出《大肩膀》的 體量特徵，而且承古容今、展望未來。此件作品延 續了白南準於1964年創作的《機器人K-456》所探索 的主題，該件作品現藏於柏林漢堡車站現代美術館 的Flick收藏。骷髏形態的遠程遙控機器人能走能動， 作品名源自莫扎特的曲目，播放當時剛遭遇刺殺的 肯尼迪總統的演講片段，甚至能依指令排泄，

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45. KAWS

b. 1974

(FIVE YEARS LATER) COMPANION incised with the artist’s signature and number ‘KAWS 08 4/10’ on the underside painted bronze 39.6 x 16.5 x 10.1 cm. (15 5/8 x 6 1/ 2 x 3 7/8 in.)

Executed in 2008, this work is number 4 from an edition of 10 and is accompanied by a certifcate of authenticity issued

by OHWOW Gallery.

Provenance OHWOW Gallery, Los Angeles Acquired from the above by the present owner

KAWS 《(五年後)同伴》 塗漆銅雕 2008年作，共有10版，此為第4版，並附OHWOW畫廊之保證書。 款識：KAWS 08 4/10 (底部) 來源 洛杉磯，OHWOW 畫廊 現藏者購自上述來源

HK$ 500,000-700,000 US$ 64,100-89,700

‘…they talk to me. And it’s really annoying.

They all exist in this grim little way.

I don’t know if they each have a personality, but the Companion and the Accomplice are defnitely key…people.’

KAWS

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46. Rob Pruitt

b. 1964

Untitled signed and dated ‘Rob Pruitt 2011’ on the stretcher glitter and enamel on canvas 203.4 x 152.5 cm. (80 1/8 x 60 in.)

Executed in 2011.

Provenance Luxembourg & Dayan, New York Acquired from the above by the present owner

羅伯·普洛特 《無題》 閃粉 瓷漆 畫布 2011年作 款識：Rob Pruitt 2011 (畫背) 來源 紐約，Luxembourg & Dayan 畫廊 現藏者購自上述來源

HK$ 700,000-900,000 US$ 89,700-115,000

As one of the art world’s most admired provocateurs, Rob Pruitt has walked the thin line between controversy and playfulness since the beginning of his career in the early 1990s to create beguiling works that deliver something between criticism and celebration of the art world. The glistening, large-scale paintings of giant woolly pandas, frst shown in 2000, represent the artist’s best-known series. Rendered in the artist’s infamous glitter and enamel medium, Untitled presents one of Pruitt’s great pandas in a costume form.

Accentuating Pruitt’s ongoing signature investigation of the spectacular, the present lot depicts the pandacostume’s wearer caught mid-performance on a stage against a psychedelic black and white curtain-like backdrop. With its tiny button mouth and wide-eyed expression, this panda is just as stunned as the viewer in reaction to Pruitt’s unrelenting shock tactics.

Untitled, produced in the spirit of Marcel Duchamp and Andy Warhol, serves as an emblem of Pruitt’s wideranging practice that in itself presents a kind of ongoing performance mocking and praising our received wisdom regarding fame and celebrity. Regarding the excesses of contemporary culture that have become his medium, Pruitt explains, “on the one hand I want to celebrate it, because it’s who we are and on the other hand I want to condemn it,” he said. “I think it’s always like a Ping-Pong match for me.” (Rob Pruitt quoted in Randy Kennedy, “A Penitent Refects on the Wilderness,” New York Times, September 15, 2010). The visual tropes of Pruitt’s pandas have migrated from folk culture to the contemporary avant-garde where they are made even more fantastic and graphically seductive than their natural-world counterpart. Describing his own work as populist, Pruitt explains, “I’ve really enjoyed letting the world know that not everything is so mystifed or so regulated to expertise—that you can make something really beautiful with a little ingenuity and some supplies from Michaels [craf shop]” (Rob Pruitt by James Franco, “Rob Pruitt,” Interview Magazine, September 29, 2009). Pruitt pokes fun at the art world while comfortably sitting at the table with its elite.

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作為藝術界最受矚目的挑釁者之一，羅伯·普洛特 從90年代初開始他的職業生涯時，便挑戰了爭議 和嬉戲之間的界限，創造出一些引人入勝的作品， 普洛特的作品一直在偽裝，在批判藝術界的同時， 為它歡慶喝彩。作品中的熊貓形象現已成為 藝術家最為人知的系列，其體型龐大，閃閃發光， 於2000年首次呈現在世人眼前。 在普洛特創作的眾 多大熊貓作品當中， 《無題》的這隻大熊貓，實際上是 一套戲服，在粗俗的閃粉和琺瑯材質的照耀下閃爍。 作品抓住了身著熊貓戲服的人在面對觀眾表演時的 一瞬間，他正背對黑白相間的帷幕，我們的視覺被 漸漸迷幻，逐步進入普洛特的世界。他的世界琢磨 不透，永不停止去進一步探索更偉大更精彩的境界。 這隻熊貓小嘴微張， 雙眼圓睜的表情，簡直就和人 們在見到普洛特作品時瞬間流露的驚訝一模一樣。 《無題》帶著馬塞爾·杜尚和安迪·沃荷的精神，象徵 普洛特形式多變的藝術創作手法。他的作品一直帶 有表演色彩，譏諷我們對於名望和明星的普遍認知 和理解。關於以當代文化為創作背景，普洛特 這樣解釋到： 「一方面，我想褒揚它，因為我們本來 就是一群以當代文化為背景生活的人，但從另一面 來說，我又想譴責它。」…「對於我本人來說， 這常常會是場乒乓球競賽。」 （罗伯·普洛特原話， 摘自2018年4月19日《紐約時報》網頁版2010年 9月15日冉迪·肯尼迪著「荒野懺悔」。普洛特的熊貓 所扮演的角色產生了轉變，從本來的民間藝術， 逐漸演變成具有象徵意義的當代藝術的先鋒，比真實 世界的熊貓更加精彩，更加引人注意。至於作品是否 過於民粹，普洛特解釋道： 「我非常樂意分享這麼一 個道理：人世間，非事事神秘，事事需要鑽研。 你完全可以創作出一份非常絢麗的作品，加一點點 原創性，再添幾筆邁克爾美術用品商店的材料， 足矣。」 （摘自2009年9月29日《採訪》雜誌詹姆斯· 弗朗克著「罗伯·普洛特」） 。普洛特與同儕在藝術的 世界里歡聚一堂，安笑風生，如同其作品所展現的 一派輕鬆，不必想太多。

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47. Yayoi Kusama

b. 1929

Nets signed, titled and dated ‘Yayoi Kusama “Nets” 1990’ on the reverse acrylic on canvas 22.8 x 15.8 cm. (8 7/8 x 6 1/4 in.)

Painted in 1990, this work is accompanied by a registration card issued by the Yayoi Kusama studio.

Provenance Private Collection, Korea Acquired from the above by the present owner

草間彌生 《網 》 壓克力 畫布 1990年作，並附草間彌生工作室之登記卡。 款識：Yayoi Kusama 《Nets》1990 (畫背) 來源 韓國私人收藏 現藏者購自上述來源

HK$ 350,000-550,000 US$ 44,900-70,500

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Property of an Important European Collector

48. Anish Kapoor

b. 1954

Untitled signed and dated ‘Anish Kapoor 2013’ on the reverse fbreglass and paint 90 x 90 x 45.5 cm. (35 3/8 x 35 3/8 x 17 7/8 in.)

Executed in 2013.

Provenance Lisson Gallery, London Acquired from the above by the present owner

重要歐洲私人收藏

安尼施·卡普爾 《無題》 玻璃纖維 油漆 2013年作 款識: Anish Kapoor 2013（背面） 來源 倫敦，里森畫廊 現藏者購自上述來源

HK$ 2,500,000-3,800,000 US$ 321,000-487,000

‘There are painters who transform the sun into a yellow spot, but there are others who, thanks to their art and their intelligence, transform a yellow spot into the sun.’

Pablo Picasso

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Anish Kapoor’s forte is his ability to create deep, moving and ofen disorienting artistic experiences.

His works do not make you ‘think’ as much as they make you feel. The present lot, Untitled exemplifes this notion through immersion in colour, in turn exploring the impermanent and illusory nature of the material world.

The large concave dish at frst glance recalls the sun, a circle of safron yellow so bright that it threatens to burst out of its confnes. Projecting out into its surrounding space, the work commands attention, drawing its viewer into its unending depths of powdery opaque pigment, enveloping the senses to merge reality with illusion. The concave structure of the dish not only amplifes this immersive experience; it also blocks out peripheral distractions and centres the viewer into a meditative state.

The saturation of yellow is oddly disorienting— its electric charge assaults the senses, but the visceral pull of colour swallows the viewer, causing all forms to disappear in its presence.

Having frst been born and raised in India before moving to London, the 1991 Turner Prize winner’s use of yellow is also highly signifcant to his native roots. Growing up in a culture where colour is highly symbolic in spiritual practice, yellow is a sacred colour in Hinduism, representing courage and selfessness, touching on topics of enlightenment and illumination. Kapoor’s deliberate use of this safron-turmeric yellow is not only a nod to his cultural heritage, but it also intensifes the out-ofbody dialogue between the viewer and the work, in turn exploring the relationships between existence and non-existence, internal and external depth, and positive and negative space.

安尼施·卡普爾最擅長為觀眾帶來一場深邃，流動， 迷幻的藝術體驗。它的作品不太會令人去想起什麼， 而是帶人去感受應該感受的一切。作品《無題》證明 了以上觀點，爛漫的顏色步入眼簾，領著人們去探索 物質世界的短暫及變幻。 一個型狀完美的圓向中心凹陷，看上去好像一輪 太陽。明艷飽满的黃色；躁動而耀眼，似乎跳脫了 圓形的束縛，連同周圍空間也被奪目的鮮黃點亮， 引人入勝，觀眾的視野被帶到一片無邊無際的繽紛 世界，融合現實和夢幻。看似型態簡單的雕塑不但 加深了這場藝術體驗，它散發出的色彩及光暈引人 進入冥想，讓人們的視線拋下周遭一切，專注在 鮮黃的世界。一種昇華的奇妙觀感，注滿能量， 觀眾好像一下子被顏色吸入圓片，周圍的世界隨 即瞬間消逝。 安尼施·卡普爾出生於印度，其後在倫敦定居，這位 1991年透納獎得主時常在藝術創作中運用到黃色， 而這顏色時常在卡普爾的故土出現。在印度，顏色 富有靈性，黃色在印度教中具有神聖意義，代表勇氣 和無私，象徵覺悟和啟發。卡普爾有意識地運用似 藏紅花的姜黃色，在向自己國家及文化致敬的同時， 為觀眾與作品之間搭建了一座溝通的橋樑，讓觀眾 拋下肉身，沉浸在靈性的世界，從而去探索有形和 無形的世界，內在和外在的深度，以及正負空間。

Anish Kapoor Yellow, 1999 Fibreglass and pigment 600 x 600 x 300 cm Photo: Dave Morgan © Anish Kapoor. All rights reserved DACS, 2018

安尼施·卡普爾 《黃色》1999年作 玻璃纖維 顏料 600 x 600 x 300 公分

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49. Finn Juhl

1912-1989

Desk, model no. BO69 teak, painted wood, painted tubular metal, brass 75.3 x 170 x 85 cm. (29 5/8 x 66 7/8 x 33 1/ 2 in.)

Manufactured by Bovirke and retailed by Illums Bolighus, Copenhagen, Denmark. Underside with retailer’s brass plaque impressed with ILLUMS BOLIGHUS/KØBENHAVNMADE IN/DENMARK and one drawer stamped with MADE IN/ DENMARK. Designed in 1953, produced in late 1950s.

Provenance Illums Bolighus, Copenhagen, late 1950s Private Collection, Denmark (acquired directly from the above) Literature Bent Salicath, ‘Finn Juhl and Danish Furniture’, Architects’ Year Book 6, London, 1955, pp. 150, 152 Dansk Kunsthåndværk, no. 3-4, 1956, p. 84 for an advertisement ‘Mobili di Finn Juhl’, Domus, no. 315, February 1956, p. 44 Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 60-61 for similar examples Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 64, 111

芬·祖爾 《書桌》型號 BO69 柚木 塗木 塗裝金屬 黃銅 此作品於1953年設計，由Bovirke於1950年代末期製造。 由丹麥哥本哈根 Illums Bolighus 銷售。 款識：ILLUMS BOLIGHUS/KØBENHAVN (印於零售商黃銅標籤)； MADE IN/DENMARK (印於抽屜) 來源 哥本哈根 ，Illums Bolighus，1950年代末期 丹麥私人收藏 (直接購自上述來源) 出版 Bent Salicath著， 《芬·祖爾與丹麥家具》， 〈Architects’Year Book 6〉，倫敦，1955年，第150、152頁 〈Dansk Kunsthåndværk〉 ，第3-4集，1956年，第84頁 （廣告圖版） 《Mobili di Finn Juhl》 ， 〈Domus〉 ，第315集，1956年2月，第44頁 Esbjørn Hiort 著， 〈芬·祖爾：家具、建築及應用藝術〉， 哥本哈根，1990年，第60-61頁 (同系列作品) Per H. Hansen著， 〈芬·祖爾之家〉，奧斯特菲爾登, 2014年, 第64、111頁

HK$ 80,000-100,000 US$ 10,300-12,800

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Property of an Important Asian Collector

50. Ugo Rondinone

b. 1964

Mrz 2007 signed ‘ugo rondinone’ on a label afxed to the stretcher on the reverse acrylic on canvas diameter 220 cm. (86 5/8 in.)

Painted in 2007.

Provenance Arario Gallery, Seoul Acquired from the above by the present owner Exhibited Seoul, Arario Gallery, Our Magic Hour, 30 March - 20 April 2007

重要亞洲私人收藏

烏戈·羅迪納 《Mrz 2007》 壓克力 畫布 2007年作 款識: ugo rondinone (簽於畫背標籤) 來源 首爾，阿拉里奧畫廊 現藏者購自上述來源 展覽 首爾，阿拉里奧畫廊， 〈我們的魔幻時刻〉 ， 2007年3月30日-4月20日

HK$ 1,000,000-1,500,000 US$ 128,000-192,000

Known for his vast mixed-media production, Ugo Rondinone is a Swiss artist who emerged on the international art scene in the 1980s. Afer studying at the Hochschule für Angewandte Kunste in Vienna, he moved to New York where he currently lives and works. Having had several solo exhibitions around the world, including at the Centre Georges Pompidou in Paris and the Museo de Arte Contemporáneo de Castilla in León, Spain, he represented Switzerland at the 52nd Venice Biennale in 2007.

Among his multi-faceted production, which spans across various media including painting, sculpture, photography and video, the present lot is a mesmerising example from one of the artist’s most iconic Target Paintings series, which the artist has produced since the mid-nineties. Executed on a circular canvas, this work displays hazy rings of lime greens, whites, blues, and blacks that pulse in and out of the centre of the composition, creating a visual illusion that makes maintaining visual focus deliberately difcult. Favouring spray paint as a medium, Rondinone imposes an experiential intensity that arises from the hypnotic and abstract atmosphere in Mrz 2007, enthralling the viewer at frst sight.

