20TH CENTURY & CONTEMPORARY ART EVENING SALE [Catalogue] by PHILLIPS

23. KAWS

7. Andy Warhol 安迪．沃荷

24. Damien Hirst 達明安．赫斯特

13. Zao Wou-Ki 趙無極

20. Banksy 班克斯

20th Century & Contemporary Art Evening Sale 二十世紀及當代藝術晚間拍賣 Hong Kong, 26 May 2019, 6pm

20th Century & Contemporary Art Department

Auction & Viewing Location JW Marriott Hotel Hong Kong 88 Queensway, Admiralty, Hong Kong

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

Auction

Head of Day Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com

23 May – 25 May Thursday – Friday 10am–6pm Saturday 10am–7pm

Cataloguers Danielle So +852 2318 2027 dso@phillips.com Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com

Sunday, 26 May 2019, 6pm

Viewing

Sale Designation When sending in written bids or making enquiries please refer to this sale as HK010119 or 20th Century & Contemporary Art Evening Sale.

拍賣及預展香港JW萬豪酒店金鐘道88號拍賣 2019年5月26日，下午6時 (拍品編號 1–25) 預展 2019年5月23日上午10時 – 下午 6 時 2019年5月24日上午10時 – 下午 6 時 2019年5月25日上午10時 – 晚上 7 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 HK010119 或拍賣名稱二十世紀及當代藝術晚間拍賣。委托競投及電話競投電話+852 2318 2029 傳真+852 2318 2010 bidshongkong@phillips.com 拍賣部門

Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com

部門主管杜依舜 +852 2318 2011 idevielcastel@phillips.com 日間拍賣主管雪鸞 +852 2318 2026 craybaud@phillips.com 圖錄編輯蘇琬婷 +852 2318 2027 dso@phillips.com 黃琴慧 +852 2318 2013 dhandoko@phillips.com 行政員汪慧華 +852 2318 2024 mang@phillips.com

5. Stanley Whitney 斯坦利．惠特尼

Our Team. 20th Century & Contemporary Art Hong Kong.

Isaure de Viel Castel

Charlotte Raybaud

Danielle So

Delissa Putri Handoko

Head of Department

Head of Day Sale

Cataloguer

+852 2318 2011 idevielcastel@phillips.com

+852 2318 2026 craybaud@phillips.com

+852 2318 2027 dso@phillips.com

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Executives. Edward Dolman

Cheyenne Westphal

Chief Executive Ofcer

Global Chairwoman

+1 212 940 1241 edolman@phillips.com

+44 20 7318 4044 cwestphal@phillips.com

ÂŠ Brigitte Lacombe

20th Century & Contemporary Art. Jean-Paul Engelen

Robert Manley

Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

Senior Advisors. David Norman

Hugues Jofre

Arnold Lehman

Ken Yeh

Chairman, Americas

Senior Advisor to the CEO

+1 212 940 1280 dnorman@phillips.com

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

Deputy Chairmen. Svetlana Marich

Jonathan Crockett

Peter Sumner

Miety Heiden

Alexander Payne

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Worldwide Deputy Chairman

Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art

Deputy Chairman, Head of Private Sales

Deputy Chairman, Europe, Worldwide Head of Design

+44 20 7901 7943 mheiden@phillips.com

+44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

+1 212 940 1243 vhallett@phillips.com

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Deputy Chairman, Europe Senior Specialist, 20th Century & Contemporary Art

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+32 3257 3026 mhoet@phillips.com

25. Antony Gormley 安東尼．葛姆雷

20th Century & Contemporary Art. New York. Scott Nussbaum

Rachel Adler Rosan

Kevie Yang

Takako Nagasawa

Amanda Lo Iacono

John McCord

Rebekah Bowling

Sam Mansour

Head of Department

Senior Specialist

International Specialist

Head of Evening Sale

Head of Day Sale, Morning

Head of Day Sale, Afernoon

Head of New Now Sale

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Katherine Lukacher

Jeannette van Campenhout

Patrizia Koenig

Annie Dolan

Carolyn Mayer

Maiya Aiba

Avery Semjen

Martin Fox

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Cataloguer

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Matt Langton

Henry Highley

Rosanna WidĂŠn

Tamila Kerimova

Kate Bryan

Simon Tovey

Senior Specialist

Head of Evening Sale

Head of Day Sale

Head of New Now Sale

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Head of Evening Sale, October

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Specialist +1 212 940 1391 jvancampenhout@ phillips.com

London. Dina Amin Senior International Specialist

Nathalie Zaquin-Boulakia International Specialist

+44 20 7318 4025 damin@phillips.com

+44 20 7901 7931 nzaquin-boulakia@ phillips.com

Lisa Stevenson

Charlotte Gibbs

Louise Simpson

Clara Krzentowski

Cataloguer

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Business Development. Americas.

Europe.

Vivian Pfeifer

Guy Vesey

Deputy Chairman, Americas, Head of Business Development, Americas

Head of Business Development & Marketing, Europe

+1 212 940 1392 vpfeifer@phillips.com

+44 20 7901 7934 gvesey@phillips.com

Client Advisory. Asia.

Americas.

Jasmine Yan

Iori Endo

Philae Knight

Jennifer Jones

Liz Grimm

Client Advisory Director

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+852 2318 2015 jasmineyan@phillips.com

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Director of Trusts, Estates & Valuations

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Yassaman Ali

Vera Antoshenkova

Client Advisory Director

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Giulia Campaner Mendes

+44 20 7318 4056 yali@phillips.com

+44 20 7901 7992 vantoshenkova@ phillips.com

Europe.

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

Margherita Solaini Business Development Associate +39 02 83642 453 msolaini@phillips.com

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International Specialists & Regional Directors. Asia. Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Japan

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea

Associate Regional Representative, Korea

Regional Director, Shanghai

Associate Regional Representative, Shanghai

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Meiling Lee

Christine Fernando

Sandy Ma

International Specialist, Taiwan

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+886 908 876 669 mlee@phillips.com

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CĂ˘ndida SodrĂŠ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

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Americas.

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Laurence Calmels

Clara Rivollet

Maria Cifuentes

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

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Europe.

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Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain

Specialist, 20th Century & Contemporary Art, Moscow

+39 338 924 1720 clanfranchi@phillips.com

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

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

1. Dana Schutz

b. 1976

Boy with Bubble signed and dated ‘Dana Schutz 2015’ on the reverse oil on canvas 101.9 x 127.3 cm. (40 1/8 x 50 1/8 in.) Painted in 2015. Provenance Berlin, Contemporary Fine Arts-CFA Acquired from the above by the present owner Exhibited Montreal, Musée d’art contemporain de Montréal, Dana Schutz, 17 October 2015 - 10 January 2016 (illustrated) Berlin, Contemporary Fine Arts-CFA, Waiting for the Barbarians, 17 September - 29 October 2016, pl. 5, pp. 8, 10 (illustrated)

達納·舒茨《泡泡男孩》油畫畫布 2015年作款識：Dana Schutz 2015（畫背）來源柏林，CFA畫廊現藏者購自上述來源展覽蒙特利爾，蒙特利爾當代藝術博物館，〈達納·舒茨〉， 2015年10月17日-2016年1月10日（圖版）柏林，CFA畫廊，〈等待野蠻人〉， 2016年9月17日-10月29日，圖版編號5，第8、10頁 (圖版)

HK$ 800,000-1,500,000 US$ 103,000-192,000

American artist Dana Schutz is known for integrating painterly traditions with dark humour in her works. Depicting grotesque imagery and anamorphic paintings with saccharine colours, her subject matter is highly imaginative and ofen centred on surreal situations that explore the nuances of the human condition. Exhibited in her frst solo exhibition in Canada, a 14-year retrospective at the Musée d’art contemporain de Montréal (MACM), the present lot Boy with Bubble showcases a light hearted, bubble-gum depiction of her typically more violent works. Though less ostensibly unsettling in terms of its subject matter, the work still retains a seductively disturbing quality that highlights her interest in psychological expression. As the title indicates, Boy with Bubble depicts a boy against a mountainous scene interacting with a soap bubble in wide-eyed wonder. Rendered in the traditional single-point perspective, the roundness of the sun is echoed by the spherical bubble and the boy’s unnaturally rotund head, occupying the majority of the composition. As explained by Schutz in her audio commentary for the work in the MACM exhibition: “I was interested in this distorted view of the world through the soap bubble and this sort of moment or instant where it could all disappear.” (Dana Schutz, quoted in ‘Boy with Bubble audio commentary’, online). Within the soap bubble, the vibrant scenery of the Alps in springtime is magnifed, illustrating a sense of surreal ephemerality to the world before it pops. Schutz’s characteristic style of compressing large spaces into the confnes of the canvas further evokes a sense of suspense; her preference towards painting in high chromatic temperatures demands the viewers’ attention as the world within the frame seems to be bursting at the seams—much like the titular bubble. As compared to the weightless transparency of the bubble, Schutz’s use of fat, candy-like colours, and the materiality of paint conveyed through her brushstrokes in the illustration of a boy fushed with excitement adds considerable hef to his head. In the way one anticipates for the bubble to pop, the viewer cannot help but feel that the boy’s jawbreaker-like head could roll of or topple at any second. At the same time, the boy’s expression, with his bulbous eyes and wide-open mouth could almost be interpreted as sinister. It is unclear whether he is marvelling at the wonders refected in the bubble, or whether he is about to burst and destroy the bubble itself. Underneath the aggressive projection of a scene of childlike innocence and wonder, the painting simultaneously conveys undercurrents of foreboding and anxiety that is both unsettling yet compelling.

