Pioneers of Modernism: A Selection from the Scheeres Collection by PHILLIPS

Pioneers of Modernism A Selection from the Scheeres Collection

20th Century & Contemporary Art & Design Evening Sale Hong Kong, 27 May 2018

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Pioneers of Modernism A Selection from the Scheeres Collection Hong Kong, 27 May 2018, 6pm 現代主義的先驅者：席爾斯收藏

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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 culturallyspecific 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 JeanFrançois 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。

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）

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（19072001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。

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

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11. Richard Lin 林壽宇

22. Mai Trung Thu 梅忠恕

29. Sanyu 常玉

17. Richard Lin 林壽宇

25. Pham Hau 范光厚

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26. Sanyu 常玉

10. Richard Lin 林壽宇

12. Zhang Xiaogang 張曉剛

20. Zhan Wang 展望

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13. Fang Lijun 方力鈞

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27. Sanyu 常玉

15. Fang Lijun 方力鈞

21. Liu Jianhua 劉建華 24. Nguyen Gia Tri 阮嘉智

28. Sanyu 常玉

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23. Le Pho 黎譜

19. Liu Jianhua 劉建華

18. Zhan Wang 展望

16. Richard Lin 林壽宇

14. Yue Minjun 岳敏君

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Zhang Xiaogang

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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.

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)

‘I believe that this painting 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 work.’ Zhang Xiaogang in Conversation with Phillips, April 2018

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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 worksthe Bloodline (1993 – 1999) series. The iconic three-member 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 selfassertion.” (‘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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Zhang Xiaogang Artistic Milestones 張曉剛編年表

1992 In autumn, Zhang spends three months in Germany. In Kassel, he visits the ‘Documenta IX’ exhibition and encounters the work of Gerhard Richter, whose use of photography as a reference point in his painting draws Zhang’s attention to how photography rendered reality.

1986

Zhang creates Genesis – Birth of Republic No. 1 for the 70th anniversary of the founding of the Chinese Community Party.

From October to December, Zhang forms the South West Art Group with fellow artists Mao Xuhui, Pan Dehai and Ye Yongqing among more than 80 others.

In October, Genesis – Birth of a Republic 1 and 2 are included in the Guangzhou Biennale of Art.

1993 The painting Red Baby represents Zhang Xiaogang’s attempt to explore emotion, language and format through his works.

1978-1982 In March, Zhang is admitted to the Sichuan Academy of Fine Arts in Chongqing, where he graduates in 1982 with a Bachelor’s degree.

1958 On 22 February, Zhang Xiaogang is born in the city of Kunming, the capital of Yunnan Province, in southwestern China. He is the third of four boys.

1989 In February, six paintings of the Lost Dream series are exhibited at the National Art Museum of China in Beijing. In May, Zhang’s frst solo exhibition at the Exhibition Hall of Sichuan Academy of Fine Arts shows thirty-fve new paintings from the Lost Dream series; the exhibition lasts two days, then it is interrupted.

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2016 At the Fondation Louis Vitton in Paris, Zhang Xiaogang exhibits My Ideal (2008) for the exhibition "The Collection, A Selection of Chinese Works", the frst major exhibition highlighting contemporary Chinese art in France in 10 years.

2017 Zhang’s new works are exhibited at the Guggenheim Museum in New York for the exhibition ‘Art and China Afer 1989: Theatre of the World’ along with works by Ai Weiwei, Liu Wei, Song Dong, among many others.

2000 Zhang Xiaogang’s first solo exhibition in New York is held at the Max Protetch gallery.

2002 In November, Zhang participates to Image is Power, a major retrospective at the He Xianging Museum in Shenzen, along with Fang Lijun and Wang Guangyi.

1994

1997

Zhang begins the Bloodline series with Bloodline: Family, which depicts his parents and one of his elder brothers.

In April, Zhang’s Bloodline – Big Family No.17 (1996) is included in ‘The First Academic Exhibition of Chinese Contemporary Art 96-97’ at the Hong Kong Arts Centre.

Zhang participates in the 22nd São Paulo Biennale. In the same year, Zhang has his frst solo exhibition in France at the Galerie de France, Paris.

In December, he has a solo exhibition called Bloodline: the Big Family 1997 at the Gallery of the Central Academy of Fine Arts in Beijing.