以大型混合媒材作品著稱的瑞士籍藝術家 烏戈·羅迪納，於八十年代在國際藝術界開始嶄露 頭角。羅迪納在維也納應用藝術大學完成學業後 遷居紐約，並自此於當地居住創作。羅迪納曾多次 在世界各地舉辦個展，包括巴黎的龐畢度藝術中心 和西班牙的卡斯蒂利亞-萊昂當代藝術美術館， 更在2007年，代表瑞士參加第52屆威尼斯雙年展。 羅迪納的作品廣泛多元，涵蓋繪畫、雕塑、攝影 和錄像，並在九十年代中期，發展出其最具代表性的 「標靶畫」系列，呈現於此的迷人拍品便是其中 典範。圓形畫布上，一圈圈萊姆綠、純白、湛藍和 漆黑從圓心向外脈動、擴張，朦朧的圓圈和交替的 顏色錯亂視覺，使觀者的眼睛難以對焦。羅迪納用他 偏愛的噴漆創作《Mrz 2007》，此媒材賦予觀者強烈 的視覺經驗，讓人一眼就被畫面中目眩神迷的抽象 氛圍給迷住。 羅迪納的標靶系列雖叫人憶起賈斯柏·瓊斯於 五十年代創作的類似系列作品，從中卻可見他針對 當代主義的提出的微妙諷刺。標靶意味著向瞄準 目標，然而羅迪納藉由模糊的圓圈，消除了標靶固有 的清晰準確的象徵。

While reminiscent of the target paintings of Jasper Johns from the 1950s, Rondinone’s work contains a subtle irony directed at modernism. Although the target is closely linked with the act of looking and aiming, the circles of his version are blurred, annihilating the essence of the target.

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Property of an Important European Collector

51. Damien Hirst

b. 1965

Beautiful Bloody Revolutionary Supersonic French Spin Painting for the Amazing Anne-Sophie signed and dedicated ‘Damien Hirst for Anne-Sophie D. X’ on the reverse; further signed ‘D Hirst’ on the stretcher household gloss on canvas diameter 152.3 cm. (59 7/8 in.)

Executed in 2014.

Provenance Acquired directly from the artist

重要歐洲私人收藏

達明安·赫斯特 《為最棒的安妮·蘇菲而作的美麗血腥革命超音速 法國旋轉繪畫》 亮光漆 畫布 2014年作 款識：Damien Hirst for Anne-Sophie D. X (畫背); D Hirst (畫框) 來源 現藏者直接購自藝術家本人

HK$ 1,200,000-2,200,000 US$ 154,000-282,000

Bursting with tactile layers of blue, hunter green, red and yellow, Beautiful Bloody Revolutionary Supersonic French Spin Painting for the Amazing Anne-Sophie presents an exemplary work from Damien Hirst’s coveted Spin Painting series.

The circular canvas exhibits several splashes of vibrant colour that spring outwards from a central point, elucidating the unmistakable spontaneity that electrifes the series. They recall the spinning of a record on a turntable, or Hirst’s long exposure photographic series that capture the movement of the stars.

Beautiful Bloody Revolutionary Supersonic French Spin Painting for the Amazing Anne-Sophie hearkens back to a 1993 collaboration between Hirst and Angust Fairhurst titled A Fete Worst than Death, an event curated by Joshua Compston in Shoreditch, London. Having constructed an impromptu spin art station, the artists ofered visitors the opportunity to pay a mere £1 to create their own spin paintings to be autographed by the pair. This key body of work has since contributed to seminal exhibitions including Hirst’s 2012 retrospective at Tate Modern.

Though Hirst’s extolled Spot Paintings are meticulously rendered by hand, both the Spot and Spin series analyse the theme of mechanical intervention. To create each Spin piece, paint is spilled onto a round canvas whirled by a machine at high speeds in reference to the optical experiments of Marcel Duchamp. Though Duchamp utilised motorised devices as a means of creating optical illusions, Hirst’s contemporary take focuses on the impressions of possibility, wonder, and elation evoked by the expression of movement. Beautiful Bloody Revolutionary Supersonic French Spin Painting for the Amazing Anne-Sophie ofers a highly animated painting by the inimitable Damien Hirst, one of the most globally renowned artists working today.

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質感強烈的藍色、綠色、紅色、安色在畫面上飛流 奔放， 《為最棒的安妮·蘇菲而作的美麗血腥革命 超音速法國旋轉繪畫》實為達明安·赫斯特的旋轉畫 系列中的傑作。圓心畫布上，明亮的顏色從圓心向外 放射，無庸置疑地展現了其旋轉畫系列鼓舞人心的 自發性。旋轉畫讓人聯想起在唱片機上旋轉著黑膠 唱片，也像是赫斯特用拉長曝光來捕捉星辰轉動的 攝影系列。 《為最棒的安妮·蘇菲而作的美麗血腥革命超音速 法國旋轉繪畫》可追溯至在1993年，赫斯特與 藝術家安格斯·費赫斯特聯手在倫敦薛迪奇區舉辦了 一場由策展人約書亞·康斯頓策展、由眾藝術家領銜 主導的街頭藝術博覽會「比死更糟的宴會」。兩位 藝術家在街接頭打造旋轉畫站，訪客只需付1英鎊的 費用便能創作自己的旋轉畫，並轉交給兩位藝術家 簽名。這一系列令收藏家極為嚮往的關鍵作品， 更是赫斯特大展中的常客，例如赫斯特於2012年 在倫敦泰特現代藝術館所舉辦的回顧展。 相較於旋轉畫系列，赫斯特同樣備受推崇的圓點 系列強調的是一絲不苟的繪畫執行，但是兩個系列 探討的都是機械介入的主題。赫斯特創作旋轉畫的 方法是將顏料倒在高速旋轉的圓形畫布上，他用旋轉 機器作畫契機可以追溯至杜象；不過，杜象用所發展 出的是一種視覺實驗，赫斯特則是以當代的觀點， 專注發展動作所引發的可能、驚奇和欣喜。畫面上 的豐富的動感彰顯著赫斯特的藝術實踐中，各種相互 抗衡的流動能量。赫斯特是當今享最譽國際的藝術家 之一，呈現於此的《為最棒的安妮·蘇菲而作的美麗 血腥革命超音速法國旋轉繪畫》，更是一件極富動感 的旋轉畫大作。

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52. Paolo Bufa

1903-1970

Pair of armchairs walnut, fabric Each: 84.2 x 64.8 x 74.5 cm. (33 1/8 x 25 1/ 2 x 29 3/8 in.)

Designed in the 1950s.

Each frame impressed I and II respectively.

Together with a certifcate of authenticity from the Paolo Bufa Archive.

Provenance Private Collection, Italy Literature ‘Alcuni Mobili di Paolo Bufa’, Domus, no. 178, October 1942, p. 431 for a similar example Roberto Aloi, L’ Arredamento Moderno, quarta serie, Milan, 1949, fg. 366 for a similar example Roberto Rizzi, I mobile di Paolo Bufa, exh. cat., Mostra Internazionale dell’Arredamento, Cantu, 2002, pp. 30, 34-35 for a drawing and images of a similar example

保羅·布法 《扶手椅一對》 胡桃木 皮革 此作品於1950年代設計，並附保羅·布法檔案機構之保證書。 款識：I與II (印於每件椅子下層框架內) 來源 意大利私人收藏 出版 《Alcuni Mobili di Paolo Buffa》 ， 〈Domus〉 ，第178集， 1942年10月，第431頁（同系列作品） Roberto Aloi著， 〈L’Arredamento Moderno, quarta serie〉 ，米蘭，1949年（圖版366同系列作品） Roberto Rizzi, I mobile di Paolo Buffa, exh. cat., Mostra Internazionale dell’Arredamento，坎圖，2002年， 第30、34-35（同系列作品）

HK$ 75,000-95,000 US$ 9,600-12,200

Upon graduating from the Politecnico di Milano in 1927, Paolo Bufa worked in the studio of Gio Ponti and Emilio Lancia, before opening his practice with fellow architect Antonio Cassi Ramelli the following year. By the mid1930s Bufa had established his own studio, where the Milanese architect designed expertly crafed furniture featuring intricate inlays and combining luxurious materials for an elite clientele. Bufa developed close relationships with cabinetmaking workshops in Brianza, renowned for their traditional furniture manufacturing, and during the following decades collaborated with some of the period’s most skilled artisans, including Fratelli Lietti, Marelli e Colico, and Cassina di Meda.

These relationships enabled Bufa to introduce a modern vocabulary into his work whilst adhering to Milan’s heritage of artisan furniture production, in order to realise inventive furniture designs that revealed a skilful union of design and execution.

The present pair of armchairs designed by Bufa during the 1950s elegantly balance comfort and functionality with high-quality crafsmanship and materials: the refned, articulated lines of the armchair’s frame countering the volume of its cushions. Coinciding with contemporary debates about the role of design and its responsibility to the larger population, Bufa reworked the presiding neoclassical idiom. The architect incorporated simplifed forms into his designs in order to streamline production techniques, whilst always retaining a high regard for materials and harmonious portions. His designs were featured in important publications, such as Roberto Aloi’s L’arredamento moderno series, through which a coherent evolution can be traced in Bufa’s work as he interpreted the formal elegance of Italian design with a subtle yet recognisably modern rigour.

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保羅·布法於1927年畢業於米蘭理工大學，一畢業 即進入吉奧·蓬蒂和埃米里奧·蘭吉亞的工作室， 一年後他與建築師安托尼奧·卡西·拉梅里另組 工作室。1930年代中期，布法獨立出來，建立了自己 的工作室，為高端客戶精心設計富有細緻鑲嵌和奢華 材料的家具。布法與意大利布里安扎的木匠工作室 有緊密關係，他們憑藉高超的傳統家具製作工藝而 聞名。隨後的幾十年內，布法與同時代技藝最為嫻熟的 工匠都有合作，包括費拉特里·烈蒂、馬日里·寇里寇、 卡西納·迪·梅達等在內。這些合作關係使得布法在保留 米蘭傳統家具製作工藝的同時，能在其作品中引入全新 的現代語言，實現融合設計與執行的創新家具設計。 這一對扶手椅是布法於1950年代所設計的，透過優質 的工藝與材質將舒適度與功能性的平衡發揮到極致： 扶手椅精緻縝密的框架與襯墊的體積相互抗衡。正如 現代設計中關於設計所扮演角色及其對大眾責任的討論 一樣，布法重新演繹了主宰新古典主義的語彙。建築師 將簡潔的形態融入設計中，在簡化生產工藝的同時， 保留對精選材質與和諧比例的高度推崇。他的設計 曾入選許多重要文獻，比如羅伯特·阿洛伊的「現代 裝飾」系列，該書清晰明了地評價布法的作品，既詮釋 了意大利設計的優雅形態，又帶有一抹獨具辨識度 的現代魅力。

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53. Max Ingrand

1908-1969

Pair of ‘Dahlia’ wall lights, model no. 1461 coloured glass, glass, brass Each: 75 x 15 x 10 cm. (29 1/ 2 x 5 7/8 x 3 7/8 in.)

Manufactured by Fontana Arte, Milan, Italy in the 1950s.

Provenance Private Collection, France Literature Fontana Arte: Illuminazione, Milan, p. 56 Roberto Aloi, Esempi: Di Decorazione Moderna, Di Tutto Il Mondo, Illuminazione d’oggi, Milan, 1956, p. 238 Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano Degli Anni ’50, Milan, 1985, p. 231, fg. 810 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 334

馬克斯·英格蘭 《天竺牡丹》壁燈一對 型號1461 有色毛玻璃 玻璃 黃銅 此作品1950年代於意大利米蘭Fontana Arte製造。 來源 法國私人收藏 出版 〈Fontana Arte: Illuminazione〉，米蘭，第56頁 Roberto Aloi著， 〈Esempi: Di Decorazione Moderna, Di Tutto Il Mondo, Illuminazione d’oggi〉 ， 米蘭，1956年，第238頁 Andrea Branzi與Michele De Lucchi編， 〈Il Design Italiano Degli Anni‘50〉，米蘭，1985年， 第231頁，圖版810 Franco Deboni著， 〈Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand〉，都靈，2012年，圖版334

HK$ 23,000-26,000 US$ 2,900-3,300

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54. Gio Ponti

1891-1979

Desk and chair cherry, cherry-veneered wood, coloured glass, brass, fabric Desk: 76 x 130 x 65 cm. (29 7/8 x 51 1/8 x 25 5/8 in.)

Chair: 83.5 x 46 x 59 cm. (32 7/8 x 18 1/8 x 23 1/4 in.)

Produced by Casa e Giardino, Milan, Italy circa 1940.

Underside branded with manufacturer’s mark Casa & Giardino.

Together with a certifcate of expertise from the Gio Ponti Archives.

Provenance Casa e Giardino, Milan, circa 1940 Private Collection, Italy (acquired directly from the above)

吉奧·蓬蒂 《書桌與椅子》 櫻桃木 櫻桃飾面板 有色毛玻璃 黃銅 布料 此作品約1940年於意大利米蘭 Casa e Giardino製造， 並附吉奧·蓬蒂檔案機構之保證書。 款識：Casa & Giardino (印於每件作品底部) 來源 米蘭 ，Casa e Giardino，約1940年 意大利私人收藏 (直接購自上述來源)

HK$ 160,000-200,000 US$ 20,500-25,600

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55. Gio Ponti

1891-1979

Pair of two-seater sofas walnut, fabric Each: 84 x 157 x 84 cm. (33 1/8 x 61 3/4 x 33 1/8 in.)

Designed circa 1938, this work is accompanied by a certifcate of expertise from the Gio Ponti Archives.

Provenance Private Collection, Italy Literature Domus, no. 125, May 1938, p. 40 for a drawing of a similar example Domus, no. 131, November 1938, p. 15 for a similar example ‘Segnalazione: Il mobile e la stofa’, Domus, no. 150, June 1940, p. 66 for a similar example

吉奧·蓬蒂 《雙人沙發一對》 胡桃木 布料 此作品約1938年設計，並附吉奧·蓬蒂檔案機構之保證書。 來源 意大利私人收藏 出版 〈Domus〉 ，圖版編號125，1938年5月，第40頁 (同系列作品草稿圖) 〈Domus〉 ，圖版編號131，1938年11月，第15頁 (同系列作品圖版) 《Segnalazione: Il mobile e la stoffa》， 〈Domus〉， 圖版編號150，1940年6月，第66頁 (同系列作品圖版)

HK$ 140,000-180,000 US$ 17,900-23,100

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56. Max Ingrand

1908-1969

Rare chandelier painted tubular steel, painted metal, brass, opaque glass, glass 76.5 cm. (30 1/8 in.) drop, 53 cm. (20 7/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy, circa 1958.

Provenance Private Collection, Italy Literature Vitrium, no. 147, February 1965, pp. 30, 33 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 326 for a similar example

馬克斯·英格蘭 《稀有吊燈》 塗裝管狀鋼 塗裝金屬 黃銅 琉璃 玻璃 此作品約1958年由意大利米蘭 Fontana Art 製 來源 意大利私人收藏 出版 〈Vitrium〉，第147集，1965年2月，第30、33頁 Franco Deboni著， 〈Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand〉 ，都靈，2012年 （與圖版326同系列作品）

HK$ 80,000-100,000 US$ 10,300-12,800

Succeeding Pietro Chiesa, Max Ingrand was appointed as the artistic director of Fontana Arte in 1954. Ingrand, who had achieved international recognition for his stained glass designs, was nominated for the position

by Gio Ponti, with who the French designer would develop a great mutual esteem through their collaboration. Guided by Ingrand’s innovative spirit, Fontana Arte established a semi-industrial production model, whilst maintaining the company’s strong tradition of exquisite crafsmanship. Fontana Arte introduced new lighting solutions to the market, and upon the encouragement of Ponti, developed the use of coloured glass in their designs, all of which refected Ingrand’s interest in the study of light and its efects within an architectural space.