As a contemporary artist who takes her inspiration from the Old Masters in art history, Schutz’s works are predominantly preoccupied with painterly conventions. The artist is very deliberate in her placement of colours, varying the texture of the image with brushstrokes that range from large fat blocks of colour that layer seamlessly (as can been seen in the rendering of her mountains), to clean lines that seem to cut through the canvas (such as the details of the sun, and the pink fush of the boy’s cheek). Schutz pays great attention to her technique, evoking a sense of marvel and beauty in an otherwise surreal and ofen grotesque and disturbing narrative. Following the MACM exhibition, the present lot was also exhibited in Waiting for the Barbarians, the artist’s ffh solo presentation at Contemporary Fine Arts Berlin. Dana Schutz is represented by Petzel Gallery in New York and Contemporary Fine Arts in Berlin. Her work has been included in prominent museum collections such as the Solomon R. Guggenheim Museum, Los Angeles County Museum of Art (LACMA), the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art. The artist currently resides and works in Brooklyn, New York.

Installation view of Waiting for the Barbarians at Contemporary Fine Arts - CFA, Berlin, 17 September - 29 October 2016 (the present lot shown on the right) 柏林，CFA畫廊，〈等待野蠻人〉展覽現場一景， 2016年9月17日-10月29日 (所展示的拍品在右邊)

美國藝術家達娜·舒茨的作品以融合繪畫傳統和黑色幽默而最為人稱道。甜蜜的顏色描繪的卻是怪誕畸形的圖像。其作品主題是幻想虛構的，通常以探討人類狀態細節的超現實情景為中心。此次上拍作品《泡泡男孩》展出於藝術家在加拿大的首次個展；是於蒙特利爾當代藝術博物館（MACM）舉辦的14年回顧展，作品輕鬆活潑，不似其更多見的以暴力為主軸之作品，雖然此作主題表面看似並平和，但其依然蘊藏著讓人心神不寧的特質，彰顯其對心理表達的關注。如題所示，《泡泡男孩》中的小男孩在群山背景中張大眼睛充滿好奇地玩弄肥皂泡泡。畫作採用傳統的單點透視，圓圓的太陽與球形泡泡和男孩誇張的大圓腦袋互相呼應，佔據了畫面一大部分。舒茨在其於 MACM 展覽的語音講解中提到：「我很喜歡肥皂泡中看到的扭曲世界，還有那種一切可能隨時消失的瞬間。」（達娜·舒茨，錄於〈《泡泡男孩》語音導覽作品說明〉，截取自網路）在肥皂泡中，阿爾卑斯山充滿生氣的春天被放大了，在泡泡破裂前向世界呈現那超現實的短暫美麗。舒茨把寬大的空間壓縮到畫布範圍內，引起一種懸念，是舒茨的標誌性風格，她作畫偏愛暖色系，抓住觀者的注意力，畫框內的世界似乎在即將爆裂的邊緣，與題目相呼應。一方面是泡泡的無重透明體，一方面是描繪男孩的平面糖果般色彩的顏料，他滿臉的興奮，更為腦袋添加了幾分重量。觀者既預期泡泡會破裂，也不禁擔心男孩碩大的腦袋可能隨時會滾下來。與此同時，男孩的表情、瞪圓的雙眼和張大的嘴巴都透露著一點邪惡。到底男孩是對泡泡裡反射的奇觀感到好奇有趣，還是即將要爆炸或他要摧毀泡泡，我們不得而知。看似童真無邪的畫面背後暗藏侵略性，畫作蘊藏預感和焦慮，既讓人心神不寧，又緊扣心旋。作為一名當代藝術家，舒茨的靈感來自藝術史中的經典巨匠，其作品也多數具有明顯的繪畫傳統，在佈局畫面的顏色和質感方面十分用心，筆觸包括寬大扁平的色塊，流暢地重疊（可見畫中群山）；也有乾淨利落的線條，好像劃過畫布（可見太陽的細節和男孩發紅的臉頰）。舒茨在表達技巧上十分注重，在引發驚訝好奇與美感的同時帶來超現實並怪異不安的敘述。繼 MACM 展覽之後，此作又於藝術家第五次個展: 於柏林 CFA 畫廊舉辦的〈等待野蠻人〉中展出。達娜·舒茨的代表畫廊為紐約 Petzel 畫廊和柏林當代藝術畫廊。其作品已被納入所羅門·R·古根漢博物館、洛杉磯美術博物館、大都會藝術博物館、紐約現代藝術博物館和惠特尼美國藝術博物館等著名博物館收藏。舒茨目前在紐約布魯克林居住工作。

O♦

2. Eddie Martinez

b. 1977

Untitled signed with the artist’s initials and dated ‘EM.12’ lower lef oil, enamel and spray paint on canvas 182.9 x 152.4 cm. (72 x 60 in.) Executed in 2012. Provenance Private Collection, USA (acquired directly from the artist) Acquired from the above by the present owner

艾迪．瑪汀尼茲《無題》油畫瓷漆噴漆畫布 2012年作款識: EM.12（左下）來源美國私人收藏 (直接購自藝術家本人) 現藏者購自上述來源

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

Eddie Martinez is ‘indomitable’, exclaimed Interview Magazine (David Coggins, ‘Eddie Martinez’, Interview Magazine, 29 November 2008, online). Since bursting onto the scene in the mid 2000s, Martinez has tantalised with works evocative of Abstract Expressionism yet amped-up with a raw urban edge, and gained international recognition for his masterful composition, dynamic use of line and exuberant colour palette. Widely collected, Martinez has exhibited internationally, including at the Museum of Contemporary Art Detroit, Bronx Museum of the Arts and Davis Museum at Wellesley College. Martinez is a complex artist drawn to risk taking. His more fgurative earlier works, with his personal set of iconography – recurrent cartoonish characters and animals with oversized eyes, foating heads, fower bouquets, the moon – established him as an artist and comparisons to Jean-Michel Basquiat, Willem de Kooning, and Philip Guston have ofen been drawn. Yet having initially attracted attention for his ‘exceptional gifs as a painter and drafsman, which he exuberantly combines’ (Roberta Smith, New York Times, 11 February 2010), Martinez became ‘wholly committed to abandoning people’s expectations’ (quoted in an interview with Nick Ravich, in digital documentary flm series ‘New York Close Up’, Art21.org, 2012, online). Untitled marks this exciting turning point in Martinez’s career, as the artist gravitated towards presenting ideas in an abstract manner. This large scale canvas painting is a visual blitz of colour, shape, line and form. Martinez’s distinctive palette of primary colours is punctuated with black and white, as well as other hues spanning the colour spectrum.

Expressive manipulation of the linear plane, fuid lines spray-painted and dripping in places, sharp contours revealed by scraping away still-wet paint, spontaneous scratches, and grafti elements are instinctively executed. Motion springs from the coarse, sweeping brushstrokes. Complexities of texture abound; thick impastos sit next to translucent layers of paint and blurred edges. In an interview, Martinez compared painting to boxing (in an interview with Nick Ravich, in digital documentary flm series ‘New York Close Up’, Art21.org, 2012, online): drawing parallels to the jabbing, bobbing and weaving, pausing, strategising, harnessing of aggressive energy through the very physical process of painting. The deceptively simple composition, amorphous shapes and blocks of colour, seem to conceal the artist’s signature motifs – a sideway turning fgure glaring with a large eye, raising his arm under the moon. This is made all the more mysterious by the white diamond shape staring back blankly, evoking an eye void of emotion. In this painting, Martinez energises and engages the mind. Evolving stylistically between representation and abstraction, the artist ultimately relinquishes control and leaves the viewer to discern what they wish. Martinez once described his style as ‘messy explosions of Picassos’ (Ted Loos, ‘Eddie Martinez’s Triumphant Abstractions Land at the Bronx Museum of the Arts’, Cultured Magazine, 13 November 2018, online). Here, he successfully recreates this sentiment. Born in Connecticut on a naval base, Eddie Martinez grew up throughout the USA, and briefy attended art school in Boston. Having spent his adolescent years as a grafti artist, and perhaps without the constraints of a formal education, Martinez’s art simultaneously references canonical art, pop culture, and street art.