Zhang Xiaogang’s daughter Zhang Wenyi is born.

1995 Zhang Xiaogang participates in the 46th Venice Biennale.

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Zhang Xiaogang Artistic Milestones 張曉剛編年表

1986 10月到12月，與毛旭輝、潘德海、葉永青等藝術家創立「西南藝術群體」

1958 張曉剛出生於昆明 (位於中國西南部，雲南省省會) 家中兄弟四人，張曉剛排行第三

1989 2月，《遺夢》系列中的六件作品展於北京中國美術館 5月，在四川美術學院舉辦首次個展，展出《遺夢》系列中的三十五件作品。其展覽僅2天，被迫縮短展期

1978-1982 ３月，考入重慶四川美術學院，於1982年畢業

1992 秋天，在德國駐留3個月。在卡塞爾〈第9屆文件展〉中首次體驗格哈特·里希特的作品；其人畫作的照片運用改變了張對現實和攝影的觀念。為中國共產黨成立70週年創作《創世篇1號》 10月，《創世篇1號》、《創世篇2號》展於廣州雙年展

1993 《紅纓》展現了張對情感，語言和格式的探索

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2000 首次於紐約Max Protetch畫廊舉辦個展

2002 參加於深圳何香凝美術館舉辦〈圖像就是力量〉展覽，其展覽參與者包括方力鈞、王廣義等藝術家

1994 開始創作《血緣》系列，作品《血緣：家庭》描繪了藝術家父母與哥哥參加聖保羅雙年展，並同年於法國巴黎 Galerie de France 畫廊舉辦首次個展女兒張文怡出生

1995 參加第46屆威尼斯雙年展

1997 4月，作品《血緣：大家庭1997》於香港藝術中心〈首屆當代藝術學術邀請展96-97〉展覽展出 12月，於北京中央美術學院舉辦個展，〈1997大家庭〉

2016 於巴黎路易·威登基金會藝術中心〈收藏：一系列中國作品〉展覽展出《我的理想》(2008年作)，其展是十年內在法國最大型的當代中國藝術展覽

2017 張曉剛新作品展於紐約古根漢博物館〈1989年後的藝術與中國: 世界劇場〉展覽，其展覽參與者包括艾未未、劉煒、宋冬等藝術家

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An exclusive interview with Zhang Xiaogang

In April, Phillips sat down with Zhang Xiaogang. The artist shared the inspiration and development behind Bloodline: Big Family No. 9, the influence it has had on his later works, and the significance this seminal work has had on his career. Phillips: Mr. Zhang, the Bloodline series are considered to be some of your most important works. Can you enlighten us with regards to the story behind it and possibly share some of your memories with us? Zhang: I have been working on the Bloodline paintings on and off since 1994, so this series represents an important phase in my life. Overall, the Bloodline series contains some of my most representative works and around a decade ago its development came to a halt. P: We would also like to know about the photographs on which the Bloodline series are based or how old photos impact your work. You have cited Richter as an artist who greatly inspires you; has his use and manipulation of photography influenced your work? Z: In 1992, when I travelled throughout Germany, Richter inspired me the most as a contemporary artist. I was not expecting this; at the time, Richter had little exposure in China. It was also impossible to gauge his level of influence and social standing. When I was in Germany, where Expressionism prevailed, Richter’s works were truly a breath of fresh air. In the past, artists used photographs in the painting process, but only as informational tools and reference points. Richter, however, looked at photos and saw their history and meaning, which greatly inspired me. I started to pay attention to the history, culture, and aesthetics behind pictures and distilled these things into my own artistic language. Through old pictures, I was able to learn about the ideas of traditional Chinese aesthetics, including how people delighted in the process of taking and developing film. They also went to great lengths to beautify the subjects of their pictures, just like how we still are constantly refining history and polishing memories. I also went through my own process of refining old photos—though, my purpose was to reconstruct old memories. For me, the journey from old photos to my Bloodline series was a process of re-embellishing. P: In the 90s you were part of several seminal Biennales, including the 1994 São Paulo Biennale and the 1995 Biennale. We would like to know how these academically-important exhibitions affected your work in the 90s.