Modernising the traditional form of the chandelier, the present lot features individual pieces of profled clear glass surrounding a central light source of opaque glass, creating a composition that articulates and difuses the light. Whilst giving prominence to the expert crafsmanship of the glasswork, Ingrand also incorporated industrial materials, such as painted tubular steel, elegantly combining the modern with the traditional. In his monograph of the designer, Pierre-Emmanuel Martin-Vivier describes Ingrand’s lighting as ‘transcending its purely functional purpose to become an iconic object boundless of time and fashion’.

Moreover, through his approach to materials, such as the use of coloured glass as illustrated in the delicate coloured glass ‘petals’ of the ‘Dahlia’ series (see Lot 53), Ingrand demonstrated the potential for artifcial lighting to be as resplendent as natural light.

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皮耶特羅·遲埃撒逝世后，法國設計師馬克斯· 英格蘭於1954年被任命為豐塔納藝術燈具的藝術 總監。英格蘭彼時已憑藉其彩色玻璃設計獲得國際 認可，吉奧·蓬蒂提名他出任豐塔納藝術總監， 為兩者間一段相互欽佩的合作關係拉開序幕。 在英格蘭的創新精神領導下，豐塔納藝術公司建立 了半工業化的生產模式，同時保留了公司傳統強項 精緻工藝。豐塔納藝術為市場帶來全新的照明 選項。英格蘭在蓬蒂的鼓勵下，於設計中運用彩色 玻璃，彰顯他對於光線及其在建築空間內效果 的細緻研究。 本件拍品意圖將傳統吊燈現代化，呈現透明成型 玻璃片環繞在中心不透明的玻璃燈源周圍，營造出 光暈發散的效果。英格蘭重視玻璃製品專業的手工 藝技巧同時，也著重融入工業原料，例如塗裝管 狀鋼，并完美地結合傳統與現代。在設計師皮耶· 埃曼紐爾·馬丁·維維爾的設計師專著中，他曾提到 英格蘭的燈具「超越了一般功能用途而成為不受 時間、時尚限制的代表性傑作」。此外，透過他利用 媒材的方式，例如在「天竺牡丹」系列作品 (參閱 拍品編號53) 中採用彩色玻璃作為花瓣，英格蘭證明 了人工燈具可以如同自然光線一般光輝璀璨。

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Property of an Important Asian Collector

57. Yayoi Kusama

b. 1929

Signs of the Sunset signed, titled and dated ‘“SIGNS OF THE SUNSET” YAYOI KUSAMA 2012 “Signs of the Sunset [in Japanese]”’ on the reverse acrylic on canvas 162 x 162 cm. (63 3/4 x 63 3/4 in.)

Painted in 2012, this work is accompanied by a registration card issued by the Yayoi Kusama studio.

Provenance Ota Fine Arts, Tokyo Acquired from the above by the present owner

重要亞洲私人收藏

草間彌生 《日暮跡象》 壓克力 畫布 2012年作，並附草間彌生工作室之登記卡。 款識： 《SIGNS OF THE SUNSET》YAYOI KUSAMA 2012 《日暮跡象 (日文)》(畫背) 來源 東京，大田畫廊 現藏者購自上述來源

HK$ 3,000,000-5,000,000 US$ 385,000-641,000

Exhibition of Yayoi Kusama: Life is the Heart of a Rainbow at the National Gallery of Singapore, 2017 Image courtesy of National Gallery Singapore

新加波，新加波國家美術館 〈KUSAMA: Life is the Heart of a Rainbow〉 展覽，2017年

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Property of an Important European Collector

58. Walasse Ting

1929-2010

Little Rain signed, titled and dated ‘“Little Rain” ting 72’ on the reverse oil on canvas 127.2 x 204 cm. (50 1/8 x 80 3/8 in.)

Painted in 1972.

Provenance Private Collection, Florida Freeman’s, Philadelphia, 18 May 2008, Lot 90 Acquired at the above sale by the present owner

重要歐洲私人收藏

丁雄泉 《小雨點》 油畫 畫布 1972年作 款識： 《Little Rain》ting 72 (畫背) 來源 佛羅里達州私人收藏 費城，Freeman’ s，2008年5月18日，拍品編號90 現藏者購自上述拍賣

HK$ 700,000-900,000 US$ 89,700-115,000

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Property of an Important European Collector Ο

59. Lee Ufan

b. 1936

From Line No. 800139 signed and dated ‘L. UFAN 80’ lower right; further signed, titled and dated ‘“From Line No.800139” Lee Ufan’ on the reverse oil and mineral pigment on canvas 112.2 x 145.9 cm. (44 1/8 x 57 1/ 2 in.)

Executed in 1980, this work is accompanied by a certifcate of authenticity issued by Tokyo Gallery and Beijing Tokyo Art Projects.

Provenance Private Collection, Japan (acquired directly from the artist) Tokyo Gallery, Tokyo Acquired from the above by the present owner

重要歐洲私人收藏

李禹煥 《從線 – 800139號》 油畫 礦物顏料 畫布 1980年作，並附東京畫廊與BTAP之保證書。 款識：L. UFAN 80 (右下)； 《From Line No.800139》Lee Ufan (畫背) 來源 日本私人收藏 (直接購自藝術家本人) 東京，東京畫廊 現藏者購自上述來源

HK$ 4,500,000-6,500,000 US$ 577,000-833,000

‘Load the brush and draw a line.

At the beginning it will appear dark and thick, then it will get gradually thinner and fnally disappear…

A line must have a beginning and an end.’

Lee Ufan

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Painted in 1980, the present lot is a classic example of Lee Ufan’s signature From Line series, of which the artist dedicated over ten years of his life between 1973 and 1984. In From Line No.800139, twentyeight vertical lines are arranged vertically across the composition, each one varying in thickness of stroke, from being very thick at the top end to fading out and ultimately evaporating at the bottom as the paint is used up. The rich blue hue, which the artist created himself by mixing powdered cobalt pigment with glue, is a striking contrast to the wash of yellow oil paint that has been painted over the surface of the canvas, creating an illusion where the lines seem to vibrate. Characteristic of Lee’s practice, the work has been executed in a disciplined, almost ritualistic way, where each line is given equal importance, evoking a sense of rhythm and stillness to the composition as a whole. To create From Line No.800139, Lee rotates the canvas 90 degrees, then dips a round-tipped brush with pigment and pulls it from lef to right across the canvas in repetitive fuid motions. Through synchronising each brushstroke with the rhythm of his breathing, Lee’s act of painting thus becomes a ritualistic, meditative process which results in a work of dramatic yet exquisite simplicity.

本件拍品創作於1980年，是李禹煥標誌性系列 作品「從線」的絕佳典範。於1973年至1984年， 藝術家花費逾十年創作此系列作品。在作品 《從線–800139號》中共有二十八條垂線縱貫畫面 構圖，筆觸粗細有別，由頂端的濃厚漸隱漸弱， 隨着顏料用盡，直至消失不見。飽滿的藍色調由 藝術家親手調製，他混合鈷藍顏料粉末與膠水， 與畫布上塗抹的黃色油彩痕跡形成鮮明對照， 並營造出線條跳躍的錯覺。 正如其一貫畫風，李禹煥以一種有條不紊，幾近 儀式感的方式創作了此件作品，對每一條線 一視同仁，爲整體構圖帶來韻律與寧靜。繪製《從 線–800139號》時，李禹煥將畫布九十度旋轉，隨後 用圓頭畫筆蘸染顏料，以行雲流水之勢，從左至右 橫穿畫面。通過同步呼吸韻律與一筆一劃，李禹煥 將自己創作的過程轉化爲一個充滿儀式感的冥想 過程，爲作品帶來鮮活而精緻的素雅之美。 作爲日本前衛藝術運動「物派」的領軍人物，李禹煥 力圖抵制1970年代日本快速工業化背景下出現的 西方意象，並迴歸儒教根基，從書法和日本畫中 獲取創作靈感。作爲李禹煥最早的系列作品之一， 「從線」在世界各地廣爲展出，包括紐約古根漢 博物館和京都國立近代美術館等。

As a leading proponent of the Japanese avant-garde movement Mono-Ha, Lee sought to reject Western notions of representation in response to the rapid industrialization of Japan occurring in the 1970s, instead turning to his Confucian roots to draw upon calligraphy and Nihonga (Japanese style painting) as sources of inspiration in his art. As one of Lee’s earliest painting series, From Line has been exhibited internationally, including at the Guggenheim Museum, New York and the National Museum of Modern Art, Kyoto.

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60.

Property of an Important Canadian Collector

重要加拿大私人收藏

Kim Tschang-Yeul

金昌烈

b. 1929

Gouttes d’eau signed and dated ‘T. Kim 75’ lower right; further signed, titled and dated ‘TSCHNG YEUL KIM “Gouttes d’eau” 1975’ on the reverse oil and mineral pigment on canvas 162.1 x 129.6 cm. (63 7/8 x 51 in.)

Executed in 1975.

Provenance Acquired directly from the artist by the present owner in 1977 Exhibited Ontario, Stratford, The Gallery; Vancouver Centennial Museum; Calgary, Glenbow Alberta Institute; Saskatoon, Medel Art Gallery; Winnipeg Art Gallery; Edmonton Art Gallery; St John’s, Newfoundland Island, Memorial University Art Gallery; Charlottetown, Confederation Art Gallery; Montréal, Musée d’art contemporain; Halifax, Dalhousie University Art Gallery; Ontario, Windsor Art Gallery; Ontario, London Art Gallery; Ontario, McIntosh Memorial Art Gallery; Ontario, Art Gallery of Hamilton, Aspects du realisme, organised by Rothmans of Pall Mall Canada Limited, 8 June 1976 - 8 January 1978, no. 40 (illustrated)

《水滴》 油畫 顏料 畫布 1975 年作 款識：T. Kim 75 (右下)；TSCHNG YEUL KIM 《Gouttes d’eau》1975 (畫背) 來源 現藏者於1977年直接購自藝術家本人 展覽 安大略省，斯特拉特福，The Gallery 畫廊； 溫哥華百年紀念博物館；卡爾加里，Glenbow Alberta 學會； 薩斯卡通，Mendel 畫廊；温尼伯畫廊；埃德蒙顿畫廊； 聖約翰，紐芬蘭島，紐芬蘭紀念大學畫廊；夏洛特敦， 愛德華王子島，Confederation 畫廊；蒙特利爾， 當代藝術博物館；哈利法克斯，戴爾豪斯大學畫廊； 安大略省，温莎畫廊；安大略省，倫敦藝術畫廊；安大略省， McIntosh 紀念畫廊；安大略省，漢彌爾頓畫廊， 〈關於寫實主義, Rothmans of Pall Mall Canada Limited|策劃〉，1976年6月8日-1978年1月8日， 編號40 (圖版)

HK$ 2,000,000-3,000,000 US$ 256,000-385,000

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Post-war Korean artist Kim Tschang-Yeul is renowned worldwide for his Waterdrops series.

Trained in New York and Paris between the 1960s and 1970s, he studied calligraphy in Seoul and founded the Hyeondae Misulga Hyeophoe (Contemporary Artists Association) in the 1950s.

According to Kim, water is at the origin of the universe; it exists everywhere around us, including space and time. Through the detailed rendering of water drops, the artist demonstrates a silent, contemplative and refective approach in his art.

In Gouttes d’eau, the fatness of the canvas is animated by scattered water drops. They are shown all together but each one has its own identity; individual drops are perfectly rendered in their own size, shape and orientation. Some seem to be evaporating; many are pictured so round that they seem to have just been placed on the canvas, while others are slipping down towards the earth. The compositional balance of the painting evokes a sense of serenity in the viewer. Upon closer observation, the size and quantity of the drops also bring forth a surreal impression to the viewer. The language of water drops here combines photorealism with abstraction, placing the work between illusion and reality. Kim freezes the ephemerality of water drops, ofering viewers a paradox of time. The present lot shows an exploration of textures, where oil paint is used on a wet canvas to achieve the realism of the drops. Through merging Western techniques of oil painting with the Eastern philosophy of natural elements, Kim shows the repeated depiction of water drops as a meditative and healing practice.

戰後韓國藝術家金昌烈憑著《水滴》系列蜚聲國際。 他早年在漢城研習書法藝術，並創立當代藝術家 協會，在1960年代至1970年代期間，他前往紐約和 巴黎進修，以求精進。金昌烈認為，水是宇宙萬物 的起源，它無處不在，在時間和空間裡亦如是。畫面 上的水滴細緻寫實，氣氛靜謐祥和，展現藝術家 那冥想靜修般的創作方式。 在《水滴》中，隨處分散的水珠使平坦的畫布洋溢 生機。它們被一併展現在觀者面前，但每顆水珠都有 自己的個性，各自不同的大小、形狀和方向都被 鉅細無遺地展現出來。有些水珠似是將被蒸發；許多 水珠渾圓凝結，似是剛滴在畫布上；還有一些正在 向地面滑落。這和諧勻稱的佈局令觀者產生一種安寧 平和的感覺。仔細近看之下，大小各異、密密麻麻的 水珠又為觀者帶來一種超現實的感官體驗。金昌烈 表現水滴的手法融合攝影寫實主義和抽象主義， 其作品處於幻象和現實之間。金昌烈將短暫無常的 水滴凝結在一瞬間，讓觀者產生時間感知上的錯覺。 為了真實地呈現水滴，藝術家在濕畫布上塗抹油彩， 可見他對質感的探索和追求。金昌烈運用西方油畫 技法，結合東方哲學對自然的思考，重複描繪水滴的 動作，是一場冥想和心靈治療的過程。 「我從佛教經文中看到重複的意義所在。你重複 又重複，直至把所有雜念驅除，然後便能進入空的 境界。我經常這樣在過程中反省自身的經歷，而水滴 就是對死者的輓歌。對我來說，畫畫好比慰藉死者 的靈魂，就像佛教的淨化儀式上人們把水灑在死者的 頭上，防止邪靈入侵」。 對金昌烈而言，重複描繪 水滴的過程是一種心靈的洗滌，消抹韓戰帶給他 的傷痛回憶。因此，水滴可以被視為喜悅、悲傷、 挫敗和痛苦的淚水，是金昌烈內心情感的體現。

“I see repetition in terms of Buddhist prayer. You repeat and repeat until it blocks out all other thoughts, and you pass into an empty state. I have thought a great deal about my experiences during the war, and the water drops have become a requiem for the dead. For me, painting can be compared to an act of consolation towards the spirits of the dead, in the same way that one sprinkles water to protect the dead from evil spirits during a Buddhist purifcation ritual.” In reference to his tragic past in the Korean War, the practice of painting water drops becomes a healing process with an attempt to erase his traumatic memories. Water drops can thus be seen as tears of joy, sadness, frustration, or pain, refecting Kim’s inner emotions.

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Property of an Important Asian Collector

61. Yayoi Kusama

b. 1929

Infnity Double Dots signed, titled and dated ‘“INFINITY DOUBLE DOTS” YAYOI KUSAMA 2013’ on the reverse acrylic on canvas 145.8 x 112 cm. (57 3/8 x 44 1/8 in.)

Painted in 2013, this work is accompanied by a registration card issued by the Yayoi Kusama studio.