Jean-Michel Basquiat Untitled, 1981 Phillips, New York, 10 May 2012, lot 6 Private Collection © The Estate of Jean-Michel Basquiat / ADAGP, Paris / ARS, New York 2019

尚•米榭•巴斯奇亞《無題》1981年作紐約，富藝斯，2012年5月10日，拍品編號 6 私人收藏

艾迪·瑪汀尼茲是「不屈不撓的」，《採訪雜誌》（Interview Magazine）如此描述這位藝術家（David Coggins，《艾迪·瑪汀尼茲》，採訪雜誌，2008年11月29日，網路文章）。自2000年代中期橫空出世地進入藝術界起，瑪汀尼茲以其帶著抽象表現主義氣息又充滿了原始的城市文化特徵之作品吸引著人們，並以其精湛的構圖、充滿動態的線條和豐富的色彩獲得了國際藝術圈的認可。瑪汀尼茲的作品被廣為收藏，並且他在世界各地舉辦過許多展覽，其中包括在底特律當代藝術博物館、布朗克斯藝術博物館及韋爾斯利學院戴維斯美術館。瑪汀尼茲是一位複雜的、愛冒風險的藝術家。他早期更為具象的作品，以其個人風格化的圖像學語言－反覆出現的眼睛超大的卡通式人物和動物、漂浮的頭顱、鮮花花束、月亮－樹立了他自己的藝術風格並讓人們將其與尚·米榭·巴斯奇亞（Jean-Michel Basquiat）、威廉·德·庫寧（Willem de Kooning）和菲利普·加斯頓（Philip Guston）等藝術家做比較。然而，最初因他「對其超凡的繪畫與匠人天賦的完美結合」（羅伯塔· 史密斯，《紐約時報》，2010年2月11日）而引起藝術界的注意，瑪汀尼茲「完全致力於放棄人們的期望」（引自紀錄片系列《紐約特寫》中與Nick Ravich的採訪對談，Art21.org，2012年）。《無題》標誌著瑪汀尼茲職業生涯中這一令人激動的轉折點，轉向以更抽象的方式去呈現他的概念。這幅大型布面繪畫是一種顏色、線條和形狀的視覺閃現。瑪汀尼茲對原色的獨特使用搭配著黑白兩色，以及色譜中的其他色調。對充滿表現力的線條的使用，噴繪而成的流動的

線條四處滴落，自然的劃痕將未乾的顏料刮去後顯露出清晰的輪廓，塗鴉的元素猛烈、本能地流露。動態從粗獷、橫掃的筆觸中湧現。質地複雜，比比皆是；厚重顏料的層疊與透明的顏料層次和模糊的邊緣比肩存在。在一次採訪中，瑪汀尼茲將繪畫比喻做拳擊（在紀錄片系列《紐約特寫》中與Nick Ravich的採訪對談，Art21. org，2012年）：通過出刺拳、上下左右閃躲、暫停、出策略、和利用侵略性能量，都在繪畫非常物理化的過程中得到體現。看似簡單的構圖，無定形的形狀和色塊，似乎隱藏了藝術家的標誌性圖案 - 一個側面轉動的人物，瞪大著眼睛，在月亮下舉起手臂。一個白色鑽石般的形狀，像一隻不含情感的眼睛，茫然地朝後方目視，這讓畫面變得更加神秘。在這幅畫中，瑪汀尼茲將意識激發並且帶入作品。在現實與抽象之間進行風格化處理，藝術家最終放開了控制，讓觀者自行決定他們想要看到的是什麼。瑪汀尼茲層將他的風格描述為「混亂爆炸式的畢加索」（Ted Loos，《布朗克斯藝術博物館的艾迪·瑪汀尼茲的抽象勝利之地》， Cultured Magazine，2018年11月13日，網路文章）。在這件作品中，他成功實現了這一點。出生於康涅迪克州的一個海軍基地，艾迪·瑪汀尼茲成長期流轉於美國各地，並曾在波士頓的藝術學校短暫學習。在從事塗鴉藝術中度過了他青春期的瑪汀尼茲，也許正因為沒有正規教育的限制，他的藝術同時涵蓋了正統藝術、流行文化和街頭藝術。

Property from an Important Private Collection

3. Tomoo Gokita

b. 1969

Embrace signed, titled and dated ‘“Embrace” [in Kanji] Tomoo Gokita 2017’ on the reverse acrylic gouache on canvas 194 x 194 cm. (76 3/8 x 76 3/8 in.) Executed in 2017. Provenance Taka Ishii Gallery, Tokyo Private Collection, Asia Acquired from the above by the present owner Exhibited Tokyo, Taka Ishii Gallery, Holy Cow, 18 March - 15 April 2017

重要私人收藏

五木田智央《抱擁》壓克力水粉畫布 2017年作款識：《抱擁》Tomoo Gokita 2017 (畫背) 來源東京，石井孝之畫廊亞洲私人收藏現藏者購自上述來源展覽東京，石井孝之畫廊，〈天啊！〉，2017年3月18日 - 4月15日

HK$ 2,200,000-3,200,000 US$ 282,000-410,000

‘I have a tendency to be strongly attracted by photographs and images of women appealing in those books and magazines that were printed in the days when the printing techniques were still poor. Those images stimulate my motivation for creation.’ Tomoo Gokita

Tomoo Gokita’s signature black and white paintings typically draw upon an assortment of distinctive, kitschy pop-culture motifs ranging from cowboys and pin-up girls to Mexican wrestlers. Images appropriated from a variety of sources, including television, advertising and pornographic magazines, are defly subverted by Gokita’s paintbrush with a series of smudges, distortions and gestures that render the faces and forms of his subjects unrecognisable, yet uncannily familiar. Considered an outsider by the Japanese art establishment, who has struggled to accept his ofen cryptic use of low-brow cultural imagery and background as a commercial illustrator, Gokita is described as “a polymath of drawing mediums and styles” by the renowned American critic Roberta Smith, whose “undeniably rich” paintings “pack an unsettling visual punch” (Roberta Smith, New York Times, 21 October 2016). Gokita’s breakthrough came in 2005 when a chance encounter with Gokita’s book Lingerie Wrestling (2000) in a museum shop led to a curator’s invitation to take part in the New York group show Stranger Town. Roberta Smith profled the then-unknown Japanese artist in The New York Times: “One of the show’s high points is the stunning wall devoted to drawings in charcoal, ink or pencil by Tomoo Gokita […] Mr. Gokita’s vocabulary barrels across illustration, pornography, abstraction, children’s drawing, calligraphy and sign-painting, with a perfect control, velvety surfaces and tonal range that makes black-andwhite feel like living colour” (Roberta Smith, New York Times, March 9 2005). Embrace was unveiled at the artist’s third solo show Holy Cow, held at Tokyo’s Taka Ishii Gallery in 2017. Exploiting the same rich visual language characteristic of Gokita’s work, Embrace seemingly brings out a more traditional, even sentimental, side of the artist. The embracing fgures draw upon the enduring artistic motif of lovers enfolded in an eternal kiss. Whereas some of Gokita’s depictions of nude women are informed by sof-core erotica (in an interview with Art Asia Pacifc he afectionately recalls his open-minded father, a designer working on advertising

layouts for Playboy magazine, encouraging him to take a look at the magazines lying around the family home because “women are beautiful” (Elaine Ng, ‘One Thousand Shades of Gray’ in Art Asia Pacifc, July/Aug 2015, online), here Gokita inserts himself frmly in the classical tradition with a nude subject conceivably borrowed from Jean-Auguste-Dominique Ingres’s masterpiece The Turkish Bath, a refned neoclassical portrait of idealised, submissive beauty. But a playfully subversive streak underpins Embrace, with the lovers’ tangled, amorphous limbs and Mexican wrestling boots injecting a surreal and disarming mix of imagery into the work. Like in many of his other works, Gokita tantalises the viewer with an emotional tension somewhere between the pull of the familiar and the lure of the otherworldly. This is a theme recurrent not only in his choice of subject, but also medium. When Gokita turned to painting in 2005, he took the decision to favour a palette of black, grey and white, an aesthetic which had been carefully cultivated in his early works on paper and various commercial projects. This decision has over the years led to a mastery of texture, contrast and tone which is demonstrated at its best in Embrace. The immediacy of Gokita’s bold, evocative drafsmanship is tempered by voluptuous monochrome gradations that blur the line between the abstract and the fgurative. This invisible brushwork sufuses the surface of the canvas with a startlingly luminous, velvety quality, lending a sublime and rarefed air to the work. Embrace is at once contemporary and timeless, a testament to an artist who continues to defy the conventions of artistic practice today. Gokita’s work continues to gather critical and artistic acclaim. Today Gokita is represented by several prominent international art galleries, including Blum & Poe (New York), Bill Brady Gallery (Miami), and Taka Ishii Gallery (Tokyo). His work has gained further institutional recognition over the past fve years, with important solo museum shows at the Kawamura Memorial DIC Museum of Art (THE GREAT CIRCUS) in 2014 and Tokyo Opera City Art Gallery (PEEKABOO) in 2018.