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Z: My participation in these important international exhibitions came after the birth of my Bloodline series; it was like a door had opened for me. This is why the Bloodline series represents one of the most important periods and turning points of my artistic career. After my works were being offered on the art market, people started to interpret my work from different angles—some thought it was a political symbol—but none of that truly mattered. There are certain works whose meanings can only be understood through a unique historical context. The Bloodline series is bound to the times in which it was created; it is also the fruit of more than a decade’s worth of artistic endeavours. Those who grew up in the West are able to separate themselves from politics if they so choose; this is impossible for someone who grew up in China. Starting in kindergarten, you are confronted by politics that permeate every aspect of your life. For Chinese people, politics is not an art form; it’s daily life, it’s something you face every day. So a Chinese person’s memory is filled with politics. Your personal life and petty emotions become insignificant in the presence of greater times. I am more concerned with personal memories. I believe that large memories are accumulated from small memories, and that is why I chose to approach my work from a familial angle. Families are basic units of little memories, but they contain the memories of the entire nation and its people. The 90s were a very different era from the present. At the time, having just lived through the 80s, Chinese artists were immediately confronted with new issues of self-identity and contemporary art knowledge — issues that were relatively focused and simple. As a result, artists had to assume strong and distinguishable characters that left little room for ambiguity. In retrospect, I realise that you need to know exactly what you want to express. P: Let’s return to Bloodline: Big Family No. 9. You created this work in 1996, and it is deeply connected to your family. Could you perhaps expand on the story behind the work? Z: Specifically, the material for this painting came from a family photo. The photo shows my parents and my older brother — the first child of my family — and was taken to celebrate his hundredth-day birthday. When my brother was a child, he was a bit cross-eyed, so that adds a certain liveliness to the picture. I selected this picture from a pile and changed the child in the photo to one that represents our generation. I painted the child red to symbolise the “Second-generation Reds,” the product of new China. The image of every figure in my Bloodline series is a variation of my mother — and because they are all the same person, I do not assign a sex to them.

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P: Your work represents an entire generation instead of individuals. Z: Yes, it was part of my thinking to see myself within a larger cultural context, so what I portray is not individuality. P: The current collector of Bloodline: Big Family No. 9 has been in possession of the work for many years. He also stated that this piece has special meaning to you. Z: I believe that this piece is very representative of my work. I still remember painting it and recall each detail vividly along the way. Halfway through the process, Wei Guangqing, Wang Guangyi, and Fang Lijun came to visit me in my studio. Wei asked me how I treated the relationship between the characters and their background. I had completed several pieces in my Chengdu studio, all of which are among my most important works. I remember feeling a particular connection to this piece. I can’t quite remember if I started out working on it in my Chongqing studio and finished it in my Chengdu studio or if it was the other way around. Either way, I created this piece between the two studios. The timing was also interesting because I painted it in 1995-96, when I was still teaching at the China Academy of Art. P: We touched on the fact that your previous works were more expressionist, which is quite different from your current works. How have you altered your subject matter, content, and artistic language, and what is the relationship between these factors?

P: There is still much Romanticism in your work. In terms of your methods, when we were going through your work, we noticed the extremely delicate way that Bloodline: Big Family No. 9 was rendered — the gentle brushstrokes, the background clouds, and drops of water on the faces. We’d love to know more about your special techniques and how you employ them. Z: It took me about a year of continual trial and error before I was able to perfect the techniques I used in the Bloodline series. At the time, I rather enjoyed the cryptic meanings hidden beneath a seemingly tranquil atmosphere. In February of 1994, I started to hone my techniques and explore my understanding of shapes (I had always striven to establish my own system for understanding and using shapes) by repeatedly painting the same painting. That year, I studied every detail and minutiae in my paintings, and through repeated experimentation, I found that creating multiple layers was essential for achieving the desired effect. I also aspired to capture light in my paintings — especially soft light — which is often observed in old photos. Soft light gives a sense of history, of changing times, and of poetry. Creating multiple layers was a painstaking and timeconsuming method, but I came to the conclusion that at least three layers were needed — black, white, and grey — to achieve the effect I wanted. Suffice it to say that I was overjoyed when I finally perfected this technique. P: This has been very enlightening, Mr. Zhang. Thank you very much for the in-depth explanation of your work.