Provenance Ota Fine Arts, Tokyo Acquired from the above by the present owner Literature KUSAMA YAYOI, A DREAM I DREAMED, exh. cat., Museum of Contemporary Art, Shanghai, 2013, pp. 92, 96 (illustrated)

重要亞洲私人收藏

草間彌生 《無限雙重水玉》 壓克力 畫布 2013年作，並附草間彌生工作室之登記卡。 款識： 《INFINITY DOUBLE DOTS》YAYOI KUSAMA 2013 (畫背) 來源 東京，大田畫廊 現藏者購自上述來源 出版 〈草間彌生-我的一個夢〉，展覽圖錄，上海，2013年，第92、96頁 (圖版)

HK$ 2,000,000-3,000,000 US$ 256,000-385,000

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Property of an Important Asian Collector

62. Chung Sang-Hwa

b. 1932

Untitled 90-5-2 signed, titled and dated ‘1990 “Untitled [in Hanja] 90-5-2” Chung Sang-Hwa [in Hanja] CHUNG SANG-HWA’ on the reverse acrylic on canvas 162.3 x 130 cm. (63 7/8 x 51 1/8 in.)

Painted in 1990.

Provenance Private Collection Acquired from the above by the present owner

重要亞洲私人收藏

鄭相和 《無題 90-5-2》 壓克力 畫布 1990年作 款識：1990年《無題 90-5-2》鄭相和 CHUNG SANG-HWA (畫背) 來源 私人收藏 現藏者購自上述來源

HK$ 3,000,000-5,000,000 US$ 385,000-641,000

‘…the condition or situation that has no personality, no colour, no expression (happiness, anger, sadness). It is the process of dismounting, remounting, folding, and unfolding of canvas onto which multiple layers of paint are applied.’

Chung Sang-Hwa

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63. Kim Chan-Il

b. 1961

Line signed, titled and dated ‘KIM. CHAN IL “LINE” Kim Chan IL 2016’ on the reverse mixed media on canvas 90 x 90.2 cm. (35 3/8 x 35 1/ 2 in.)

Painted in 2016.

Provenance Acquired directly from the artist by the present owner

金燦一 《線》 綜合媒材 畫布 2016年作 款識：KIM. CHAN IL 《LINE》 Kim Chan IL 2016 (畫背) 來源 現藏者直接購自藝術家本人

HK$ 120,000-150,000 US$ 15,400-19,200

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The architect Ole Wanscher worked under Kaare Klint (1888-1954) between the years of 1924-1927 whilst studying at Klint’s department of furniture design at The Royal Academy of Fine Arts. Upon graduating in 1929, Wanscher began working as a furniture designer and in 1954 he inherited Klint’s prestigious role as head of the department of furniture design. Throughout his life Wanscher worked with the cabinetmaker A.J. Iversen (1888-1979) who also collaborated with other Danish architects and artists. Among his partnerships were Kaj Gottlob, Viggo Boesen, Flemming and Mogens Lassen. Today Iversen is recognised as one of the leading cabinetmakers who paved the way for the style later known as Danish Modern. 奧萊·萬夏是一位建築師，曾於1924﹣1927年 期間在皇家美術學院家具設計分院就讀。這個分院 是由建築師及家具設計師卡爾·克林特 （1888﹣1954） 建立的。萬夏於1929年畢業，隨後就朝著家居設計 的方向發展，成為了一名家具設計師。不但如此， 還於1954年繼克林特之後成為了家具設計分院院長， 可謂地位顯赫。在萬夏的家具設計事業生涯中， 他還與家具工匠安得利亞斯·傑普·艾弗森（1888﹣ 1979）一起合作。艾弗森也曾和多位丹麥建築師及 藝術家，包括卡吉·戈特洛布，維果·柏愛森，弗勒明 和莫根斯·拉森合作共事。萬夏成為了家具設計製造的 領頭人，引領丹麥當代設計風潮。

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64. Ole Wanscher

1903-1985

Cabinet Brazilian rosewood-veneered wood, Brazilian rosewood, brass 154.7 x 112.1 x 40 cm. (60 7/8 x 44 1/8 x 15 3/4 in.)

Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Designed in 1954. Back with manufacturer’s label printed Snedkermester/A. J. Iversen/København.

Provenance Private Collection, Denmark Literature ‘Special edition’, Mobilia, no. 130, May 1966, n.p.

Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 286 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Forum, Copenhagen, 16-26 September 1954, Stand 20.

奧萊．萬夏 《櫥櫃》 巴西黑黃檀木飾面板 巴西黑黃檀木 黃銅 此作品於1954年設計，並由丹麥哥本哈根木匠名師 A.J.艾弗森於1954年製造。 款識：Snedkermester/A. J. Iversen/København （印於作品底部標籤) 來源 丹麥私人收藏 出版 《特別版本》 ， 〈Mobilia〉，圖版130，1966年5月，無頁數 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar, 第3集: 1947-1956年〉，哥本哈根, 1987年, 第286頁 此型號曾於1954年9月16-26日在哥本哈根 Forum《哥本哈根細工木匠公會》展出，展位編號20。

HK$ 32,000-42,000 US$ 4,100-5,400

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65. Ole Wanscher

1903-1985

Armchair Brazilian rosewood, Niger leather 76 x 62.6 x 55.7 cm. (29 7/8 x 24 5/8 x 21 7/8 in.)

Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Designed in 1958. Underside with manufacturer’s label printed Snedkermester/A. J. Iversen/København.

Provenance Private Collection, Denmark Literature Mobilia, no. 41, November-December 1958, p. 25 ‘Special edition’, Mobilia, no. 130, May 1966, n.p.

Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 57 Bodil Busk Laursen, Søren Matz and Christian Holmsted Olesen, eds., Mesterværker: 100 års dansk møbelsnedkeri, Copenhagen, 2000, p. 9 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 19 September–5 October 1958, Stand 6.

奧萊．萬夏 《扶手椅》 巴西黑黃檀木 尼日爾皮革 此作品於1958年設計，並由丹麥哥本哈根木匠名師 A.J.艾弗森製造。 款識：Snedkermester/A. J. Iversen/København （印於作品底部標籤) 來源 丹麥私人收藏 出版 〈Mobilia〉，圖版41，1958年11月-12月，第25頁 《特別版本》， 〈Mobilia〉，圖版130，1966年5月，無頁數 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar, 第4集: 1957-1966年〉，哥本哈根, 1987年, 第57頁 Bodil Busk Laursen， Søren Matz與Christian Holmsted編， 〈Mesterværker: 100 års dansk møbelsnedkeri〉 ，哥本哈根, 2000年, 第9頁 此型號曾於1958年9月19日至10月5日在哥本哈根丹麥藝術 與設計博物館《哥本哈根細工木匠公會》展出，展位編號6

HK$ 22,000-32,000 US$ 2,800-4,100

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66. Ole Wanscher

1903-1985

Desk Brazilian rosewood, Brazilian rosewood-veneered wood, brass 74 x 86.1 x 92.6 cm. (29 1/8 x 33 7/8 x 36 1/ 2 in.)

Executed by cabinetmaker A.J. Iversen, Copenhagen, Denmark. Designed in 1954.

Provenance Private Collection, Denmark Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 286

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Forum, Copenhagen, 16-26 September 1954, Stand 20

奧萊．萬夏 《書桌》 巴西黑黃檀木 巴西黑黃檀木飾面板 黃銅 此作品於1954年設計，並由丹麥哥本哈根木匠名師 A.J.艾弗森製造。 來源 丹麥私人收藏 出版 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar, 第3集: 1947-1956年〉，哥本哈根, 1987年, 第286頁

此型號曾於1954年9月16-26日在哥本哈根 Forum 《哥本哈根細工木匠公會》展出，展位編號20。

HK$ 42,000-52,000 US$ 5,400-6,700

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67. Poul Henningsen

1894-1967

Early desk lamp, type 4/ 3 shades brass, tubular brass, painted copper, Bakelite height: 55 cm. (21 5/8 in.) diameter: 40 cm. (15 3/4 in.)

Manufactured by Louis Poulsen, Copenhagen Denmark in 1926-1928. Light fxture impressed PAT. APPL. Provenance Private Collection, Denmark, 1960s Literature Tina Jørstian and Poul Erik Munk Nielsen, eds., Light Years Ahead: The Story of the PH Lamp, Copenhagen, 2000, pp. 147, 200

保羅·漢寧森 《早期檯燈》4/3 燈罩型 黃銅 管狀黃銅 塗銅 膠木 此作品由丹麥哥本哈根 Louis Poulsen 於1926-1928年製造。 款識: PAT. APPL (燈具) 來源 丹麥私人收藏，1960年代 出版 Tina Jørstian 與 Poul Erik Munk Nielsen編， 〈光年般先進: 保羅.漢寧森的燈具設計〉 ，哥本哈根， 2000年，第147、200頁

HK$ 80,000-120,000 US$ 10,300-15,400

On 4th December 1925, Poul Henningsen with his manufacturer Louis Poulsen applied under Danish law for the patent titled ‘Refector for Incandescent Lamp’. The patent was granted on 19th May 1928 with the Danish patent number 38897, and later by the USA patent ofce 6th May 1930. The specifcs of the patent included a technical drawing and stated the characteristics of the invention: ‘A refector for difusing the light of incandescent lamps comprising a plurality of concentric downwardly concave shades disposed above and below the plane of the source of light, the inner surfaces of said shades being directed toward the source of light, the surfaces of said shades making at all points angles less than 45 with a line to the source of light, the inner surfaces of the shades being dulled.’

Regarding Henningsen’s reliance upon patent law and copyright law, Stina Teilmann-Lock writes: ‘the lamp has been defned, respectively, as both ‘industrial property’ and ‘artistic property’, as an invention and as a work of art’. Prior to the patent being granted, Henningsen was awarded by the jury of the 1925 World’s Fair in Paris, L’Exposition Internationale des Arts Décoratifs et Industriels Modernes, a gold medal and Louis Poulsen silver for their lighting. Henningsen developed his ‘system of shades’ into types, which ranged from smallest to largest, and were available in diferent types of glass. Painted copper shades were then applied to various lighting formats. More than ninety years afer L’Exposition Internationale des Arts Décoratifs et Industriels Modernes, Henningsen’s work still resonates, and the ‘PH lamp’ continues to be ‘an exceedingly beautiful light’ (Poul Henningsen, LP Nyt, December 1941).

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1925年12月4日，保爾·漢寧森與他的製造商路 易斯·寶爾森在丹麥註冊了一項名為「白熾燈 反射器」的專利。這項編號38897的專利於1928年 5月19日在丹麥獲得批準。後來，又在1930年5月 6號在美國成功登記。專利的細節，包括了一張 技術構圖，以及有關此項發明的說明，內容如下： 「一種用於散發白熾燈光的反射器，其包括多個同心 向下凹陷的燈罩，位於光源平面的上方和下方。 燈罩內表朝向光源，外表每一點與光源形成的角度不 超過45度，燈罩內表色澤暗淡」。 關於漢寧森的設計涉及了專利法和版權法，斯蒂娜· 特爾曼·洛克寫到： 「這件燈具意義獨具，無論從功用 方面去評斷，還是從藝術的角度去欣賞，它暨是一項 發明，又是一件藝術作品」。專利獲批前，在1925年 巴黎世界博覽會國際藝術裝飾和現代工業設計展上， 因為發明了「白熾燈反射器」，評委分別為漢寧森 和保爾森頒發了金獎和銀獎。漢寧森還將「燈罩 系統」，由大至小，分門別類，燈罩玻璃，質地 各異。在燈罩塗上銅色，可以營造不同的光亮效果。 國際藝術裝飾和現代工業設計展結束了將近90年， 漢寧森的作品光輝依在， 「PH燈」永遠是「最美 之光」。 （保爾·漢寧森，LP Nyt，1941年12月）

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68. Josh Smith

b. 1976

Untitled (JSC09265) signed and dated ‘JOSH SMITH 2009’ on the reverse of each panel mixed media on panel, in four parts 244 x 182 cm. (96 x 71 5/8 in.)

Executed in 2009.

Provenance Luhring Augustine Gallery, New York Acquired from the above by the present owner

喬許·史密斯 《無題 (JSC09265)》 綜合媒材 裱於木板 (共四件) 2009年作 款識：JOSH SMITH 2009 (每件木板背面) 來源 紐約，奧古斯丁·魯林畫廊 現藏者購自上述來源

HK$ 200,000-300,000 US$ 25,600-38,500

It is the processes that present Josh Smith’s Untitled (JSC09265) in its best light. The work consists of four panels made from posters from the artist’s 2009 Currents exhibition at Augustine Luhring Gallery in New York, where the artist was previously represented.

The posters are intentionally defaced and obliterated by the artist’s hand. Not only are they covered in broad streaks of colour, Smith also had the exhibition’s title and the gallery’s name screen printed multiple times on each panel. The result is casual and grafti-like — the rebellious streak of the artist present in its bright acidic colours and energetic brushstrokes.

Though frenetic strokes and brush work makes the piece seemingly incomplete, the placement and alignment for each layer and poster are deliberate.

The Okinawa born American artist is methodical in his approach towards both printed matter and his physical presence on the boards, allowing both traces of man and technology to co-exist on the same plane. The work is personal and specifc to the Brooklyn based artist, the repetitive printing of “currents” bringing to mind the exact time and location of a particular event in his career. There seem to be no relatable meaning that can be derived through the completion of the work, yet it radiates a sense of nonchalant confdence in its ability to provoke its audience as a vehicle of Smith’s ideas and psychological processes.

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喬許·史密斯的作品《無題 (JSC09265)》真正 吸引人的地方正是它的藝術創作過程。整幅作品 由四版海報組成，來自2009年曾經代理他；紐約奧 古斯丁·魯林畫廊舉辦的展覽﹣「流速」。史密斯 故意用手作擦磨海報印有圖文的一面。他用數道 重彩覆蓋作品表面，不但如此，還將展覽標題和 畫廊名稱印上了每塊圖版。結果，整幅作品潦草 隨意，如同塗鴉。鮮亮的色彩，帶著一股酸腐， 不時散發史密斯的反叛。 狂亂的筆觸，將作品剝離，這是史密斯的精心 策劃，故意將海報和圖版層疊在一起。史密斯是 一位在日本沖繩出生的美國畫家，他遵循著自己的 創作理論，有條不紊，用印刷品和自身的存在感 進行藝術創作，讓人類的足跡和科技的蹤影出現在 同一層面。 《無題(JSC09265)》是一件切合史密斯 本人，以及他作為一名布魯克林區藝術家的個人 經歷所創作出來的藝術作品。作品重複著「流速」 字樣，不斷提醒著觀眾在他藝術創作生涯當中 所發生的某件事的特定時間和特定地點。整幅作品 與觀眾之間好像並沒有產生什麼共鳴，儘管如此， 它無不顯露史密斯的冷傲和自信，帶著觀眾去領悟 他的思想和內心世界。

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69. Thomas Struth

b. 1954

Todai-Ji, Daibutsu-Den, Nara signed ‘T. Struth’ on a label afxed to the reverse colour coupler print face-mounted to plexiglas image: 178.3 x 229.2 cm. (70 1/4 x 90 1/4 in.) sheet: 181 x 235 cm. (71 1/4 x 92 1/ 2 in.)

Executed in 1996, this work is number 8 from an edition of 10.