五木田智央（Tomoo Gokita）其標誌性黑白繪畫的選材通常來自各種鮮明、豔俗的流行文化中之圖案，其中包括牛仔、海報女郎，以及墨西哥摔角手等。通過挪用了包括電視、廣告，以及色情雜誌等各種來源的圖像，五木田熟練地將其畫筆下人物的面孔與身形進行一系列的模糊、變形、姿態扭轉，使他們難以辨識，卻又讓人覺得不可思議的似曾相識。儘管由於日本藝術界難以接受他隱諱地使用通俗文化圖像，以及他曾作為商業插畫師的背景，而將他視為一個局外人，然而美國著名的藝評人 Roberta Smith則稱之為「繪畫媒介和風格上的博學家」，其繪畫作品具有「無可否認的豐富性和另人不安的視覺衝擊」《紐約時報》2016年10月21日）。五木田藝術生涯上的突破來自2005年的一次偶然事件，他在一家美術館商店出售的書籍《內衣摔角》（ Lingerie Wrestling）（2000）引發了一位策展人邀請他參加紐約的群展〈陌生人之城〉。Roberta Smith在《紐約時報》上提及這位當時不為人知的日本藝術家：「展示五木田智央的碳筆、水墨和鉛筆繪畫作品的牆面讓人驚艷，為展覽的亮點之一 […]五木田先生的繪畫語匯涵蓋了插畫、色情、抽象、兒童畫、書法以及看板廣告，通過完美的控制力、天鵝絨般光滑柔軟的表面，以及色調範圍，讓黑白充滿了色彩的鮮活感」（2005年3月9日）。《抱擁》在藝術家2017年於東京的石井孝之畫廊舉辦的第三次個展〈天啊！〉中首次亮相。擁有著五木田作品中慣常的豐富視覺語言特徵的同時，《抱擁》似乎展現了藝術家更為傳統、甚至多愁善感的一面。擁抱著的人體借鑒了戀人相擁而吻這一永恆的藝術主題。而五木田對其他裸女的描繪則是充斥著軟調色情的特徵（在《Art Asia Pacifc》雜誌的一篇採訪中他感懷地回憶起自己開明的父親：一位為《花花公子》雜誌做廣告排版的設計師，

Jean-Auguste-Dominique Ingres The Turkish Bath, 1852-1859, modifed in 1862 Collection of Musée du Louvre, Paris © Musée du Louvre, Dist. RMN-Grand Palais / Angèle Dequier

安格爾《土耳其浴》1852-1859年作於1862年修改巴安，盧浮宫收藏

曾鼓勵他翻閱家中的《花花公子》雜誌，因為「女人是美麗的」(Elaine Ng,〈千道不同的灰〉, Art Asia Pacifc 雜誌, 7/8月號, 2015年)，而這裏，五木田堅定地將自己置身古典傳統中，可想而知地借鑒了安格爾（JeanAuguste-Dominique Ingres）精緻的新古典主義傑作《土耳其浴》中所描繪的理想化的、溫順的美女形象。然而，《抱擁》同時又充斥著俏皮的顛覆性，戀人交纏、輪廓不明的肢體，以及墨西哥摔角靴都為作品注入了一股既超現實又迷人的混合圖像。就像在他的許多其他作品中一樣，五木田在熟悉世界的牽引與異世界的誘惑之間營造出一種情感上的緊繃，以此挑逗著觀者。不僅在他選擇的主題上，而且在他使用的媒介上，都有著一個反覆出現的主題。當五木田在2005年開始進行繪畫創作時，他決定保留自己對黑、灰、白三色的標誌性使用，這也是他在創作早期紙上作品和從事多個商業項目時所悉心培養出來的審美標準。多年來，這一決定導致了他對肌理、對比度和色調的高超掌握，而這個特徵在《抱擁》中得到了最佳的體現。五木田那頓時躍入眼簾的大膽、令人回味的繪畫技巧，在他那模糊抽象與具象之間界線的細膩入微的單色漸變中顯得更加明顯。這種看不見的筆觸使畫布表面充滿了讓人驚艷的光亮和天鵝絨般的質感，給予了作品一種極致與精妙。《抱擁》既具有當代性又具有永恆性，是為藝術家在持續與當今藝術實踐中的慣例做抗衡的證明。五木田智央的作品不斷獲得評論上與藝術上的讚譽。如今，五木田智央由幾家著名的國際藝術畫廊代理，其中包括Blum & Poe（紐約）, Bill Brady畫廊（邁阿密），以及石井孝之畫廊（東京）。他的作品在過去五年中得到藝術機構的進一步認可，舉辦過二次重要的個人博物館展覽:包括2014年在DIC川村紀念美術館〈偉大的馬戲團〉和2018年在東京歌劇城美術館〈躲貓貓〉都舉辦了的重要的個人博物館展覽。

4. Yoshitomo Nara

b. 1959

The Little Pilgrims (Night Walking) acrylic, lacquer and cotton on FRP each 72 x 50 x 42.5 cm. (28 3/8 x 19 5/8 x 16 3/4 in.) Executed in 1999, this work is number 2 of an edition of 10 with 2 artist proofs. Provenance Blum & Poe, Santa Monica Private Collection, Los Angeles (acquired from the above in 2000) Acquired from the above by the present owner Exhibited Tokyo, Setagaya Art Museum, Art/Domestic: Temperature of the Time, 11 February - 22 March 1999, pl.44, passim (another example exhibited and illustrated) Santa Monica, Blum & Poe, Yoshitomo Nara: An Exhibition of Sculpture in Two Parts (PART I),18 February - 13 March 1999 Chicago, Museum of Contemporary Art, Walk On: Works by Yoshitomo Nara, 18 March – 25 June 2000 Literature Bijutsu Techo Monthly Art Magazine, vol.52, no.790, July 2000, pp. 20-23 (another example illustrated) Bijutsu Techo Monthly Art Magazine, vol.53, no.813, December 2001, p.77 (another example illustrated) I Don’t Mind, if You Forget Me, exh. cat., Yokohama Museum of Art, Yokohama, 2001, no. 38, p. 132 (another example illustrated) Yoshitomo Nara: Lullaby Supermarket, exh. cat., Institut für Kunst Nürnberg, Nürnberg, 2002, pp. 13, 140-141, 146, 197-198 (another example illustrated) Phaidon ed., CREAM 3: Contemporary Art in Culture: 10 Curators, 100 Contemporary Artists, 10 Source Artists, London, 2003, p. 242 (another example illustrated) Yoshitomo Nara, THE LITTLE STAR Dweller, Tokyo, 2004, p. 145 (another example illustrated) Mark Coetzee, Not Afraid: Rubell Family Collection, New York, 2004, p. 87 (another example illustrated) Plastic Culture, Tokyo, 2006, p. 88 (another example illustrated) Noriko Miyamura and Shinko Suzuki, eds., Yoshimoto Nara: the Complete Works, Volume 1: Paintings, Sculptures, Editions, Photographs 1984-2010, Tokyo, 2011, no. S-1999-009, p.270 (another example illustrated) NARA Yoshitomo: a bit like you and me…, exh. cat., Yokohama Museum of Art, Yokohama; Aomori Museum of Art; Aomori Contemporary Art Museum, Kumamoto, 2012, pp. 52, 55 (another example illustrated) Bijutsu Shuppan-Sha ed. Yoshimoto Nara: The Complete BT Archives 1991-2013, Tokyo, 2013, pp. 13, 94-97, 311 (another example illustrated)