Z: It all started with The Birth of a Republic, which was the first time I used a photograph in my painting process; it was the spark that gave me a clue and a reason to use photos in my future practice. I was gathering information in the library and randomly came across an old photo of senior Communist members during the Republic of China. I found it an attractive image and decided to use it — to make it the cultural background of my painting. It wasn’t until the end of 1993 that I truly started to read and learn from old family photos. That was the moment when I realised that everything I needed was right there. I set everything else aside and completely shifted my focus to studying pictures, which led to the subsequent creation of my Bloodline series. In the following years, I would keep a record of all the ideas that came to mind. I had always been intrigued by memories, but studying photos really enhanced this interest and allowed me to translate old emotions onto canvas. In recent years, my methods have changed; what has remained the same is my quest for finding possibilities within memories.

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張曉剛專訪

Nick Scheeres with Zhang Xiaogang in front of Bloodline: Big Family 9

尼克‧席爾斯與張曉剛攝於《血緣系列9號：大家庭》前面

2018年4月，富藝斯訪問藝術家談及《血緣系列9號大家庭》，它的發展源由，以及其對之後作品的影響；和這件重要作品對張曉剛藝術生涯的意義。富: 曉剛老師，《血緣系列》被認為是您最重要的作品之一，您可以說一下這個系列背後的故事嗎? 通過這些作品來分享您的記憶。張: «血緣系列» 是從94年開始；斷斷續續一直在畫的系列，也算我藝術生涯中一個階段性代表性的作品。總個來講，«血緣系列»是我的一個代表作品，近幾年慢慢也就不畫了，大概也停了十年。富: 我們同時也想知道這些(《血緣系列》所根據的) 攝影作品，或是老照片在您作品中起的作用，李希特是對您影響非常大的一個藝術家，他對攝影的控制和扭轉，對您的影響是什麼? 張: 李希特是我92年去德國看了一圈以後，對我啟發最大的當代藝術家。這是在我出去之前沒想到的，因為國內當時幾乎沒有關於他的介紹，更不可能了解到他的一個社會地位等等；和他的影響力。到了那裡，在表現主義的氛圍裡邊怱然看到李希特的感覺很清新。以前我們畫畫也用照片，但只是一種資料、參考，是為了把握更生動的細節；之後在看照片，開始看它歷史和背後的涵意，這一點是李希特啟發了我。我想把照片裡關於歷史、人文、美學的東西，從中間進行梳理，把照片裡的東西提煉出來變成我自己的語言。我通過照片讀到關於中國傳統美學的觀念，包括當時拍照片和製作照片的一種美學

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趣味，比如他們要做修飾，讓我感覺我們一直在修飾歷史和記憶的東西。經過自己的方式進行再一次的修飾，這個修飾的過程實際上不是要還原一個記憶。照片到《血緣系列》誔生的過程，對我而言，就是一個再修飾的過程。富: 您在九十年代參加過非常重要的雙年展，包括 94年的聖保羅雙年展、95年的威尼斯雙年展，我們也想知道這些很重要的學術展覽對您整個九十年代的創作之影響。張: 參加國際重要的展覽，都是在《血緣系列》出來以後，好像一種門打開了的感覺。所以《血緣系列》是我非常重要的一個轉折，同時也是我藝術生涯最重要的一個時期。後來進入市場後，有人可能用另外的角度去解讀；可能是政治符號化等等，但那些都不是最關鍵的，有些作品要放在特殊的歷史背景下看，它的意義才會呈現出來。《血緣系列》作品和當時的時代背景有密切的關係，是那時代產生的作品，也是我藝術生涯走了十多年後積累的結果。中國人的生活和西方不一樣，西方可以覺得自己生活和政治沒有關係，但在中國是不可能的。你從幼兒園開始長大，就不斷的在面對這些問題，像衣食住行一樣的滲透在生活之中。對中國人來講，政治不是一門藝術，它是日常生活，是必需要面對的。所以中國人的記憶，政治的記憶佔據了你生活中的很大部分。你個人的小生活和小情感，在大時代面前是微不足道的。