Provenance Galerie Max Hetzler, Berlin Acquired from the above by the present owner Exhibited Nîmes, Carré d’Art; Amsterdam, Stedelijk Museum; Paris, Centre national de la photographie, Still, 14 March - 7 June 1998 (another example exhibited and illustrated in colour) Chicago, Museum of Contemporary Art, Age of Infuence: Refection in the Mirror of American Culture, 14 March - 26 November 2000 (another example exhibited) Tokyo, National Museum of Modern Art; Kyoto, National Museum of Modern Art, My Portrait, 3 October - 9 December 2000 (another example exhibited)

托馬斯·斯特魯斯 《東大寺 大佛寺 奈良》 彩色沖印 裱於丙烯酸玻璃下 1996年作, 共有10版, 此作為第8版。 款識：T. Struth (簽於畫背標籤) 來源 柏林，Max Hetzler 畫廊 現藏者購自上述來源 展覽 尼姆，現代藝術博物館；阿姆斯特丹市立博物館；巴黎， 國家攝影中心； 〈依舊〉，1998年3月14日-6月7日 (同系列他版作品) 芝加哥當代藝術博物館， 〈歲月的影響:以美國文化為鏡的反思〉， 2000年3月14日-11月26日 (同系列他版作品) 東京國立近代美術館；京都國立近代美術館， 〈我的肖像〉， 2000年10月3日-12月9日 (同系列他版作品)

HK$ 300,000-600,000 US$ 38,500-76,900

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70. Andreas Gursky

b. 1955

Hong Kong Flughafen (Hong Kong Airport) signed, titled, numbered and dated ‘“Hong Kong Flughafen” ‘94 1/2 AP A. Gursky’ on a label afxed to the reverse C-print mounted in artist’s frame image: 89.6 x 122 cm. (35 1/4 x 48 in.) sheet: 118.5 x 148.4 cm. (46 5/8 x 58 3/8 in.)

Executed in 1994, this work is artist proof 1 from an edition of 2.

Provenance Mai 36 Galerie, Zurich Acquired from the above by the present owner Exhibited Wolfsburg, Kunstmuseum; Winterthur, Fotomuseum; London, Serpentine Gallery; Edinburgh, Scottish National Gallery of Modern Art; Turin, Castello di Rivoli, Museo d’Arte Contemporanea; Lisbon, Centro Cultural de Belém, Andreas Gursky: Fotografen 1994-1998, May 1998 - December 1999 (another example exhibited and illustrated)

安德烈亞斯·古爾斯基 《香港機場》 彩色沖印 裱於藝術家畫框 1994年作，共有2版藝術家試作版，此為第1版。 款識： 《Hong Kong Flughafen》‘94 1/2 AP A. Gursky (簽於畫背標籤) 來源 蘇黎世，Mai 36 畫廊 現藏者購自上述來源 展覽 沃爾夫斯堡美術館；溫特圖爾，攝影博物館；倫敦，蛇形畫廊； 愛丁堡，蘇格蘭國立現代藝術美術館； 都靈，利沃利城堡當代藝術博物館；里斯本，貝倫文化中心， 〈安德烈亞斯·古爾斯基：照片 1994-1998年〉 ， 1998年5月-1999年12月 (同系列他版作品)

HK$ 300,000-600,000 US$ 38,500-76,900

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Deposit If you wish to bid on a lot designated with the symbol * (a “Premium Lot”), Phillips may require you to pay a deposit of HK$2,000,000 or such higher amount as Phillips in our sole discretion deems appropriate and to provide such fnancial references, guarantees and/or other security as Phillips may require in our sole discretion as security for the bid. Phillips will also require you to complete the Premium Lot pre-registration prior to the date of the auction at which the Premium Lot will be ofered for sale. Upon our receipt of the deposit and a completed preregistration form, Phillips will provide you with a numbered Premium Lot paddle for identifcation purposes. The auctioneer will usually only accept bids on Premium Lots made with the Premium Lot paddle or by its registered bidder. This applies to saleroom, telephone and absentee bids. Payment of the deposit may be made by wire transfer or credit card acceptable to Phillips for the prospective purchase. If you are not the successful bidder on a Premium Lot and do not owe Phillips or any of our afliated companies any debt, the deposit will be refunded to you by wire transfer (in the same currency in which you paid the deposit) or credit card refund, as the case may be, the refund will be processed within seven days afer the date of the auction.

Symbol Key The following key explains the symbols you may see inside this catalogue.

O ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party who places an irrevocable bid or jointly by us and a third party, the property will be denoted with the symbols O ♦. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated if they are not the successful bidder. Such compensation will be a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction in excess of their irrevocable bid. If the third party is the successful bidder, they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Δ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

•

No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. ∑ Endangered Species Lots with this symbol have been identifed at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. * Premium Lots Lots with this symbol carry a low pre-sale estimate of HK$8,000,000 or more and are referred to by Phillips as Premium Lots. Prospective buyers who wish to bid on Premium Lots must complete the pre-registration form and pay the Premium Lot deposit, as described more fully in this Paragraph 1 of the Guide for Prospective Buyers.

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▼ Restricted Importation Lots with this symbol may be subject to importation restriction in the US. Please refer to the Important Notices which appear in this catalogue immediately following this Guide for Prospective Buyers.

2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identifcation may be required, as may an original signature.

We may also require that you furnish us with a bank reference.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staf members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least HK$8,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium, which we can execute on your behalf in the event we are unable to reach you by telephone. To arrange a telephone bid please contact the Hong Kong bids department at +852 2318 2029.

Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com.The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe Flash Player. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then preregister by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer you will only need to register for each sale.

You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the Auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

HK$1,000 to HK$2,000 HK$2,000 to HK$3,000 HK$3,000 to HK$5,000 HK$5,000 to HK$10,000 HK$10,000 to HK$20,000 HK$20,000 to HK$30,000 HK$30,000 to HK$50,000 HK$50,000 to HK$100,000 HK$100,000 to HK$200,000 HK$200,000 to HK$300,000 HK$300,000 to HK$500,000 HK$500,000 to HK$1,000,000 Above HK$1,000,000

by HK$100s

by HK$200s

by HK$200, 500, 800 (i.e., HK$4,200, HK$4,500, HK$4,800)

by HK$500s

by HK$1,000s

by HK$2,000s

by HK$2,000, HK$5,000, HK$8,000

by HK$5,000s

by HK$10,000s

by HK$20,000s

by HK$20,000, 50,000, 80,000 (i.e., HK$320,000, HK$350,000, HK$380,000)

by HK$50,000s at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 The Auction As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the benefciary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate.

In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale. Payment must be made in Hong Kong dollars by wire transfer, as noted in Paragraph 6 of the Conditions of Sale. Cash and cheques are not accepted.

Credit Cards As a courtesy to clients, Phillips accepts payment by credit card up to HK$800,000.

A processing fee will apply. For details on credit card payment please contact the Client Services department at +852 2318 2000.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots.

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Important Notices Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction.

Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only.

We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Premium Lots Any prospective buyer interested in any Premium Lot, which is marked in the catalogue with the symbol *, must complete Premium Lot pre-registration and make a deposit of HK$2,000,000 or such higher amount as Phillips shall require in order to bid on a Premium Lot. For details, please contact the Client Services Department at +852 2318 2000.

Export and Import Licences Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from Hong Kong or to import it into another country. It is the buyerâ&#x20AC;&#x2122;s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certifcate prior to exportation and additional licences or certifcates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certifcate does not ensure the ability to obtain an import licence or certifcate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyerâ&#x20AC;&#x2122;s sole responsibility to obtain any necessary export or import licences or certifcates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis regarding continent of origin and confrmation the object is more than 100 years old. We have not obtained a scientifc analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientifc analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the object qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot.

Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

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Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the Important Notices immediately following the Guide for Prospective Buyers and the Authorship Warranty carefully before bidding.

1 Introduction Each lot in this catalogue is ofered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer.

2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company afliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an afliated company may have a legal, benefcial or fnancial interest in a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.

(a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot ofered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfed themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identifcation purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised

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from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our afliated companies shall be liable for any diference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips.

Telephone bidding is available for lots whose low pre-sale estimate is at least HK$8,000. Phillips reserves the right to require written confrmation of a successful bid from a telephone bidder by fax or otherwise immediately afer such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion.

As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are fnal and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘foor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘foor’ or ‘phone’ bid are identical, the ‘foor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identifed third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal, state or other antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

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(h) Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is ofered subject to a reserve, which is the confdential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reofer a lot for sale (including afer the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in Hong Kong dollars and payment is due in Hong Kong dollars. For the beneft of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will refect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable taxes and charges (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including HK$2,000,000, 20% of the portion of the hammer price above HK$2,000,000 up to and including HK$30,000,000 and 12.5% of the portion of the hammer price above HK$30,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property ofered and sold at auction. (b) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in Hong Kong dollars by wire transfer in accordance with the bank transfer details provided on the invoice for purchased lots.

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(c) As a courtesy to clients, Phillips will accept American Express, Visa and MasterCard to pay for invoices of HK$800,000 or less. A processing fee will apply. (d) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identifcation has been provided, and any earlier release does not afect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our afliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed all of the foregoing conditions, he or she should contact us at +852 2318 2000 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days afer the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identifcation prior to release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of HK$80 per day for each uncollected lot. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion.

The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our afliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notifcation of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our afliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our afliated companies afer the deduction

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from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate.

It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species.

(b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notifcation by any of our afliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notifcation by any of our afliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an afliated company by way of pledge.

(b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our afliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import And Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from Hong Kong or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot.

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12 Personal Data (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips. com.

(c) Phillips premises and sale and exhibition venues may be subject to CCTV video surveillance and recording and your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded.

Where we record such information we will process it in accordance with our Privacy Policy.

13 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our afliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our afliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our afliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our afliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and ftness for purpose, are specifcally excluded by Phillips, our afliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our afliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our afliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

01/05/18 13:31

Authorship Warranty 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specifed at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notifed by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and efect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) If there is any inconsistency or confict between the English text of the Conditions of Sale, Guide for Prospective Buyers and/or Important Notices and their Chinese translations, the English text will prevail.

16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with Hong Kong law. (b) For the beneft of Phillips, all bidders and sellers agree that the courts of Hong Kong are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the courts of Hong Kong. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by Hong Kong law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

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Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of fve years from date of sale by Phillips, subject to the exclusions and limitations set forth below and the Important Notices set out in this catalogue immediately following the Guide for Prospective Buyers. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientifc methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the salesroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our afliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our afliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

02/05/18 11:13

14/F St. George's Buidling, 2 Ice House Street, Central, Hong Kong

Please return this form by fax to +852 2318 2010 or email it to bidshongkong@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company.

• PRIVATE PURCHASES Proof of identity in the form of government-issued identification and proof of address will be required.

Please select the type of bid you wish to make with this form (please select one):

• COMPANY PURCHASES We require a Letter of Authorisation signed by a company director for the noted individual to transact on the company’s behalf and a copy of governmentissued identification (such as the certificate of incorporation) to verify the status of the company.

In-person Absentee Bidding Telephone Bidding

Paddle Number

• CONDITIONS OF SALE All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

As a private individual On behalf of a company

Sale Title Title

• If you cannot attend the sale, we can execute bids confidentially on your behalf.

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable) Address

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$2,000,000, 20% of the portion of the hammer price above HK$2,000,000 up to and including HK$30,000,000 and 12.5% of the portion of the hammer price above HK$30,000,000.

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.

State/Country

Post Code Phone

Mobile

Email

Fax

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Phone number to call at the time of sale (for Phone Bidding only) 1.

2.

• If we receive identical bids, the first bid received will take precedence.

Language to be used (for Phone Bidding only) Please complete the following section for telephone and absentee bids only Lot number

Brief description

In Consecutive Order

Maximum bid price in HK$* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

• Please submit your bids to the Bid Department by fax at +852 2318 2010 or scan and email to bidshongkong@phillips.com at least 24 hours before the sale. You will receive confirmation by email within one business day. If you have not received our confirmation, please resubmit your bids(s) and contact the Bid Department at +852 2318 2029.

• Payment for lots can be made by credit card (up to HK$800,000) or by wire transfer. Please note that credit cards are subject to a surcharge.

• Lots cannot be collected until payment has cleared and all charges have been paid.

• By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com.

* Excluding Buyer’s Premium

Signature

Date

• Phillips’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

By ticking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

Please tick to receive emails about upcoming sales, exhibitions, special events and other services ofered by the Phillips group and its afliates. You may update your email preferences or unsubscribe at any time.

HK_TCA_MAY18_130-240.indd 225

02/05/18 11:13

準買家指引 拍賣現場購買 以下指引有助閣下了解如何在富藝斯拍賣會上購買拍品，本公司職員將竭誠為您服務。

符號圖例 圖錄內提述有關以下符號之意思

業務規定 拍賣會乃根據圖錄末段所載之業務規定及著作保證而運作。競投者請務必細閱業務 規定及著作保證以了解本公司與賣家及買家之間的法律關係；以及於拍賣會上購買之 條款。富藝斯在一般情況下為賣家之代理人。競投者亦應細閱列印於本準買家指引後 的重要通告。

O ♦ 保證項目 拍賣品標有O符號代表該賣家獲富藝斯承擔保證最低出售價。若保證由第三方（已進 行不可撤銷的競投）提供或與本公司共同提供，該拍賣品將標有O ♦。若第三方在拍賣 品中持有全部或部分財政權益，該方亦會承擔全部或部分拍品不被賣出的風險，在該 方並非拍賣品投得者的情況下亦可獲得相應之補償金。補償金可為一固定費用、成交 價或買家支付之酬金的一定比例或由上述的組合而成。第三方可於拍賣時競投已獲保 證之拍賣品，而競投金額必須高於其不可撤銷的競投。若該第三方競投成功，其必須 繳付拍賣品的成交價和買家支付之酬金，而不會獲得任何補償。

買家支付之酬金 本公司會按每件拍品成交價向競投成功者收取佣金或買家支付之酬金。買家應支付酬 金費率為：拍賣品成交價首港幣2,000,000 元之25%，加逾港幣2,000,000 元以上至 港幣30,000,000元部份之20%；加逾港幣30,000,000元之餘款的12.5%計算。 買家須就每件拍品支付其成交價、買家支付之酬金及任何適用之稅項及費用。 1 拍賣前 訂購圖錄 如欲購買是次或其他富藝斯拍賣圖錄，請致電 + 852 2318 2000, +41 22317 8181, +44 20 73184010 , +1 212 940 1240 聯絡我們。 拍賣前估價 拍賣前估價用意為提供指引予準買家。本公司認為任何介乎於高至低估價範圍之間的 競投價皆有成功機會。然而，拍品亦有可能在低於或高於拍賣前估價拍出。如欲對標示 為「估價待詢」之拍賣品了解更多，請與專家部門聯繫。由於估價可予修改，因此閣下 可於臨近拍賣前聯絡我們。拍賣前估價並不包括買家支付之酬金或其他適用稅項。 拍賣前估價以美元及歐元為單位 本拍賣會將以港元為競投貨幣，但載於拍賣圖錄內的拍賣前估價除以港元為單位外， 亦或會用美元及或歐元。由於圖錄中的貨幣兌換率是根據圖錄付印時而非拍賣當日的 兌換率而訂，因此美元或歐元的拍賣前估價只供參考用。 圖錄編列 富藝斯或會在圖錄內刊印有關拍品之出處及過往展覽、引述於藝術刊物之紀錄。儘管 我們以審慎的態度進行編列，但拍賣品的出處、展覽及文獻或未能詳盡；及在某些情 況下我們或會有意地不揭露物主身份。請注意所有陳述於圖錄內拍賣品之量度均為 約數。 拍賣品之狀況 本公司之圖錄只會在多件型作品 (例如印刷品)的描述中提到狀況事宜。但該些狀況資 料並不等於狀況之完整說明。未有提及此等狀況資料亦不表示拍品全無缺陷或瑕疵。 品狀報告乃富藝斯為方便買家提供的一項服務。我們的專家以物品估價相應的方式評 估及撰寫品狀報告。雖然我們以真誠及謹慎的態度撰寫品狀報告，惟本公司職員並非 專業修復者或經培訓之管理人。故我們建議所有準買家應親臨拍賣前展覽並親自檢查 拍品；由於所有品物均於無裝框下出售，除特別註明在品狀報告上。如拍品出售時有裝 框，富藝斯將不會就框架任何狀況承擔任何責任。如我們售出的拍品沒有裝框，我們樂 意為買家推薦專業的裝框服務。 拍賣前預展 拍賣前預展乃免費並對外公開，我們的專家可於預展或預約時提供意見及品狀報告。 電子及機械性拍品 所有帶有電子及或機械性能之拍品均只供以其裝飾價值出售，並不代表可運作。如有 特別運作上的用途，其電子系統必須經認可電子技術人員檢測及通過授權使用。 保證金 如欲競投標有*記號之拍賣品 (高額拍賣品)，富藝斯或要求閣下交付港幣2,000,000 元或其他由富藝斯決定之更大金額的保證金及任何財務狀況證明，擔保及/或其他由 富藝斯可全權酌情決定要求的抵押作為參加富藝斯競投的保障。富藝斯亦會要求閣下 於該高額拍賣品拍賣日前完成高額拍賣品預先登記。當我們確認收到保證金及已填妥 之預先登記表格後，閣下將獲發高額拍賣品競投牌以資識別。拍賣官一般只接受以高 額拍賣品競投牌或其登记競投人士作出之競投。此亦適用於拍賣現場、電話及書面競 投。閣下可以電匯或富藝斯可接受之信用卡繳付保證金。如閣下未有成功競投高額拍 賣品，於富藝斯或我們任何附屬公司亦無任何欠款，保證金將以電匯(與閣下繳付保證 金時相同之貨幣)或信用卡退還，視乎個別情形，本公司將安排於拍賣日期後7天內安 排退還保證金。