奈良美智《小朝聖者（夢遊娃娃）》壓克力漆棉布玻璃纖維 1999年作，共有10版及2版藝術家試作版，此為第2版。來源聖莫尼卡，Blum & Poe 畫廊洛杉磯私人收藏（於2000年購自上述來源）現藏者購自上述來源展覽東京，世田谷美術館，〈藝術/家庭：時間的溫度〉， 1999年2月11日-3月22日，圖版編號44 ，各處（同系列他版作品）聖莫尼卡，Blum & Poe 畫廊，〈奈良美智:雕塑展覽 (第一部分）〉， 1999年2月18日-3月13日芝加哥，當代美術館，〈夢遊: 奈良美智作品〉， 2000年3月18日-6月25日出版〈美術手帖〉，第52集，790號，2000年7月，第20-23頁 (同系列作品圖版) 〈美術手帖〉，第53集，813號，2001年12月，第77頁 (同系列作品圖版) 〈我不介意若你忘了我〉，展覽圖錄，橫濱美術館，橫濱，2001年，圖錄編號38，第132頁 (同系列作品圖版) 〈奈良美智：搖籃曲超級市場〉，展覽圖錄，紐倫堡藝術學院，紐倫堡，2002年，第13、140-141、146、197-198頁 (同系列作品圖版) 菲登出版社編，〈奶油3號: 文化中的當代藝術, 以十位策展人為源頭延伸之百位當代藝術家〉，倫敦，2003年，第242頁 (同系列作品圖版) 奈良美智，〈小星星通信〉，東京，2004年，第145頁 (同系列作品圖版) 馬克庫茨著，〈無所懼: 魯貝爾家族收藏〉，紐約，2004年，第87頁 (同系列作品圖版) 〈塑膠文化〉，東京，2006年，第88頁 (同系列作品圖版) 宮村周子與鈴木真子編，〈奈良美智作品全集 1984-2010，第1集：油畫、雕塑、限量版、照片作品〉，東京，2011年，作品全集編號 S-1999-009，第270頁 (同系列作品圖版) 〈奈良美智: 有點像你和我...〉，展覽圖錄，橫濱, 橫濱美術館; 青森, 青森縣立美術館; 熊本, 熊本當代美術館; 2012年，第52 、55頁 (同系列作品圖版) 美術出版社編，〈奈良美智:美術手帖全記事 1991-2013 〉，東京，2013年，第13、94-97、311頁 (同系列作品圖版)

HK$ 7,000,000-10,000,000 US$ 897,000-1,280,000 © Yoshitomo Nara

O♦

Curated by Takashi Azumaya in 1999, Art/Domestic – Temperature of the Time was considered as a turning point in the history of Japanese contemporary art. At this groundbreaking show at the turn of the millennium, Nara installed a cascade of pilgrim sculptures, identical to the present work. Clustered together in a thin, corridorlike space, the fgures were at frst placed sparsely at the entrance, with the crowd becoming denser as the room descended into a sense of quiet chaos; the innocent, sleepwalking children each wandering in various directions, seemingly bumping into each other unawares. Attesting to the signifcance of the series, and how it garnered Nara international acclaim, in the following year The Little Pilgrims (Night Walking) were also featured in one of Nara’s earliest major institutional exhibitions in the United States, Walk On at the Museum of Contemporary Art Chicago. Shortly aferwards, the theme was reprised for the 2002 exhibition Lullaby Supermarket in Germany, where Nara covered two walls with colourful versions of The Little Pilgrims (Night Walking). As such, the present work has been instrumental in garnering Nara the worldwide notoriety that he maintains to this day. Attending university in Nagoya in the 1980s, living in a prefabricated house and obsessively listening to punk music, Yoshitomo Nara kept a “sketch-diary”, using drawing as a conduit to immediately record his playful escapist visions. The resultant, mischievous cartoonlike characters he created would form the foundations of his revered early oeuvre. Whilst drawings provided imaginative foundations, Nara also forayed into sculpture from early on in his career, transferring his characters into predominantly small carved wooden fgurines from the mid 1980s onwards.

‘But what odd pilgrims they are! They run this way and that. They run with little arms stretched out before them, heads leaning back and closed eyes – an army of sleepwalkers.’ Stephan Trescher

Installation view of Walk On: Works by Yoshitomo Nara, Museum of Contemporary Art Chicago, 18 March – 25 June 2000 Photograph by James Isberner © MCA Chicago

芝加哥當代藝術博物館〈夢遊: 奈良美智作品〉展覽現場， 2000年3月18日-6月25日

In 1999 the prolifc Japanese artist Yoshitomo Nara created one of his most iconic fgures and inaugurated his defnitive sculptural series, The Little Pilgrims. As a comprehensive example of this seminal moment, The Little Pilgrims (Night Walking) marks a crucial turning point in the artist’s prodigious career, signifying the diversifcation of his practice beyond its roots in the art of drawing and solidifying the importance of sculpture and installation as a means of realising his idiosyncratic visions. Composed of fve exquisitely crafed and delicately enigmatic fgures, each seemingly identical yet uniquely clothed, the surreal tableau is paradigmatic of Nara’s engagement with the themes of sleep, consciousness and the limitless possibilities of childlike imagination. As charismatic individual works of sculpture, the fgures occupy a liminal existence between states of interior dreams and external exploration, whilst as a group they powerfully manifest that surreal in-between state within our own physical space. As the personifcation of pure innocence, the wandering sleepwalkers embody the infant sense of curiosity that guides our consciousness from the cradle into adulthood. Smoothly sculpted in delicate pastel tones, the group is also emblematic of the stylistic shif that Nara made at the end of the decade; eschewing his fery punk-rock inspired characters in favour of the sofer side of fairytale reverie. Having frst debuted in 1999 at the seminal exhibition Art/Domestic – Temperature of the Time at the Setagaya Art Museum in Tokyo, The Little Pilgrims (Night Walking) represents the most important addition to Nara’s sculptural oeuvre. As such, they have played a role in defning Nara as one of Japan’s most important and prolifc contemporary artists internationally.

Yoshitomo Nara Heads, 1998 Phillips, New York, 10 May 2016, lot 204 Private Collection

奈良美智《頭》1998年作紐約，富藝斯，2016年5月10日，拍品編號204 私人收藏

In the early 1990s Nara experimented with plastic sculpture, but it was not until the end of the decade that he made the leap into making his frst fbreglass series. In the vein of Pop artists such as Andy Warhol as well as fellow Japanese visionary Yayoi Kusama, Nara began to utilise serial repetition to add experimental weight to his work. A year prior to the grand unveiling of the The Little Pilgrims (Night Walking), Nara experimented with a set of bunny-like head sculptures (see for example Heads, 1998) that can be seen as a precursor. Also made of fbreglass, they display the same idealised facial features, the pastel skin tones, droopy rabbit ears and the captivating closed elliptical eyes. In the present works Nara continues to exploit the silky smooth properties of fbreglass, creating fgures that are both eerily life-like, whilst also pertaining to the aesthetic of mass-produced toys that increasingly populated consumer visual culture in Japan as he grew into adulthood. Adaptable as an immersive installation, The Little Pilgrims (Night Walking) completed a process of releasing Nara’s curious characters from the cerebral surface of paper and canvas into our own lived space. Born in 1959, Nara experienced a period of great transition in Japan that included both the invasion of western popular culture and the shif from the larger threegenerational family structure to the nuclear family unit. He grew up in Hirosaki, and as the youngest of three brothers whose parents worked long hours, he was ofen lef alone. Nara found solace in imaginative solo activities that would infuence this later work: drawing, painting, reading ehon (picture books) and Japanese manga, as well as watching Walt Disney and Warner Brothers animations.

His diverse engagement with international and domestic pop culture continued as he grew up. He frst moved to Nagakute to study art at the Aichi Prefectural University of Fine Arts and Music, and then lef Japan for Germany in 1988 in order to attend the Kunstakademie Düsseldorf, where he studied until 1993 and was taught by NeoExpressionist painter A.R. Penck. Fiercely independent from his childhood days, the sleepwalking fgures of the present work parallel Nara’s own quest of wandering through an overwhelming sea of cultural infuences. But like him, they remain immersed in own interior vision at all times. Following his formal training, Nara frequently stood outside of regular modes of classifcation, particularly regarding his association with the Superfat movement of the 1990s as propagated by Takashi Murakami. The artists recalled: “Overseas, everyone started to read the work within the context of Murakami’s Superfat theory. In a way, they can be explained with that, so that’s fne, but for me they were much more personal. All the children and animals depicted came from inside me, not from a theory.” (Yoshitomo Nara quoted in Edan Corkill, “Yoshitomo Nara Puts the Heart Back in Art”, The Japan Times, 2012) Caught in an interminable dream state The Little Pilgrims (Night Walking) express the infnite possibilities of imagination, beyond the realm of the conscious mind. They exemplify how Nara’s profoundly unique oeuvre “gives priority to the emotional truth of the dream-vision”. (Midori Matsui, “Art for Myself and Others: Yoshitomo Nara’s Popular Imagination,” Melissa Chiu, Miwako Tezuka eds., Yoshitomo Nara: Nobody’s Fool, Asia Society Museum, New York, 2010, p. 13).