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我個人是比較關注個人的記憶。我覺得再大的記憶都是小記憶積累起來的，所以我從家庭的角度入手是有原因的，家庭是一個很小的記憶單位，但它裡面包涵了國家、民族這些重要的記憶在裡面。九十年代和現在不大一樣，那個時代的中國藝術家從八十年代過來以後，面對很多新的問題，身份認同、對當代藝術認識的問題，問題相對集中、也相對單純。在這樣的一個時代產生的作品，標誌性特別強烈，不允許曖昧，我現在回頭看才明白，你必需要想清楚你要表達什麼。富: 我們再回到這件《血緣系列印9號-大家庭》， 1996年所創作的這個作品，跟您家庭有很緊密的關係，可以知道一下更多背後的故事嗎? 張: 具體講這張畫的素材是來自我們家裡面的一張照片，就是我父母和我大哥，也就是家裡的第一個孩子，可能是滿百日或滿月時全家去照相館拍的一張全家福。因為我大哥小的時候，有一眼晴有點鬥雞眼，這照片看起來很生動。我從好多照片裡選了這一張，我在畫中把小孩給改了，這小孩也代表了我們這一代的小孩，我把他畫成了紅顏色的，也就是新中國成立後的「紅二代」，畫下代表時代的產物。我的大家庭裡面人物的形象都是照著我母親為原形慢慢變的，沒有男女，其實都是一樣的一個人。富: 也是表達整一代人，也不是某幾個人。張: 是，那時候人習慣性的要將自己放在一個大的文化背景下去看，所以不是畫某一個人。富: 我們這個作品的藏家，擁有這個作品很多年了，他也說這個作品對您來說有一個重要的意義，我們也想了解一下。

把它直接挪用到畫上，作為一個文化的背景。到後來 93年底，才真正開始去讀家庭老照片，也才發現我要找的東西在這裡面都已經有了。我就把其他的東西就全部停下來了，全力專注到照片的研究裡，才產生之後的 «血緣系列»。又過了幾年，我每次有些想法都會記錄到筆記本裡面。一直以來我對記憶感到興趣，所以又將這部分強化出來，畫一些過去的感受。近幾年手法上也有些變化，但有條主線沒變，就是在記憶中去尋找一個可能性。富: 所以您還是有浪漫主義的色彩。剛也提到作品的技法，我們在整理材料時，發現《血緣系列第9號大家庭》，您處理的非常細緻。它輕柔的筆觸、包括它背景的雲、臉上的水滴，我們很想知道這些特殊的技法，還有您是怎樣使用這些技法。張:《血緣》的技法，差不多用了一年的時間慢慢去琢磨。那時喜歡一種看起來很平靜，暗藏玄機的感覺。大約在94年2月份開始，我反覆的畫一張畫，研究這個技法，包含了我對造型的理解 (我一直想在造型上有一套自己的語言系統)。那年每一個細節我都要研究，經過反複的實驗，後來發現運用多層次的畫法才能達到效果。畫面上，我也一直在追求一種光線的感覺 --- 我喜歡的是柔光，也是在老照片上觀察到的，特別有一種歷史感，一種時間的滄桑，特別有詩意。用多層的畫法，畫起來很辛苦。我算過，至少要畫三層，黑、白、灰，那才會有效果。所以當時琢磨出來後特別的興奮。富: 第一次去您工作室，就在畫面上感覺到 -- 時間的一種停滯，非常有意思，非常謝謝曉剛老師為我們作如此深入的說明。

張: 我自己認為這是我很好的一件代表作，我還記得畫這張畫的情境，當時在成都畫的，過程中遇到什麼事現在都還記得很清楚，剛好畫到一半時，魏光慶、王廣義和方力鈞都到成都來，到工作室找我聊天，魏光慶還問這畫人物和背景的關係是怎麼處理的。當時好幾件作品都是在成都的工作室完成的，日後都成為我最重要的作品。那時畫這張畫時特別有感覺，我記不清是在重慶的工作室完成部分；再拿到成都畫的，或是反過來，反正是在二個工作室完成這件作品的。時間點很有意思，95-96年我剛好還在美院當老師。富: 剛問到的和之前作品，更表現主義的手法，和現在的作品，畫面發生了很大的變化。繪畫上的物件，想呈現的內容，或表達的語言，有什麼樣的關係或區別。張: 我個人是從《共和國誕生》這件作品，開始了一條線索、一個起因，是因為我在這件作品第一次使用了照片。是在圖書館查資料時很偶然的，查資料看到民國時期很多共產黨元老的照片，覺得很好看，

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Yue Minjun

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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.