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Δ 富藝斯擁有業權權益之拍賣品 拍賣品標有Δ符號代表富藝斯擁有該拍賣品之全部或部分業權，或在拍賣品中擁有相 等於業權權益之經濟利益。 無底價 •除非標有•符號， 否則所有本圖錄內所載之拍賣品均有底價。底價是由富藝斯和賣家共 同訂立且機密之價格。拍賣品不會以低於該價售出。每件拍賣品的底價一般以低估價 之一定比例來定，並且不會高於拍賣前低估價。 ∑ 瀕危物種 標有此符號的拍賣品表示在編列圖錄時該拍賣品已確定含有瀕危或其他受保護野生動 物物種並可能受到就有關出口或入口之限制及可能需要出口及入口許可證。詳情請參 閱準買家指引第4段及業務規定第11段。 * 高額拍賣品 標有此符號的拍賣品其拍賣前低估價為港幣8百萬或以上均被富藝斯列為高額拍賣 品。如欲競投高額拍賣品，準買家必須填妥預先登記表格及繳付高額拍賣品保證金， 詳情請參閱準買家指引第1段。 ▼ 限制進口 標有此符號的拍賣品或受美國入口限制。詳情請參閱列印於此準買家指引後的重要通 告。 2 拍賣競投 於拍賣會上競投 競投可於拍賣會上由個人親安舉競投牌進行，亦可透過電話、網上進行競投或在拍賣 前以書面形式參加。請提供政府發出的身份證明文件及原有簽名。我們或需要閣下提 供銀行證明。 親身競投 親身競投之人士須於拍賣會開始前登記及領取競投牌。我們建議新客戶於拍賣舉行 前至少48小時辦理登記，以便有充足時間處理閣下之資料。所有售出之拍賣品發票抬 頭人均為登記競投牌之人士及其地址，並不得轉讓至他人及其他地址。請勿遺失競投 牌，如有遺失請立即通知富藝斯職員。拍賣完結時，請將競投牌交回登記處。 電話競投 如閣下未能出席拍賣會，您可透過電話與本公司通曉多國語言之職員進行實時競投。 此服務須於拍賣會開始前至少24小時安排，及只適用於拍賣前低估價為港幣8,000元 以上之拍品。電話競投將可被錄音。以電話競投即代表閣下同意其對話將被錄音。我 們建議閣下表明最高競投價(不包括買家支付之酬金)以便我們在無法以電話聯絡閣下 時代您競投。如欲安排電話競投，請致電香港投標部+852 2318 2029。 網上競投 如閣下未能親自出席拍賣會，您可透過我們於網站www.phillips.com內的實時競投平 台進行網上競投。我們建議使用Google Chrome、Firefox、Opera及Internet Explorer 執行網上拍賣。閣下如欲以Safari運行網上拍賣需先行安裝Adobe Flash Player。於網 站內按「拍賣」、「實時拍賣」然後「實時競投登記」以作預先登記。第一次登記時需先 建立帳戶，此後只需登記個別拍賣即可。閣下須於拍賣前至少24小時作網上預先登記 以便投標部確認。請注意網上競投者或會因企業防火牆而未能競投。 書面競投 如閣下未能出席拍賣會及參與電話競投，富藝斯樂意代表閣下進行書面競投。本圖錄末 附有競投表格。此服務乃免費並且保密。投標價必須是以拍賣會當地的貨幣為單位。本 公司之職員將參考底價及其他競投價，盡力以最低價進行競投。請標明最高競投價(不 包括買家支付之酬金) 。無限價競投標將不獲接納。所有書面競投須於拍賣24小時前 收到。倘本公司就同一項拍賣品收到相同之競價，則最先收到之競價會獲優先辦理。

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僱員競投 富藝斯及其附屬公司之僱員，包括拍賣官只可在不知底價及全面遵守本公司的僱員競 投內部規例之情況下進行書面競投。 競投價遞增幅度 競投一般由低於最低估價開始，通常每次喊價之遞增幅度最高為10%，拍賣官亦可於 拍賣時自行決定更改每次喊價增加之額度。書面競投價若與下列之遞增幅度不一致， 將被調低至下一個喊價幅度。 競投價 1,000-2,000 港元 2,000-3,000港元 3,000-5,000港元 5,000-10,000港元 10,000-20,000港元 20,000-30,000港元 30,000-50,000港元 50,000-100,000港元 100,000-200,000港元 200,000-300,000港元 300,000-500,000港元 500,000-1,000,000港元 1,000,000港元或以上

每次喊價之遞增金額 100港元 200港元 200, 500, 800 港元 (例 4,200, 4,500, 4,800港元) 500港元 1,000港元 2,000港元 2,000, 5,000, 8,000港元 (例 32,000, 35,000, 38,000港元) 5,000港元 10,000港元 20,000港元 20,000, 50,000, 80,000港元 (例 320,000, 350,000, 380,000港元) 50,000港元 拍賣官自行決定

在拍賣時拍賣官可酌情更改每次增加之額度。

運輸及付運 作為一項予買家的免費服務，富藝斯只可包裝拍品作手提用。我們並不會直接提供包 裝、處理及付運服務。但我們可依據閣下之指示與付運代理協調以促成閣下於本公司 購買貨物之包裝、處理及付運。詳情請參閱業務規定第7段。 出口及入口許可證 在競投任何拍賣品前，我們建議準買家對拍賣品先作獨立調查以確定是否需要以許可 證出口香港或進入其他國家。買家須遵守所有入口及出口之法律及應取得有關的出口 或入口許可證。不獲發任何所需之許可證或執照並不構成取消買賣或延遲繳付全數貨 款之充分理由。 瀕危物種 由植物或動物材料如珊瑚、鱷魚、象牙、鯨骨、巴西玫瑰木、犀牛角或玳瑁殼，不論其 年份、百分比率或價值，均可能須申領許可證或證書方可入口至美國或其他歐盟以內 或外的國家。請注意能取得出口許可證或證書並不能確保可在另一國家取得進口許可 證或證書，反之亦然。我們建議準買家在競投前向相關政府查核有關野生動植物進口 之規定後再參與競投。買家須負上所有責任取得任何所需出口或進口許可證或證書， 以及任何其他所需文件。請注意美國禁止入口任何含有非洲象牙的產品。亞洲象的象 牙可被進口到美國，而該進口必須附有獨立科學分析報告以證明有關物品的起源地及 確認物品的年期已超過一百年。我們在銷售任何藏品前，均無對藏品進行科學分析，所 以無法確認相關藏品的象牙是來自亞洲及非洲。買家凡購買有關藏品並計畫將有關藏 品進口美國，必須承擔風險並負責支付任何科學分析報告或其他報告的費用。 有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明文件鑑定物種及藏品之年 期以顯示該藏品為古董。買家須進行獨立評估以認證藏品上之瀕危物種物料及認證藏 品之年期為不少於一百年。如欲計劃入口藏品到美國的準買家不應依靠富藝斯編列於 圖錄內藏品上的瀕危物種物料或藏品之年期及必須諮詢具有專業資格的獨立鑑定者 後再參與競投。

3 拍賣 如上所述，拍賣會受業務規定及保險書所規限，所有準買家應仔細閱讀。該等業務規 定及保證書可經在拍賣會場張貼通告或由拍賣官作出公佈之方式進行修改。 有利害關係的各方公佈 在某些情況下對拍賣品有直接或間接利害關係的一方可能對拍賣品作出競投，如出售 拍賣品之遺產之受益人或執行者；拍賣品之聯權共有人或提供或參與保證的一方，富 藝斯將會於拍賣廳內公佈有利害關係的各方可能對拍賣品作出競投。

接連投標及競投；無底價拍賣品 拍賣官可代表賣家為任何拍賣品叫第一口價以開始競投。拍賣官更可代表賣家以接連 投標或競投之方式，就拍賣品作出競投直至達到底價。就不設底價的拍賣品,除非已有 競投,否則拍賣官一般會以拍品的拍賣前低估價的50%開始拍賣。若在此價格下並無投 標,拍賣官會自行斟酌將價格下降繼續拍賣,直至有客戶開始競投,然後再由該投標價向 上繼續拍賣在沒有更高叫價的情況下,以書面投標競投無底價拍賣品會以拍賣前低估 價大約50%成交。 但若該投標價低於拍賣前低估價的50%, 則以該投標價成交。如果 無底價拍賣品沒有任何叫價, 拍賣官會自行決定該拍賣品為流拍。

請注意我們為方便客戶而在含有可能受管制植物或動物物料的拍賣品上附加標記，但 附加標記時如有任何錯誤或遺漏，富藝斯恕不承擔任何責任。

重要通告 高額拍賣品 所有準買家如欲競投任何高額拍賣品(標有*記號之拍賣品)必須完成高額拍賣品預先 登記及交付港幣2,000,000元或其他由富藝斯決定之更大金額的保證金。詳情請聯絡 客戶服務部+852 2318 2000。

4 拍賣後 付款 除非與富藝斯 於拍賣前已達成書面安排,否則買家須於拍賣後即時以港元付款。閣下可 依照業務規定第6段所述以電匯方式付款。現金及支票恕不接納。 信用卡 為方便客戶, 富藝斯可接受以信用卡支付不多於港幣80萬元的付款。 使用信用卡將會被 收取附加費。 如欲了解更多以信用卡付款詳情, 請聯絡客戶服務部+852 2318 2000。 提取 提取拍賣品時請出示身份證明。富藝斯收到全數結清之貨款及確認買家在本公司及其 附屬公司沒有欠款後，會將拍賣品交予買家或買家授權之代表。拍賣後所有拍品會被儲 存在外。如欲提取拍品，煩請與我們運輸部聯絡，電話：+852 2318 2000。未能提取的 拍品均會被收取有關轉移，利息，儲存等相關費用。 損失或損壞 買家請注意富藝斯 對拍賣品損失或損壞之責任期限最多為拍賣後七天。

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業務規定 準競投者與買家以及富藝斯與賣家的關係受下面闡述之業務規定及著作保證所規限。 所有準買家須於參與競投前小心細閱業務規定, 於準買家指引後的重要通告及著作保 證。 1 序言 圖錄內所列拍賣品之銷售及售出均根據(a)業務規定及著作保證;(b)圖錄其他地方所載 之任何附加通知條款, 包括準買家指引及重要通告及(c)補充本圖錄或其他富藝斯張貼 於拍賣廳內之書面資料, 或由拍賣官於拍賣前作出公佈之方式進行修改。透過於拍賣 中競投, 不論以親身,經代理人,以書面競投, 以電話或其他方式競投, 競投者和買家均 同意接受並遵守經改變或補充的業務規定及著作保證。該些經改變或補充的業務規定 及著作保證包括富藝斯及賣家與買家合約成立之條款。 2 富藝斯作為代理人 除非於本圖錄中或於拍賣時另有說明, 否則富藝斯作為賣家的代理人。 在個別情況下 富藝斯可能擁有拍賣品, 在該情況下以委託人之身份作為賣家行事; 或富藝斯其附屬公 司可能擁有拍賣品, 在該情況下則作為該公司的代理人, 或富藝斯或其附屬公司可能以 抵押債權人或其他身份擁有拍賣品之法律、實益或財務利益。 3 圖錄說明及拍賣品狀況 拍賣品均受著作保證所限制出售, 如圖錄所述(除非該說明如上面第1段所述被修改或 補充) 及依據以下基礎陳述拍賣品於拍賣時的狀況。

(a) 富藝斯 對各拍賣品之認識部份依賴賣家向其提供之資料, 且富藝斯無法及不會就各 拍賣品進行全面盡職審查。 準買家知悉此事, 並承擔進行檢查及檢驗之責任, 以使滿 意彼等可能感興趣之拍賣品。 儘管如前所述, 富藝斯在圖錄描述或品狀報告作出之明 示聲明, 應以有關拍賣中有關拍賣品之拍賣官身份相符之合理審慎態度作出; 以及基於 (I)賣家向其提供之資料; (II)學術及技術知識; 及(III)相關專家普遍接納之意見作出之明 示聲明, 在各情況下應以合理審慎態度作出明示。 (b) 富藝斯提呈拍賣時出售之各拍賣品於拍賣前可供準買家檢查。 在競投人(鑑於有關 拍賣品之性質及價值及競投人之專業知識而屬合適者,以及代表彼等之獨立專家)已當 作在投標前全面檢驗拍賣品, 並滿意拍賣品之狀況及其描述之準確性, 富藝斯會接受 競投人對拍賣品之投標。 (c)準買家確認眾多拍賣品年代久遠及種類特殊, 意味拍賣品並非完好無缺。 為方便準 買家, 富藝斯或會準備及提供品狀報告以方便準買家檢查拍賣品用。 圖錄描述及品狀 報告在若干情況下可用作拍賣品某些瑕疵之參考, 但競投人應注意, 拍賣品可能存在其 他在圖錄或品狀報告內並無明確呈視出之瑕疵。 所有量度皆為約數。 解說只供鑑定 用途, 將不能當作為拍賣品尺寸之精確量度或真實狀況之全部資料。 (d) 提供予準買家有關任何拍賣品之資料包括任何拍賣前預測(無論為書面或口述)及 包括任何圖錄所載之資料、規則及其他報告、評論或估值, 該等資料並非事實之陳述, 而是富藝斯所持有之意見之聲明, 故不應依賴任何拍賣前預測作為拍賣品售價或價值 之預測, 且該等資料可由富藝斯不時全權酌情決定修改。 富藝斯及並附屬公司皆不會 為任何拍品拍賣前估價與於拍賣或轉售所達之實際價錢之間的差距負上任何責任。 4 拍賣會上競投出價 (a) 富藝斯可全權酌情決定拒絕進入拍賣場地或參與拍賣。 所有競投者需於競投前登 記競投牌, 並提供富藝斯所需資料及參考。 (b) 為方便未能親身出席拍賣的競投者, 富藝斯或根據競投者之指示代其進行書面競 投。書面競投者須遞交”書面競投表格”, 此表格列印於圖錄末部或可向富藝斯索取。 投標價必須是以拍賣會當地的貨幣為單位。 競投者需清楚標明最高之投標價 (不包 括買家支付之酬金)。拍賣官將不會接受任何沒有標明最高投標價之書面競投。 本公 司之人員將參考底價及其他競投價，盡力以最低價進行競投。所有書面競投須於拍賣 前24小時收到。 倘本公司就同一項拍賣品收到相同之競價，則最先收到之競價會獲 優先辦理。 (c)電話競投者須遞交”電話競投表格”, 此表格列印於圖錄末部或可向富藝斯索取。 電話競投只適用於拍賣前低估價最少達港幣8000元之拍品。富藝斯保留要求電話競 投者以傳真或其他方式儘快於拍賣官接受其競投後以書面確認成功競投之權利。電話 競投將可被錄音。以電話競投即代表閣下同意其對話將被錄音。 (d) 競投者可透過富藝斯 於網站內www.phillips.com的實時競投平台進行網上競投。 競投者須於拍賣前至少24小時作網上預先登記。 網上競投須得富藝斯投標部許可及 投標部有酌情權。 如上述第3段, 富藝斯 建議網上競投者於拍賣前檢視有興趣競投之 拍賣品, 及可要求索取品狀報告。 拍賣中競投速度或會很迅速。 為確保網上競投者 與現場或電話競投者競投時不處於劣勢, 透過富藝斯 網上競投平台競投為單一步驟過 程。 透過按下電腦屏幕上的競投鍵, 競投者即遞交一投標價。 網上競投者確認及同