「但是他們是多麼奇怪的朝聖者啊！他們這樣那樣地在跑。他們小手臂向前伸著、頭向後傾斜著、眼睛緊閉著在跑簡直是一群夢遊者。」（Stephan Trescher，展覽畫冊，紐倫堡，現代藝術博物館，《奈良美智，催眠超市》， 2001年，第13頁） 1999年，多產的日本藝術家奈良美智創造了他最具代表性的人物之一，並開創了他最權威性的雕塑系列，《小朝聖者》。作為這一重要時刻的綜合性標誌，《小朝聖者：（夢遊娃娃）》標記著藝術家漫長的藝術生涯中一個關鍵的轉折點，象徵著他藝術實踐的多樣性已然超越其在繪畫上的紮根，並且鞏固了雕塑和裝置作為媒介在實現其獨特創作中的重要地位。由五個精心刻畫和纖弱詭異的人物組成，每個看似完全相同但又各自穿著不同的衣服，這一超現實的場景正是奈良對睡眠、意識以及兒童無限的想像可能等主題所關注之典範。作為充滿魅力的獨立雕塑作品，這些人物各自游移地存在於內在的睡夢與外在的探索這兩種狀態之間，一組可愛的娃娃卻有力地體現了我們自身所處的物理空間中那種超現實之中間狀態。作為純真的化身，這些夢遊者們象徵著從嬰兒時期到長大成人的過程中引導我們的意識中赤子般的好奇心。雕塑身形平順，色調精緻柔和，這一組作品象徵著奈良在那十年的末期於風格上的轉變；離開他那火熱的龐克搖滾風格，轉向更為柔和的童話遐想之中。1999年在東京的世田谷美術館（Setagaya Art Museum）的重要展覽〈藝術/ 家庭－時代的溫度〉（Art/Domestic – Temperature of the Time）中首次亮相，《小朝聖者》代表了奈良最重要的一部分雕塑作品。因此，他們的完成，形成將奈良定義為國際上最重要的、也是最多產的日本藝術家之一的作用。

1980年代在在名古屋上大學時，奈良美智住在一間組裝的房子裡，痴迷地聽著龐克音樂，當時的他以「草圖日記」的形式，用繪畫作為渠道，直接地紀錄他頑皮的逃避主義視野。由此而產生的淘氣卡通形象則形成了他備受推崇的早期作品的基礎。然而儘管繪畫為他打下了想像的根基，奈良在他的職業生涯早期便開始嘗試雕塑，在1980年代起就將他創造的人物轉移到安型的木雕中。在1990年代早期，奈良實驗了塑料材質雕塑，然而直到1990年代末他才開始製作他的第一批玻璃纖維系列。與波普藝術家如安迪·沃荷（Andy Warhol）或者是另一位具有遠見的日本藝術家草間彌生（Yayoi Kusama）一脈相承，奈良開始採用連續重複的方式來為他的作品增添實驗性的價值。在《安朝聖者》隆重揭幕的前一年，奈良嘗試了一組可以看作是其前身的《頭》（Heads）雕塑。它們同樣由玻璃纖維製成，具有相同的理想化面部特徵，柔和的膚色，下垂的兔耳和動人的閉闇的橢圓形眼睛。在本件拍品中，奈良繼續利用相同材質這種柔合光滑的特性來創造出的人物形象，既栩栩如生得恐怖，同時又承載著在他成長過程中不斷佔據日本消費視覺文化的大規模生產的玩具之審美。能夠讓觀者身臨其境，《安朝聖者》完成了將奈良所創造的；那些他好奇想像力中的人物，從紙本和畫布的平面釋放到我們自身的生活空間中之過程。

1959年出生的奈良，經歷了日本劇烈的轉型時期，其中既包括西方流行文化的入侵，以及日本從三代同堂的大家庭結構轉向核心家庭結構的變化。在弘前長大的他，父母長時間在外工作，又是三兄弟中最年幼的一個，經常自己一人獨處。奈良在富有想像力的個人活動中找到慰藉：素描、繪畫、閱讀ehon（圖畫書）和日本漫畫，以及觀看華特·迪士尼和華納兄弟的動畫電影，而這些也影響了由東谷隆司（Takashi Azumaya）於1999年策展，《藝術/ 他後來的創作。在成長過程中不斷接觸多元的國際和家庭 - 時代的溫度》被認為是日本當代藝術史上的一個國內的流行文化。他先是搬到長久手，在愛知縣立美術和轉折點。奈良在千禧世紀之交的這個突破性的展覽中音樂大學學習藝術，之後於1988年離開日本前往德國，展出了一批與本拍品相同的朝聖者雕塑。聚集在一個就讀於杜塞爾多夫藝術學院直至1993年，師從新表現主義像走廊一樣的窄小空間裡的人物，最初被稀疏地放在畫家A. R. 彭克（A.R. Penck）。此時的獨立與其童年時代入口處，接著隨著房間逐漸深入到一種安靜的混亂感，天差地別，當時在洶湧不絕的文化影響之海洋中逐浪的雕塑的擺放變得越來越密集；這些夢遊天真無邪的娃娃奈良，正像在夢遊中的人物一樣徘徊著前行。但與他各自在不同的方向徘徊，似乎在不知不覺中互相就要一樣，他們始終沉浸在自己的內部視像之中。在經過正式撞在一起。《安朝聖者（夢遊娃娃）》於次年展出於奈良的藝術訓練之後，奈良常常是立於常規的分類模式之外在美國最早的主要藝術機構展覽之一，芝加哥當代的，尤其在提及他與由村上隆所帶動之20世紀90年代藝術博物館的〈夢遊: 奈良美智作品〉（Walk On: Works by 的超扁平運動的聯繫。藝術家回憶說：「在海外，所有人都 Yoshitomo Nara)，證明了該系列的重要性，以及它對開始以村上隆的超扁平理論為背景來解讀我的作品。奈良獲得國際上的聲譽所引起的作用。不久之後，該主題在某種程度上，可以這樣去解釋，這也沒問題，但對我來被重新演繹為2002年在德國的《催眠超市》之展覽，奈良說，創作出的人物角色是更個人化的。我描繪的所有兒童在那裡用彩色版的《安朝聖者（夢遊娃娃）》覆蓋了兩面牆。和動物都來自我的內心，而不是來自什麼理論。」（奈良因此，這件拍品對於奈良在獲得他迄今為止享有的國際美智引自Edan Corkill，《奈良美智將心放回藝術中》，聲譽中引發著極其重要的影響力。日本時報，2012年）處於無休止的睡夢狀態中，《安朝聖者》表達了超越意識思維領域的無限想像力。他們顯示了奈良深刻獨特的作品如何「強調夢想視野中所蘊含的情感真理」（松井碧，《為我自己和他人所作的藝術：奈良美智的流行想像力》，Melissa Chiu，手塚美和子（編輯），《奈良美智：沒有人是傻瓜》，亞洲文化協會美術館，紐約，2010年，第13頁）。

5. Stanley Whitney

b. 1946

Breathless signed, titled and dated ‘“Breathless” 2018, Stanley Whitney’ on the reverse oil on linen 183.1 x 183.1 cm. (72 1/8 x 72 1/8 in.) Painted in 2018. Provenance Lisson Gallery, London Acquired from the above by the present owner

斯坦利．惠特尼《屏息》油畫麻布 2018年作款識：《Breathless》2018 Stanley Whitney (畫背) 來源倫敦，里森畫廊現藏者購自上述來源

HK$ 800,000-1,500,000 US$ 103,000-192,000

‘The colour makes the structure, I wanted a system that allowed me to lay colour down when I felt like it— I wanted nothing to get in my way.’ Stanley Whitney

Stanley Whitney is a true believer in the unifcation of colour and spatial experience. Since the mid-1970s, the artist’s characteristic colourful grids have represented his artistic philosophy. Breathless is a canvas solely dedicated to the manipulation of hues — Whitney provides the ultimate stage for colours to shine and speak for themselves. As noted by Lauren Haynes, “Whitney’s colours take on lives of their own. They evoke memory and nostalgia. This orange takes you back to your favourite childhood t-shirt; that blue reminds you of your grandmother’s kitchen. Whitney’s paintings remind us, on a universal scale, of the ability of colour to trigger feelings and sensations.” (Lauren Haynes, ‘Orange That Blue’, Stanley Whitney: Dance the Orange, The Studio Museum in Harlem, New York, 2015, p. 28). Whilst Whitney has been an active proponent of colour feld painting since the 1970s, the artist has operated largely under the radar for much of his career. However, recent institutional attention has afrmed his historic importance within wider public consciousness: following his seminal solo exhibition, Dance the Orange at the Studio Museum in Harlem, New York in 2015, Whitney was inducted into the American Academy of Arts and Letters in 2017. Whitney’s style of composing colours is greatly inspired by the structure of abstract architectural blocks. Profoundly infuenced by ancient Egyptian architecture that he saw during a trip to the Mediterranean in the 1990s, Whitney’s admiration for the uniformity of the ancient pillars is refected through his preference towards straight edges in his works. The incessant rectangular confguration in his compositions also worked as a perfect manifesto of the painter’s determination on creating an absolute ‘balanced’ space for colour within his canvases.