岳敏君《企鵝》油畫畫布 2000年作款識：yue minjun 2000 (左下)

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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 “self-ironic 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 candycoloured 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 stufedanimal 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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Fang Lijun

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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.

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)

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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. 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.

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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 (1991-2) 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，另一個假裝羞怯地微笑，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。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。

《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)

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。 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。

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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

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Fang Lijun

b. 1963

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)

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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.” 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.

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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) 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 PostCultural 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. 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》，是1994年藍色游泳系列的代表作，更是藝術家當時精神思想的寫照。這些作品意涵豐富而且反應當時中國社會的進程，有其時代意義，因此受到許多藏家欣賞。藝評家栗憲庭將方力鈞與劉煒並列為玩世現實主義的先驅。方力鈞那些模棱兩可的虛構語言及符號反應了中國社會的變化，他將沮喪和恐懼的情緒人物化，描述從集體的自我奉獻精神到當代個人主義的劇烈轉變。(Valencia Tong，〈中國玩世現實主義：方力鈞與他的俗世〉，Art Radar，2017年11月27日) 方力鈞曾參與過多場重要展覽，包括1994年第22屆聖保羅雙年展。聖保羅雙年展是最早向國際展示中國當代藝術作品的展覽之一，方力鈞當年的參展作品是《1994年6號》，與本畫同屬一個系列。畫中這個無名的光頭人物首次出現在1988年，當時方力鈞正與「85新潮」運動分道揚鑣，而《1994年 4號》的光頭人物是其個人藝術詞彙的標誌。「我注意到儘管一個光頭很引人注目，但放在一堆光頭裡面，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。流動的水掩蓋了人物的身份特徵，突顯出他的孤立無援。這幅畫面道出了藝術家所認為「在我們的文化中，個人被社會遺忘和無視的感覺特別強烈。」方力鈞在其他作品也描繪過這樣一個浮沉在深藍色水裡的光頭人物，《1994年4號》代表藝術家對「水」反覆不斷的探討。在老子的哲學思想中，水象徵最具適應力、最無往不利的生存方式。(趙汀陽，《改變觀看的方式》，方力鈞與張子康，〈方力鈞〉，第 13-15頁，北京：今日美術館，2006年) 對於方力鈞以水為題材，藝術史家格戈利·伽利甘（Gregory Galligan）表示：「水如其它包圍一切的媒介，令人想起嚴苛壓制和精神解放。」格戈利·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。」

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(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) 1980年代，論政電視節目《河殤》席捲全國，掀起了一場「文化反思熱」，節目裡對比鮮明的畫面，被方力鈞套用在早期作品中。自1992年後期起，方力鈞逐漸脫離《河殤》的二分語境，創造出《1994年4號》。(Chou Yuting，《方力鈞藝術裡浮在水上的人物：藝術家對文革後中國的人文狀況的評論》，〈China Information〉，第13冊，第2-3期，第 85-114頁，1998年9月1日)《河殤》大量使用對比畫面，例如土地對海洋、黃對藍、個人對群體，將中國的內陸型農業社會，與西方的藍色航海文化作對照，但這幅作品卻探析更複雜的精神困境。 (引述李歐梵，Ma, Shu-Yun，《中國「河殤現象」中權力鬥爭和經濟變化的影響》，〈Modern Asian Studies〉第30號，第1期，1996年，第 29-50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，反映他們停滯在一個矛盾、猶豫不定的狀態中。《1994年4號》瀰漫一種脆弱的氣氛，就如當時中國文化的處境，畫中的人物赤裸、孤身一人，在看似廣闊無邊的水域裡為存在而掙扎，奮力浮在水面上。儘管帶著《河殤》的文化視角，方力鈞的藍色水作品亦代表未知的領域，探索埋藏在深處的潛意識，因此能引起國際藝術圈共鳴，勾起我們的回憶和情感。(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，方力鈞這樣解釋：「我著力刪除任何描述。他們或許是個體，或是站在社會背景下，或與其他個體在一起，或各自迷失在自己的夢裡。這些場景呈現關係，並非特定的故事。」(方力鈞受傑羅姆·桑斯訪問，《人性的原始狀態》，傑羅姆·桑斯、Yun Chen、Michelle Woo，〈對話中國：傑羅姆·桑斯與32位當代藝術家訪談〉，香港：Timezone8，2009年) 方力鈞在中外藝術界地位顯著，並繼續為他的藝術發展新方向，反映中國當下變遷的急速步伐。

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Sanyu

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Sanyu

1895-1966

常玉

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.)