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意遞交之投標價為已確實及任何情況下或不能修改或退回。 於拍賣進行中時, 當有非 網上投標出現時, 該些投標會於網上競投者的電腦屏幕上顯示為 “現場”投標。 “現 場”投標包括拍賣官為保障底價的投標。倘就同一項拍賣品收到網上競投者及一“現 場” 或 “電話” 競投者相同之競價，則拍賣官有權自行決定“現場” 投標會獲優先 辦理。為方便網上競投者競投, 下一喊價顯示於投標鍵上, 網上競投者之競投價遞增幅 度或會與拍賣官實際上下一喊價有所不同。 因拍賣官在任何時候可自行決定或會偏 離富藝斯之標準遞增幅度, 但網上競投者或只可以完整之下一喊價投標。 富藝斯之標 準競投價遞增幅度載於準買家指引。 (e) 不論以親身、書面競投、電話競投或網上方式競投, 當競投時即代表競投者接受承 擔繳付購買價及所有其他適用費用之責任, 詳情如以下第6(a)段所述, 除非於拍賣開始 前已與富藝斯以書面明確約定該競投者為一代理人, 而代表富藝斯接受該已知的第三 方及只會向該方收取付款。 (f) 不論以親身、書面競投、電話競投或網上方式參與競投, 即代表各準買家代表及保 證其或其代理人之投標均不是任何串通或其他反競爭協議的產生及與聯邦反信任法 例一致。 (g) 書面及電話競投是本公司提供予準買家之免費服務，本公司將盡合理努力代其競 投。除了故意瀆職的情況外，本公司不會對因未能執行書面或電話競投，或在當中出現 之任何失誤或遺漏負任何責任。 (h) 僱員競投 富藝斯及其附屬公司之僱員，包括拍賣官, 只可在不知底價及全面遵守本 公司的僱員競投內部規例之情況下進行書面競投。 5 拍賣規定 (a) 除非標有•符號, 否則所有拍賣品均有底價限制, 底價是一富藝斯與賣家達成協議的 保密最低出售價。 該底價不會高於拍賣前低估價。 (b) 拍賣官可隨時酌情決定拒絕或接受任何競投, 撒回任何拍賣品, 重新出售拍賣品( 包括在落槌後), 以及如遇出錯或爭議時採取其認為是合適之其他行動。 富藝斯不會 為拍賣官之行動承擔任何責任。 如在拍賣後有任何爭議, 將會以本公司的拍賣紀錄為 確鑿。 拍賣官或會接受富藝斯附屬公司競投者在不知道該拍賣品之底價的情況下之 競投。 (c) 拍賣官會以其認為合適之喊價開始及繼續拍賣。 為保障所有拍賣品的底價, 拍賣 官在不一定表示的情況下, 可代表賣家以接連投標或競投之方式就拍賣品作出競投直 至達到底價。 就不設底價的拍賣品,除非已有競投,否則拍賣官一般會以拍賣品的拍賣 前低估價的50%開始拍賣。 若在此價格下並無投標,拍賣官會自行斟酌將價格下降繼 續拍賣,直至有客戶開始競投,然後再由該投標價向上繼續拍賣。 在沒有更高叫價的情 況下, 以書面投標競投無底價拍賣品會以拍賣前低估價大約50%成交。 但若該投標價 低於拍賣前低估價的50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫價, 拍賣 官會自行決定該拍賣品為流拍。 (d) 本拍賣會以港元進行拍賣及須以港元繳款。 為方便海外客人, 圖錄內之拍賣前估 價或會用美元及或歐元, 及會反映大概兌換率。 因此, 美元或歐元的估價只供參考用。 為方便競投者, 本公司於拍賣會上或使用貨幣兌換顯示板, 富藝斯 不會為任何貨幣兌 換計算出現錯誤承擔任何責任。 (e) 在拍賣官之酌情下, 其出價最高且被拍賣官接受的競投者將為買家, 下槌則顯示最 高競投價之被接受, 亦表示賣家與買家之間的拍賣合約之訂立。 拍賣品之風險及責任 將如載於以下第7段轉移到買家。 (f) 如拍賣品沒有售出, 拍賣官會宣佈該拍賣品為”流拍”, “撤回”, “送回賣家”。 (g) 任何於拍賣會後的拍品買賣均受業務規定及著作保證所限制, 如同拍品於拍賣會 中出售。 6 購買價及付款 (a) 買家同意支付本公司每件拍賣品之成交價，買家應支付本公司酬金及所有適用稅項 及費用。買家應支付酬金費率為：拍賣品成交價首港幣2,000,000元之25%，加逾港幣 2,000,000元以上至港幣30,000,000元部份之20%；加逾港幣30,000,000元之餘款 的12.5%計算。富藝斯保留用酬金支付介紹佣金予一個或多個協助拍品於拍賣會中售 出的第三方之權利。 (b) 除非另有協議, 否則買家須於拍賣後立即繳款, 與有任何意圖獲得該拍賣出口或進 口許可證或其他執照無關。 付款須由發票抬頭人,以港元及按照發票上之詳細銀行資 料以電匯方式支付。

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(c) 為方便客戶, 富藝斯將接受以美國運 通卡, Visa及萬事達卡繳付最多港幣80萬元之 發票。 使用信用卡將被收取附加費。 (d) 所購拍賣品之擁有權將於富藝斯 全數收取後方可轉移。 富藝斯概無責任將拍賣品 交給買家直至拍賣品之擁有權已轉移, 且已獲提供適當確認而提早交付不會影響擁有 權之轉移或買家支付買入價之無條件責任。 7 提取拍賣品 (a) 富藝斯直至確認全數收取及買家於富藝斯或其附屬公司沒有欠款, 包括任何根據以 下第8(a)段所述需繳之任何費用; 及我們滿意買家所需其他條款(包括完成反洗黑錢或 反恐怖主義之財務審查後, 會將拍賣品交予買家。 (b) 買家須於拍賣後7天內安排提取拍賣品。 拍賣後所有拍品會被儲存在外。如欲提取 拍品，煩請與我們運輸部聯絡，電話：+852 2318 2000。未能提取的拍品均會被收取 有關轉移，利息，儲存等相關費用。已買之拍賣品之風險,包括投保責任由買家承擔, 由 (I) 領取; 或(II) 拍賣會後7天, 以較早日期為準。 直到風險轉移, 富藝斯 將就拍賣品之 任何損失或損毀向買家支付賠償, 惟以所付之買入價為最高限額,並受我們一般損失或 損毀拍賣品安排所限制。 (c) 為方便客戶，富藝斯可在不另收費下, 包裝拍賣品作手提用。我們並不會提供包裝、 處理、保險及付運服務。我們可依據買家之指示與付運代理(不論是否由富藝斯所建議) 協調及安成閣下於本公司購買貨物之包裝、處理、保險及付運於富藝斯所購的拍賣品。 買家須承擔所有任何指示之風險及責任, 本公司將不會負責或承擔其他的包裝員或運 送員之行為及遺漏引致的任何責任。 (d) 富藝斯在將拍賣品交予買家或買家之授權於代表前, 要求出示政府發出之身份證 明。 8 未提取拍品 (a)倘買家支付全數但未有於拍賣會後30天內提取拍賣品, 買家將會被收取逾期提取費 用。 每年未提取的拍品費用為每天港幣80元。 我們在全數收到該些費用後方會將拍 賣品交予買家。 (b) 倘已繳付拍品, 但未於拍賣會後6個月內提取該拍品, 則買家授權富藝斯(經通知後) 安排以拍賣或私人出售以重售該物品, 而估價及底價將由富藝斯酌情決定。 除非買家 在該拍賣會後兩年內收取該出售之所得款項扣除存倉費及任何其他買家欠富藝斯或其 附屬公司之所有費用, 否則該筆款項將被沒收。 9 欠繳款之補償方法 (a) 在不影響賣家可能擁有之任何權利之情況下, 倘買家在未預先協定之情況下未能在 拍賣會後7天內悉數繳付拍賣品購入價, 富藝斯可全權決定行使以下一項或多項補救方 法: (i) 將拍賣品貯存在其處所或其他地方, 風險及費用完全由買家承擔; (ii) 取消該拍 賣品之銷售, 保留購入價任何部分繳款作為違約金; (iii) 拒絕買家未來作出之競投或使 其就未來之競投須支付保證金; (iv) 收取由到期日至悉數收取買入價當日期間按每年 12%之利率計算之利息; (v) 對買家由富藝斯所管有之任何物品行使留置權及指示富藝 斯附屬公司對其管有買家之任何物品行使留置權。 在知會買家後, 並在發出該通知之 30天後可安排出售該物品, 以及將所得款項用以支付結欠富藝斯或其附屬公司扣除本 公司標準賣家佣金, 所有其他有關費用及任何適用稅項; (vi) 以拍賣或私人出售重售該 拍賣品, 而估價及底價將由富藝斯 合理地酌情決定。 倘該重售之價格低於該拍賣品之 成交價及買家應支持之酬金, 買家將仍須承擔該差額, 連同該重售產生之所有費用。 (vii) 展開法律訴訟, 以收回該拍賣品之成交價及買家應支持之酬金, 連同利息及該訴 訟之費用; (viii) 以富藝斯或其附屬公司結欠買家之任何金額抵消買家就拍賣品結欠富 藝斯之任何金額; (ix) 向賣家透露買家之名稱及地址, 使賣家可展開法律訴訟, 以收回 欠款及申索法律費用; 或(x)採取本公司認為適當及需要之任何行動。 (b) 在收到富藝斯附屬公司通知買家未能付款後, 即買家不可撤銷授權富藝斯 對買家所 管有之任何物品行使留置權。 富藝斯會通知買家有關行使留置權。 在收到富藝斯附 屬公司通知買家未能付款後,買家亦不可撤銷授權富藝斯 抵押買家被管有的物品以支 持任何欠款。 如買家之物品被送往有關公司進行抵押, 富藝斯將會告知買家。 (c) 如買家未能繳付款項, 買家不可撤銷已授權富藝斯指示其附屬公司將買家被管有的 物品以買家代理人之身份交予富藝斯指定的第三方作購入價及任何其他欠款之典當 或抵押。 此項安排將於以書面通知買家後不少於30天進行, 出售物品以所獲得的出售 金額(扣除出售之標準賣家佣金及其他有關費用及任何適用稅項)支付富藝斯或其附屬 公司。

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10 決定撤銷 富藝斯有權撤銷拍賣及沒有義務通知買家, 如本公司有理由相信賣家與著作保證之間 涉及違約或有第三方欲以不良意圖索償。 當富藝斯決定撤銷拍賣及通知買家後, 買家 應儘快將拍賣品退回富藝斯, 而本公司會退還我們所收的購入價。 如以下第 13段所述, 退還款項應為買家唯一的補償及向富藝斯與賣家對手段撤銷拍賣的追索。 11 出口,入口及瀕危物種許可證及執照 在競投任何拍賣品前，準買家應對拍賣品先作獨立調查以確定是否需要以許可證出口 香港或進入其他國家。準買家應注意某些國家禁止入口含有由植物或動物材料如珊 瑚、鱷魚、象牙、鯨骨、巴西玫瑰木、犀牛角或玳瑁殼的物品，不論其年份、百分比率或 價值。 同樣, 在競投任何拍賣品前, 準買家如欲將購得之拍賣品出口亦應查核並了解 有關國家之出口及入口限制。 請注意美國禁止入口任何含有非洲象牙的產品。亞洲象 的象牙可被進口到美國，而該進口必須附有獨立科學分析報告以證明有關物品的起源 地及確認物品的年期已超過一百年。 有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明文件鑑定物種及藏品之年 期以顯示該藏品為古董。買家須進行獨立評估以認證藏品上之瀕危物種物料及認證藏 品之年期為不少於一百年。如欲計畫入口藏品到美國的準買家不應依靠富藝斯編列於 圖錄內藏品上的瀕危物種物料或藏品之年期及必須諮詢具有專業資格的獨立鑑定者 後再參與競投。 買家須承擔責任及遵守所有入口及出口之法例及應取得所需的的出口,入口及瀕危物 種的許可證及執照。不獲發或延遲獲發任何所需之許可證或執照並非取消銷售或延 遲繳付全數貨款之充分理由。請注意我們為方便客戶而在含有可能受管制植物或動物 物料的拍賣品上附加標記，但附加標記時如有任何錯誤或遺漏，富藝斯恕不承擔任何 責任。 12 資料保障 (a) 閣下同意並了解，我們可能會根據公司的私隱條例隨時處理你的個人資料（包括可 能被歸納為敏感性個人資料）。我們的私隱條例刊載於www.phillips.com， 或可電郵 至dataprotection@phillips.com 索取副本。 (b) 我們的私隱條例闡述：(i) 本公司將會或可能收集及處理的個人資料類別；(ii) 本 公司將會或可能收集及處理閣下個人資料的目的；(iii) 本公司處理閣下個人資料的法 律依據；(iv) 閣下對本公司處理你個人資料的權利；及(v) 適用法律要求的各項其他資 訊。 (c) 富藝斯可能會對其物業、銷售及展覽範圍內進行錄影監控，閣下與富藝斯之間的溝 通包括電話和網上對話（如電話和網上競投）亦會被記錄。本公司將根據私隱條例記 錄和處理此等資料。 13 法律責任限制 (a) 根據以下(e)段, 富藝斯, 其附屬公司之所有法律責任及賣家與買家在拍賣品銷售關 係乃受買家實際所付的購入價限制。 (b) 除非在此第13段所提及, 富藝斯, 其附屬公司或賣家均無須(I)負上任何錯誤或遺漏 之責任, 不論是以口述或書面, 富藝斯或其附屬公司提供予準買家之資訊或(II) 富藝斯 或其附屬公司在有關於拍賣行為或對任何其他有關拍賣品銷售因處理或遺漏, 不論疏 忽或其他原因而對任何競投者承擔。 (c) 除著作保證以外的保證, 明示或暗示, 包括品質滿意和適用性保證, 均被富藝斯, 其 附屬公司或賣家在法律允許的最大範圍內所排除。 (d) 根據以下(e)段, 富藝斯, 其附屬公司或賣家均無須對於上段(a)提及買家除退款外之 任何損失或損害負責。 不論該損失或損害為直接, 間接, 特別, 附帶的或後果, 或在法 律允許的最大範圍內用以支持購入價之利息。 (e) 在業務規定沒有規管的應被視為排除或限制富藝斯 或其附屬公司對買家負上因我 們之疏忽對死亡或受傷所造成的任何欺詐或虛假陳述的責任。 14 版權 所有由富藝斯或為富藝斯在圖錄中與拍賣品有關之製作的一切影象, 圖標與書面材料 之版權, 無論何時均屬富藝斯財產。 未經本公司事先書面同意, 買家或任何人均不得 使用。 富藝斯及賣家均沒有陳述或保證買家就投得的拍賣品取得任何拍賣品或其他 複製的權利。