On his choices of colour, the artists in an interview explains: “It’s all about the transitions between the colours—the blue shouldn’t get away from the orange. That has a lot to do with drawing and scale as much as it does with colour. The difculty for me in making these paintings is, if you fall in love with this red, can you get out of that red so that everything equals out and there’s no beginning or no end to it all?” (The artist quoted in Aruna D’Souza, ‘The Colour Makes the Structure: Stanley Whitney Paints a Picture’, artnews.com, posted 30 May 2017.) Rendered in varied brushstrokes, the artist layers transparent swathes of colour so that a grounded red might ring out from underneath a tonally juxtaposed verdant green, creating a sense of chromatic balance within Breathless. This sense of equilibrium produced through the composition conveys a sense of rhythm and harmony reminiscent of Jazz music. Born in Philadelphia in 1946, Whitney relocated to New York City at the age of 22, and has played a critical role in the current discourse of abstract painting in the contemporary era. Today, Whitney’s paintings are collected in numerous public institutions around the globe, including: the Metropolitan Museum of Art, New York, the National Gallery of Canada, Ottawa, Madazzino d’Arte Moderna, Rome and the Whitney Museum of American Art, New York.

Installation view of Dance The Orange, Studio Museum, New York, 16 July – 25 October 2015

紐約，哈林畫室博物館〈舞動橘色〉展覽現場，2015年7月16日-10月25日

「顏色形成結構」他說道，「我想要一個系統，可以讓我興緻一到就把顏色畫出來，我不希望有任何阻礙我的東西。」（藝術家之言，錄於 Aruna D’Souza，〈顏色形成結構: 斯坦利·惠特尼繪畫〉，《artnews.com》，2017年 5月30日發表）斯坦利·惠特尼堅信顏色與空間體驗的統一性，從1970年代中開始，以其獨特的彩色網格代表其藝術思想。《屏息》便是一幅完全貢獻於色調運用的作品，惠特尼給予顏色最純粹的舞台，彰顯並表達自己。如 Lauren Haynes 所講：「惠特尼的顏色有著自己的生命，它們喚起回憶和緬懷。橙色帶你回到兒時最愛的T恤，藍色讓你想起祖母的廚房。惠特尼的繪畫以廣泛的規模提醒著我們，顏色觸動感覺和情感的能力。」（Lauren Haynes，〈橘色那藍〉，斯坦利·惠特尼，〈舞動橘色〉，哈林畫室博物館，紐約，2015年，28頁）惠特尼從1970年代開始就是色域繪畫的積極擁護者，其藝術也以此風格最為人所知。不過，近期學術關注已經肯定了他在更廣範圍的歷史重要性，繼其2015年於紐約哈林畫室博物館的重要個展「舞動橘色」之後，惠特尼於2017年獲頒美國藝術文學院之院士。

惠特尼編排顏色的風格深受抽象建築群之結構影響。在1990年代的一次地中海旅程中，古希臘建築給予他許多啟發，古典柱子的整齊統一引發其靈感，這也反映在他作品的筆直邊緣。連貫的方形結構也是藝術家為了在畫面創造色彩的絕對「平衡」空間而做出的完美展現。關於其用色的選擇，藝術家在一次訪談中作出以下解釋：「一切都是顏色之間的轉變，藍色不應脫離橙色。這與素描、比例和顏色都同樣相關。作畫對我來說的難題是，如果你愛上一種紅色，你能不能走出那種紅色，讓所有都保持平衡，沒有開始也沒有結尾？」（藝術家之言，錄於 Aruna D’Souza，〈顏色形成結構: 斯坦利·惠特尼繪畫〉，《artnews.com》，2017年5月30日發表）此作畫面筆觸多元，藝術家以半透明的顏色分層畫上，所以表面鮮艷的綠色底下可能其實是紮實的紅色，在《屏息》中營造色彩的平衡。這種通過構圖帶來的平衡傳遞著韻律與和諧，與爵士樂不無相通之處。惠特尼1946年在費城出生，22歲移居紐約，在當代藝術的抽象繪畫巨流中扮演著重要角色。如今，惠特尼的畫作已被納入世界各地知名公眾機構收藏，包括：紐約大都會藝術博物館、渥太華加拿大國家美術館、羅馬現代藝術中心和紐約惠特尼美國藝術博物館。

邁爾斯及雪莉·菲特曼夫妻藝術收藏

安迪·沃荷《邁爾斯·菲特曼》1975年作安迪·沃荷《雪莉·菲特曼》1976年作

Alexander Calder, Joan Miró, Jean Dubufet, Willem de Kooning, Andy Warhol, Roy Lichtenstein – the list of esteemed names that constitute the collection of Miles and Shirley Fiterman reads like a cross-continental survey of the 20th century’s most infuential artists. Born out of the seminal decade of the 1960s, the collection is not only a tribute to the dawning of a revolutionary era, but a witness to its making. To look at how Miles and Shirley Fiterman collected is to understand the importance of the collector at this crucial point in post-war history. Whilst few individuals have gathered artworks of such quality and importance, fewer still have done so across four decades, as new masterpieces were created by the same artists that they met and supported throughout their lives. A unique afnity with the zeitgeist and an ability to act ahead of the curve is what binds this collection to the industrial achievements of its proprietors. Intuitive, innovative and entrepreneurial, Miles Q. Fiterman was highly infuential in the construction boom following World War II, catering to the unprecedented demand for housing, Miles Homes Inc., which he founded in 1946, and which grew to be the nation’s largest supplier of prefabricated housing prior to its sale in 1972. The Miles and Shirley Fiterman Collection astutely harnesses the common aesthetic impulses of the 20th century and allows us to investigate their variations. Bold yet elegant, expressing both formal balance and expressive abandon, the collection celebrates the ability of art to imagine the world anew.

Based in Minneapolis, Miles and Shirley Fiterman formed part of a conduit between the international contemporary art scene and their beloved home city. Their sustained eforts to bring great art to the region manifested in their lifelong support of the Walker Art Center and The Minneapolis Institute of Arts. Highly personal, astutely connoisseurial and indelibly philanthropic, the Fitermans’ model of collecting was built on several important foundations: the personal relationships that they built with trailblazing dealers and gallerists such as Gordon Locksley and Aimé Maeght; the acquisition of exemplary works by the revolutionary artists that they met and forged frienships with – including Andy Warhol and Claes Oldenburg; sustained patronage to museums that championed the causes of modern and contemporary art; and their proactive role in providing greater access to education in art. The couple were patrons of and enabled acquisitions at the Minneapolis Institute of Art, where the Fiterman name graces several of the museum’s buildings. Miles and Shirley Fiterman were also active patrons within the locale of their other residence in Palm Beach, Florida. Both sat on the board of the Norton Gallery & School of Art, where Mrs. Fiterman went on to assume the role of board president. Outside of the United States, Miles and Shirley Fiterman were honoured as Patrons of the Year in 2001 at the Tel Aviv Museum of Art and the Tel Aviv Museum, where they also served as board members. As arbiters of taste, and champions of groundbreaking artists, Miles and Shirley Fiterman did not simply collect – in essence, they defned what it was to be a collector in the 20th century.