《裸女》水墨炭筆紙本款識: 玉 SANYU (右下)

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.

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。

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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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.)

常玉《側臥裸女》水墨炭筆紙本款識: 玉 SANYU (右下)

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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.)

常玉《裸女站姿》水墨炭筆紙本款識: 玉 SANYU (右下)

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01/05/18 16:27

Sanyu

常玉

1895-1966

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 print-making 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. “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)

《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)

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 artist Courtesy of The Li Ching Cultural and Educational Foundation

常玉

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Richard Lin

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Richard Lin

1933-2011

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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)

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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.

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林壽宇《一月》油畫鋁畫布 1970年作款識:《JANUARY 1970》1970 RICHARD LIN (畫背)

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Richard Lin

1933-2011

One and Two oil on canvas 30.5 x 30.5 cm. (12 x 12 in.) Painted in 1968.

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林壽宇《一和二》油畫畫布 1968年作

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â&#x20AC;&#x2DC;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 colour of tranquility, it is also the colour of grief.â&#x20AC;&#x2122; Richard Lin

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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.

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林壽宇《構圖》水彩紙本 1958年作款識: RICHARD LIN 1958 (畫背)

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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.” 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. 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. 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. 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

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— 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.

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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「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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Liu Jianhua Zhan Wang

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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

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.

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）

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Liu Jianhua

b. 1962

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)

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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.

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)

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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.

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)

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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

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Mai Trung Thu Le Pho Nguyen Gia Tri Pham Hau

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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.

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)

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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.

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)

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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.

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)

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Pham Hau

1903-1995

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)

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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.

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.

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.

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.

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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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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Nick Scheeres with Le Pho, in the artist’s Parisian residence 尼克·席爾斯與黎譜，攝於藝術家巴黎住宅

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Le Pho La Femme Du Mandarin, 1931 Private Collection (Nick Scheeres’ frst purchase of the artist’s work in 1996) 黎譜《中國女子》1931年作私人收藏（尼克．席爾斯於1996年所收藏的首張黎譜作品）

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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。

01/05/18 16:30

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01/05/18 16:31

Full Cataloguing with Translation

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Sale Cataloguing 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)

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)

Estimate Upon Request HK$ 900,000-1,500,000 US$ 115,000-192,000

13. Fang Lijun 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)

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

*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.

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 Pelizaeus-Museum Hildesheim, China AvantGarde: 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)

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

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,

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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)

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

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)

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

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)

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

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

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

18. Zhan Wang

b. 1962

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

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Sale Cataloguing 19. Liu Jianhua

22. Mai Trung Thu

1906-1980

b. 1962

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 Private Collection, Belgium Acquired from the above by the present owner

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

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)

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

20. Zhan Wang

b. 1962

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

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

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

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

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

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

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

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

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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

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

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)

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)

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

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)

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

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

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)

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

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拍賣資訊

10. 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

11. 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

*O♦ 12. 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）

估價待詢

13. 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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14. 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

15. 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

16. 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

17. 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

18. 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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拍賣資訊

19. 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

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

21. 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

22. 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

23. 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

24. 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

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

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25. 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

26. 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

28. 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

29. 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

27. 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

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

Sale Department

拍賣部門

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

亞洲副主席陳遵文 +852 2318 2023 jcrockett@phillips.com

Auction 27 May 2018, 6pm (Lots 1–70)