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15 一般資料 (a) 該此業務規定(於上述第1段所改變或補充)及保證造成各方對交易之預期及取代所 有之前及當時的書面, 口頭或暗示之理解, 說明和協議。 (b) 給予富藝斯之通知應以書面形式發出, 註明拍賣之負責部門及銷售圖錄開端指定之 參考號碼。 給予富藝斯客戶之通知應以彼等正式通知富藝斯之最新地址為收件地址。 (c)未經富藝斯書面同意前, 任何買家不得轉讓該等業務規定, 但對買家之繼承人, 承付 人及遺產執行人具有約束力。 (d) 倘因任何理由無法執行該等業務規定之任何條文, 則餘下條文應仍然具有十足效力 及作用。 任何一方行使, 或沒有延遲行使, 在該等業務規定任何權利或補救可作免除 或釋放全部或部分。 16 法例及司法權 (a) 該等業務規定及保證之權利及義務,及其有關或適用之所有事宜須受香港法律規管 並按其詮釋。 (b) 就富藝斯之利益而言, 所有競投者及賣家同意香港法院擁有專有司法權, 調解所有 因與該等業務規定及著作保證有關或適用之所有事宜或交易之各方面而產生之紛爭。 各方均同意富藝斯將保留權利在香港法院以外之任何法院提出訴訟。 (c) 所有競投者及賣家不可撤回同意透過傳真, 親身, 郵寄或香港法例, 送達地點之法例 或提出訴訟之司法權區之法例允許之其他方式, 將有關任何法院訴訟之法律程序文件 或任何其他文件送發至買家或賣家知會富藝斯之最新地址。

著作保證 富藝斯保證在拍賣日起的5年期間為圖錄內用粗體或大楷標題之物品保證了著作權。 保證受以下及本圖錄所載末準買家指引後的重要通告所排除及限制。 (a) 富藝斯 對任何拍賣品只給予原來紀錄之買家(即登記成功拍賣之競投人)保證著作 權。此保證著作權並不伸延至(i) 物品其後的擁有人, 包括買家或收件人以禮物形式由 原來買家, 後代, 繼承人, 受益人及指定人送出; (ii) 圖錄內對物品的描述與物品著作有 意見上的矛盾; (iii) 我們於拍賣日歸納著作與專家, 學者或其他專家普遍接納之意見一 致; (iv) 能正確地鑒定拍賣品的科學鑒定方法在圖錄編印之不為一般所接受, 或在圖錄 載登時, 此方法過份昂貴或不實際或可能損壞拍賣品的情況;或(v) 若根據拍賣品於圖 錄之標題, 該拍賣品並無重大喪失任何價值。 (b) 如欲因著作保證而索償, 富藝斯保留其權利, 作為撤銷拍賣之條件, 及要求買家提供 兩名為富藝斯及買家雙方接納之特立及行內認可專家之報告, 費用由買家承擔。 富藝 斯無須受買家出示之任何報告所規限, 並保留權利尋求額外之專家意見, 費用由富藝斯 自行承擔。倘富藝斯決定根據本保證取消買賣 , 富藝斯或會將經雙方審批之獨立專家 報告所需之合理費用退還予買家。 (c) 受上述(a)所說明, 買家或可就著作保證在以下情況下提出伸索(I)買家在收到任何導 致買家質疑拍賣品之真偽之資料後3個月內以書面通知富藝斯 , 註明購買該拍賣品的 拍賣編號, 圖錄內拍賣品編號及被認為是膺品的理由及(II) 將狀況與銷售予買家當日相 同, 並能轉移其妥善所有權且自銷售日期後並無出現任何第三方申索之物品退還予富藝 斯。 富藝斯有權免去任何以上(c)小段或(b) 小段 所說明之要求。 (d) 買家明白及同意對違反著作保證之獨有補償為撤銷銷售及退還原來所付之購入價 退還款項應為買家唯一及取代其他法律形式的補償及向富藝斯與賣家對撤銷拍賣的追 索。 這亦代表富藝斯, 其附屬公司或賣家均無須對此著作保證之補償退款外之任何損 失或損害負責。 不論該損失或損害為直接, 間接, 特別, 附帶的或後果, 或為原有購入 價支付利息。 本業務規定及保證, 準買家指引及重要通告, 如有任何詮釋上的問題, 一概以英文版本 為準。

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Sale Information Auction and Viewing Location Mandarin Oriental 5 Connaught Road Central Hong Kong Auction 27 May 2018, 6pm (Lots 1–70) Viewing 24 May 2018 25 May 2018 26 May 2018 27 May 2018

Deputy Chairman, Asia Jonathan Crockett +852 2318 2023 jcrockett@phillips.com Head of Department Isaure de Viel Castel +852 2318 2011 idevielcastel@phillips.com Head of Sale Sandy Ma +852 2318 2025 sma@phillips.com

10am – 6pm 10am – 6pm 10am – 7pm 10am – 6pm

Dedicated Preview of Pioneers of Modernism: A Selection from the Scheeres Collection H Queen’s Atrium G/ F, 80 Queen’s Road Central Hong Kong 24 – 27 May 2018 10am – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010118 or 20th Century & Contemporary Art & Design Evening Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com

Specialists Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Meiling Lee +886 908 876 669 mlee@phillips.com Specialists, Design Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com Sofa Sayn-Wittgenstein +44 75 5304 5679 ssayn-wittgenstein@phillips.com Cataloguers Danielle So +852 2318 2027 dso@phillips.com Delissa Putri Handoko +852 2318 2000 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com

Auctioneer Jonathan Crockett Photographers Jean Bourbon Vincent Everarts Kim Sang Tae Etta Kwok Arnold Lee Alan Shaffar Michiel Stokmans Topman Photo White Dark Marta Zagozdzon Special Thanks Art Agenda SEA Isabella Capolei Zoe Chiu Nicole de Silva Annie Dolan Joseph Funnell Ruei Ji Corinna Ko Luisa Ku Kat Lukacher Wylie Ng Ng Kum Hoon William Paton Shauna Yuan Alice Zhong Catalogues catalogues@phillips.com HKD400/$50/€35/50CHF +852 2318 2000 Client Accounting clientaccountslondon@phillips.com +852 2318 2000 Client Services 14/F St. George's Building 2 Ice House Street Central Hong Kong +852 2318 2000 Shipping Christine Cheung +852 2318 2017 christinecheung@phillips.com

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香港中環雪廠街2號聖佐治大廈14樓

• 以個人名義購買 請提供政府發出的身份證明文件及現時住址證明。 請填妥此表格並於拍賣日前24小時傳真至+852 2318 2010 或電郵至bidshongkong@phillips.com。 敬請細閱表格右列須知，並選擇閣下欲以個人名義或公司名義參與是次競投。

• 以公司名義購買 請提供由公司董事簽署及蓋有公司章授權予被授權人代表公司 進行競投的競投授權書，及政府發出的公司證明文件(如公司註

請選擇此表格之競投方式(選一項)：

冊證書)之副本。 競投牌號碼

現場競投 書面競投 電話競投

所有投標的處理及執行、及所有拍品的成交及購買均按照圖錄 所載之業務規定執行。請於參與競投前細閱業務規定，並細閱 第4段之內容。 • 如閣下未能出席拍賣會，本公司樂意代表閣下進行保密的書面

請選擇閣下是次競投名義(選一項)：

競投。

以個人名義 以公司名義

• 本公司會按每件拍品成交價向成功競投者收取佣金或買家支付 之酬金。買家應支付本公司酬金，酬金費率為：拍品成交價首

拍賣名稱 稱謂

• 業務規定

拍賣編號 名字

公司名稱(如適用)

拍賣日期

港幣2,000,000元之25%，加逾港幣2,000,000元以上至港幣 30,000,000元部份之20%；加逾港幣30,000,000元之餘款的 12.5%計算。

姓氏

• 「購買」或無限價競投標將不獲接納。閣下可於拍品編號之間

客戶號碼

以「或」字作兩者(或若干)中擇一競投。

地址

• 如欲進行書面競投，請列明每件拍品之最高限價(買家酬金及稅 (如有) 不計在內) 。拍賣官將參考底價及其他競投價，盡力以

城市

最低價進行競投。在沒有更高價的情況下，對不設底價的拍賣

國家

品所提交的不在場投標，會以售前低估價大約50%成交，但是

郵編

若該投標價低於售前低估價的50%，則以該投標價成交。

電話

手提電話

電郵地址

傳真

• 投標價必須以拍賣當地的貨幣為單位，及將會被調低至最接近 拍賣官喊價遞增幅度之競投金額。 • 如本公司就同一項拍賣品收到相同競價之委託，則最先收到之

於拍賣時聯絡閣下的電話號碼 (只供電話競投用) 1.

委託獲優先辦理。 2.

• 書面及電話競投是本公司提供予準買家之免費服務，本公司將 盡合理努力代其競投。除了故意瀆職的情況外，本公司不會對

所用語言 (只供電話競投用)

因未能執行書面或電話競投，或在當中出現之任何誤失或遺漏

以下部份只適用於電話及書面競投 拍品編號 拍品簡要敍述

港幣最高競投價

(順序)

只適用於書面競投

負任何責任。電話競投者必須以函件或傳真儘快確認投標獲辦 理。電話競投對話過程或會被錄音。 • 請將填妥之競投表格於拍賣日前至少24小時傳真至 + 852 2318 2010 或掃描並電郵至 bidshongkong@phillips.com予投標部。閣下將於1個工作天內 以電郵方式收到確認。如閣下未有收到確認回覆，請重新遞交 表格並聯絡投標部+852 2318 2029。 • 閣下可使用信用卡 (上限為港幣800,000元) 或以電匯方式付 款。請注意以信用卡付款將會被收取附加費。 • 拍品需於本公司收到全數結清之款後方能提取。 • 閣下簽署本競投表格，即表示閣下了解並同意本公司將依據我 們的私隱政策處理你的個人資料，包括「敏感性資料」。私隱 政策刊載於www.phillips.com，或可電郵至dataprotection@ phillips.com索取副本。 • 在富藝斯範圍內可能進行錄像監控。電話對話如電話競投亦有 可能被錄音，本公司會根據隱私政策處理該資料。

* 買家酬金不計在內

簽署

日期

o 請於方格內劃上” ✓” 號，確認閣下以上登記/競投並同意接受富藝斯載於圖錄及網站內之業務規定。 o 如欲訂閱有關富藝斯及其附屬公司將來銷售、展覽、特別活動的電郵消息，請在方格打勾。閣下可隨時更改或取消訂閱。

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British Ceramics from the Westminster Collection Lucie Rie, Three bowls

Design.

Auction 6 June 2018 New York Public viewing 30 May-5 June at 450 Park Avenue or online at phillips.com Enquiries designnewyork@phillips.com

phillips.com

HK_TCA_MAY18_130-240.indd 233

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Index Anderson, Hurvin 31

Le, Pho

Ay Tjoe, Christine 2

Lee, Man Fong 30

23

赫爾文·安德森 31

黎譜 23

克裡絲汀·艾珠 2

李曼峰 30 李禹煥 59

Lee, Ufan 59 Brown, Cecily 3 Bufa, Paolo 52

Lin, Richard 10, 11, 16, 17

塞西麗·布朗 3

林壽宇 10, 11, 16, 17

Liu, Jianhua 19, 21

保羅·布法 52

劉建華 19, 21 劉韡 36

Liu, Wei 36 鄭相和 62

Chung, Sang-Hwa 62 Condo, George 40, 41

Mai, Trung Thu

喬治·康多 40, 41

22

梅忠恕 22 村上 隆 34

Murakami, Takashi 34 Dubufet, Jean 6

尚·杜布菲 6

阮嘉智 24

方力鈞 13, 15

白南準 44

Nguyen, Gia Tri 24 Fang, Lijun 13, 15

范光厚 25

Paik, Nam June 44 Gokita, Tomoo 43 Gursky, Andreas 70 Henningsen, Poul 67 Hirst, Damien 51

五木田智央 43

Pham, Hau 25

安德烈亞斯·古爾斯基 70

Ponti, Gio 54, 55 Pruitt, Rob 46

保羅·漢寧森 67 達明安·赫斯特 51

Rondinone, Ugo 50

吉奧·蓬蒂 54, 55 羅伯·普洛特 46 烏戈·羅迪納 50 常玉 26, 27, 28, 29 白髮一雄 8

Imai, Toshimitsu 7 Ingrand, Max 53, 56 Juhl, Finn 38, 39, 49

Sanyu 26, 27, 28, 29 Shiraga, Kazuo 8 Smith, Josh 68

Kim, Tschang-Yeul 60 Kofod-Larsen, Ib 32

托馬斯·斯特魯斯 69

安尼施·卡普爾 48

Kapoor, Anish 48

Kim, Chan-Il 63

喬許·史密斯 68

馬克斯·英格蘭 53, 56

芬·祖爾 38, 39, 49

Struth, Thomas 69

KAWS 33, 42, 45

今井俊滿 7

Ting, Walasse 58

KAWS 33, 42, 45

Wanscher, Ole 64, 65, 66

依比･可法･拉森 32

Wood, Jonas 35

草間彌生 1, 4, 9, 47, 57, 61

Kusama, Yayoi 1, 4, 9, 47, 57, 61

奧萊．萬夏 64, 65, 66 漢斯·韋格納 37 喬納斯·伍德 35

金燦一 63 金昌烈 60

Wegner, Hans J. 37

丁雄泉 58

岳敏君 14 趙無極 5 展望 18, 20 張曉剛 12

Yue, Minjun 14 Zao, Wou-Ki 5 Zhan, Wang 18, 20 Zhang, Xiaogang 12

Front Cover Lot 5, Zao Wou-Ki, 04.01.79 (detail)

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Back Cover Lot 33, KAWS, Final Days (detail)

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Lucio Fontana Concetto spaziale, Natura signed ‘L Fontana’ on the underside bronze 65 x 71 x 72 cm (255/8 x 277/8 x 283/8 in.)

Executed in 1959-1960 and cast during the artist’s lifetime, this work is unique.

Acquired directly from the artist by the family of the present owner, and then by descent © Lucio Fontana/SIAE/DACS, London 2018.

20th Century.

Contemporary.

Now. 20th Century & Contemporary Art Evening Sale London, 27 June 2018 Phillips presents our next 20th Century & Contemporary Art Evening Sale in London, taking place this June and featuring Concetto spaziale, Natura by Lucio Fontana.

Enquiries: +44 20 7318 4050 contemporaryartlondon@phillips.com

phillips.com

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3. Cecily Brown 塞西麗·布朗

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01/05/18 09:36

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41. George Condo 喬治·康多

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01/05/18 09:37

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2. Christine Ay Tjoe 克裡絲汀·艾珠

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01/05/18 08:43

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02/05/18 11:02

phillips.com

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