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

部門主管杜依舜 +852 2318 2011 idevielcastel@phillips.com

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

拍賣主管馬穎子 +852 2318 2025 sma@phillips.com

Specialists Charlotte Raybaud +852 2318 2026 craybaud@phillips.com

專家雪鸞 +852 2318 2026 craybaud@phillips.com

Jane Yoon +82 10 7389 7714 jyyoon@phillips.com

尹裕善 +82 10 7389 7714 jyyoon@phillips.com

Meiling Lee +886 908 876 669 mlee@phillips.com

李美玲 +886 908 876 669 mlee@phillips.com

Specialists, Design Marcus McDonald +44 20 7318 4095 mmcdonald@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

Cataloguers Danielle So +852 2318 2027 dso@phillips.com

圖錄編輯蘇琬婷 +852 2318 2027 dso@phillips.com

Delissa Putri Handoko +852 2318 2000 dhandoko@phillips.com

黃琴慧 +852 2318 2000 dhandoko@phillips.com

Administrator Marian Ang +852 2318 2024 mang@phillips.com

行政員汪慧華 +852 2318 2024 mang@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

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

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Guide for Prospective Buyers Please note this catalogue contains only a selection of the lots to be ofered for sale at the auction. Please refer to the full auction catalogue for details of all lots to be ofered at the auction. Buying at Auction The following pages are designed to ofer you information on how to buy at auctionat Phillips. Our staf will be happy to assist you if you have any questions. Conditions of Sale Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read carefully the Conditions of Sale and Authorship Warranty applicable to this auction (Version 27/5/18). These are available online at www.phillips.com and printed in the full auction catalogue along with detailed information on each lot. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneers’ announcements during the auction. Buyer’s Premium 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. The purchase price payable for any lot is the sum of the hammer price plus the buyer’s premium plus any applicable taxes and charges. 1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +852 2318 2000, +41 22 317 8181, +44 20 7318 4010 or +1 212 940 1240. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate upon Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in Hong Kong dollars, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of the property, as well as the exhibition history and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property. While condition reports are prepared honestly and carefully, our staf are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of signifcant value, that you retain your own restorer or professional advisor to report to you on the

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property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verifed and approved by a qualifed electrician. 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

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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.

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.

▼ 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.

HK$1,000 to HK$2,000 HK$2,000 to HK$3,000 HK$3,000 to HK$5,000

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.

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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. If there is any inconsistency or confict between the English text of the Conditions of Sale, Guide for Prospective Buyers & Important Notices with their Chinese translations, the English text will prevail.

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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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

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.

• 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. • Phillips’s premises and sale locations 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.

* Excluding Buyer’s Premium

Signature

Date

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 can update your email preferences and unsubscribe at any time.

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準買家指引此圖錄只列出拍賣會上部分拍品。有關所有拍品詳情，請參閱完整版拍賣圖錄。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。業務規定所有富藝斯的拍賣項目均受到適用的業務規定和及著作保證所監管。準買家應仔細閱讀業務規定和著作保證版本(27/5/18) 。業務規定和著作保證版本將載於www. phillips.com及完整版拍賣圖錄，並附隨所列拍賣品的詳情。此等條款監管富藝斯拍賣物品的銷售協議，並可能透過拍賣廳內的書面資料或由拍賣官於拍賣前作出公佈之方式進行修改。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

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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。符號圖例圖錄內提述有關以下符號之意思 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。

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。詳情安參閱準買家指引第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，詳情安參閱準買家指引第1段。 ▼ 限制進口標有此符號的拍賣品或受美國入口限制。詳情安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臨舉競投牌進行，亦可透過電話、網上進行競投或在拍賣前以書面形式參加。安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。安勿遺失競投牌，如有遺失安立即通知富藝斯職員。拍賣完結時，安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，安致電香港投標部+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。安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

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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。

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。

損失或損壞買家安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。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。詳情安參閱業務規定第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。安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。安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。

安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。詳情安聯絡客戶服務部+852 2318 2000。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。

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, 安聯絡客戶服務部+852 2318 2000。提取提取拍賣品時安出示身份證明。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，煩安與我們運輸部聯絡，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。

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• 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：拍品成交價首港

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

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，盡力以最

城市

低價進行競投。在沒有更高價的情況下，對不設底價的拍賣品

國家

所提交的不在場投標，會以售前低估價大約50%成交，但是若

郵編

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。 • 在富藝斯拍賣及展覽場地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

* 買家酬金不計在內

簽署

日期

該資料。

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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