邁爾斯及雪莉·菲特曼夫妻藝術收藏

亞歷山大·考爾德（Alexander Calder）、胡安·米羅（Joan Miró）、尚·杜布菲（Jean Dubuffet）、威廉·德·庫寧（Willem de Kooning）、安迪·沃荷（Andy Warhol）、羅伊·李奇登斯坦（Roy Lichtenstein）－這些重量級的名字組成了邁爾斯與雪莉·菲特曼珍藏（Collection of Miles and Shirley Fiterman），這一珍藏彷彿是對二十世紀最具影響力的藝術家之一次跨越地理藩籬與文化區隔的回顧。誕生於1960年代這開創性的十年，該珍藏不僅是向一個革命性時代的到來致敬，更是對成就這一時代的見證。去了解邁爾斯與雪莉·菲特曼伉儷是如何收藏的，等同於去理解收藏家在戰後歷史中這一關鍵時刻所扮演的重要角色。極少有人集己之力曾將具有如此質量和重要性的藝術作品聚集在一起，更少人能夠在持續四十年的時間裡，於他們所認識和支持過的同樣一批藝術家創作出新的大師之作時仍給予源源不斷的支持。獨特的與時俱進精神；以及走在時代前沿的行動力是這一珍藏與其擁有者之間的緊密連結。憑藉敏銳的直覺、創新思維和企業家精神，邁爾斯·Q·菲特曼在第二次世界大戰後空前的住房需求所帶來的建築熱潮中擁有極大的影響力，由他在1946年創立的Miles Homes Inc. 逐漸成為美國最大的預製組合房屋供應商，直至1972年將其售出。邁爾斯與雪莉·菲特曼的珍藏準確把握了二十世紀的共同美學脈搏，並且在此基礎上去探尋其中的變化。大膽且優雅，同時展示了平衡的形式和率意的表達，這一批珍藏是為對藝術所擁有的重新想像世界之能力的禮讚。

常駐明尼阿波里斯，邁爾斯與雪莉·菲特曼為國際當代藝術界與他們心愛的家鄉構築了一條紐帶。他們對將偉大的藝術帶到該地區的持續努力，顯現在他們對沃克藝術中心（Walker Art Center）和明尼阿波里斯藝術學院（Minneapolis Institute of Art）的終生支持上。具有高度個人化、準確的鑑賞價值以及不可磨滅的慈善意義之菲特曼收藏，其模式建立在幾個重要的基礎上：他們與 Gordon Locksley 和 Aimé Maeght等有著開拓性的藝術商和畫廊主建立深厚關係；對他們所認識並建立友誼之；具革命性藝術家的代表作品之珍視與收藏－包括安迪·沃荷（Andy Warhol）和克萊斯·歐登柏格（Claes Oldenburg）；對倡導現當代藝術事業的美術館持續資助；以及他們在提供更廣泛的藝術教育方面所作出的積極貢獻。這對夫婦是明尼阿波里斯藝術學院（Minneapolis Institute of Art）的資助人，協助採購並餽贈美術館的藏品，而美術館的數幢建築也以菲特曼命名。邁爾斯與雪莉·菲特曼伉儷也是他們另一住所所在地，佛羅里達州棕櫚灘的活躍資助人。兩人都是諾頓畫廊和藝術學院（Norton Gallery & School of Art）的董事會成員，而菲特曼夫人繼而成為董事會主席。在美國之外，邁爾斯與雪莉·菲特曼伉儷作為特拉維夫美術館（Tel Aviv Museum of Art）和特拉維夫博物館（Tel Aviv Museum）的董事會成員，於2001年被授予年度資助人的稱號。作為品味的引領者，開創性藝術家的擁護者，邁爾斯與雪莉·菲特曼伉儷不僅僅是簡單地在做收藏－實質上，他們定義了二十世紀的收藏家。

邁爾斯及雪莉·菲特曼夫婦合照由雪莉·菲特曼的授權代表者提供

邁爾斯及雪莉·菲特曼夫妻藝術收藏

6. Alexander Calder

1898-1976

Higgledy Piggledy incised with the artist’s monogram and dated ‘CA 69’ on the base sheet metal, wire and paint 43.2 x 76.2 x 76.2 cm. (17 x 30 x 30 in.) Executed in 1969, this work is registered in the archives of the Calder Foundation, New York, under application number A10722. Provenance Galerie Maeght, Paris Private Collection (acquired from the above in 1976) M. Knoedler & Co. Inc., New York Acquired from the above by the present owner in 1979 Exhibited Minneapolis, Walker Art Center, Calder’s Universe, 5 June - 14 August 1977

亞歷山大．考爾德《混沌》金屬板鐵絲油漆 1969年作，此作品以編號A10722收錄於紐約考爾德基金會之文獻庫。款識: CA 69 (藝術家會標簽於底部) 來源巴黎，Maeght 畫廊私人收藏（於1976年購自上述來源）紐約，M. Knoedler & Co. Inc. 現藏者於1979年購自上述來源展覽明尼阿波利斯, 沃克藝術中心,〈考爾德的宇宙〉, 1977年6月5日 - 8月14日

HK$ 4,800,000-6,800,000 US$ 615,000-872,000

邁爾斯及雪莉·菲特曼夫妻藝術收藏

In Higgledy Piggledy, the magic and lyricism of Alexander Calder’s celebrated ‘Mobiles’ are presented on an intimate scale. The sculpture stands only a little more than forty centimetres tall, its arms stretching out a similar distance in each direction as they rotate. The bulk of the sculpture is painted in a vivid red, with the paddles at each end of the wires in white, bringing a dynamic contrast to the ever-shifing composition. This is all the more efective in a sculpture such as Higgledy Piggledy: it is one of Calder’s ‘Standing Mobiles’, and is intended to be placed on a surface. While some of his ‘Standing Mobiles’ were intended to be put directly on the foor, in works such as Higgledy Piggledy, a table or desk is the more natural setting—and this allows the white and red elements to form a counterpoint to the world around it. This is in contrast to the hanging ‘Mobiles’, which are so ofen seen against the stark white of the ceiling or walls. By the time he made Higgledy Piggledy in 1969, Calder was an international star. He had worked in many media, in many countries. He had managed to bridge the world of the Surrealists amongst whom he had lived in Paris in the years before the Second World War and that of the Abstract Expressionists who came to the fore in the later 1940s in his native United States. The movement and gesture that was so integral to Calder’s work served as a prelude to Abstract Expressionism, while his intuitive process resonated with Surrealist automatism. Both are in strong evidence in Higgledy Piggledy. Calder’s success saw him working on an ever-increasing scale, eventually providing designs for concert halls and airplanes. While he relished these challenges, in works such as Higgledy Piggledy he was able to maintain a direct connection to the material which he manipulated in order to create the work. This introduced an intimacy that is all the more powerful in the relatively gem-like proportions of Higgledy Piggledy. It is a monument in miniature, yet also an ephemeral and ethereal sliver of movement and enchantment, and this efect is heightened by the artist’s own interventions.

Calder, afer all, was an inveterate innovator and creator. The urge to make bubbled through almost constantly. He was able to transform the materials that he found around him, ofen discarded, placing them in new contexts that saw them elevated to the status of artworks. “Calder’s characteristic material is metal,” wrote his friend, the veteran museum director James Johnson Sweeney. “He has always avoided modelling in favour of direct handling - cutting, shaping with a hammer, or assembling piece by piece. Such an approach has fostered a simplicity of form and clarity of contour in his work. It allies him with Brancusi, Arp, Moore and Giacometti in their repudiation of virtuosity” (James Johnson Sweeney, Alexander Calder, exh. cat., New York, 1951, reproduced in C. Giménez & A.S.C. Rower (ed.), Calder: Gravity and Grace, London, 2004, p. 72). In addition to this involvement with his materials, Calder breathed extra life in them through the incorporation of movement. The inception of Calder’s abstract work had come about when he had visited the studio of his friend, the Dutch painter Piet Mondrian, in 1930. Mondrian’s studio was largely painted white, rectangles in cardboard tacked to the wall for compositional experimentation. Calder mentioned that he thought they would be improved if they oscillated. Mondrian objected, but the notion gave rise to the ‘Mobiles.’ In a sense, the deliberatelyrestricted palette of Higgledy Piggledy echoes that of Mondrian, who focused so heavily on black, white, grey and the prime colours in so many of his own most revered works. Calder himself played down the role of colour in his sculpture, telling Katharine Kuh that he essentially used it to diferentiate forms. “Black and white are frst - then red is next - and then I get sort of vague… I love red so much that I almost want to paint everything red. I ofen wish that I’d been a fauve in 1905’ (Calder, quoted in K. Kuh, The Artist’s Voice: Talks with Seventeen Artists, New York, 2000, p. 41).

亞歷山大·考爾德著名的「動態雕塑」所蘊含的神奇和抒情性在《混沌》這件作品中，以平易近人的尺寸呈現。這件僅四十多公分高的雕塑，其臂膀在旋轉時以相近的距離朝各個方向伸展。雕塑的主體部分塗成鮮豔的紅色，鐵絲兩端的葉片為白色，為其不斷變化的構圖帶來動態的對比。這種效果在像《混沌》這樣的雕塑中得到更為顯著的體現：作為考爾德的「豎立的動態雕塑」作品之一，其用意是將雕塑置於一平面上。雖然他的一些「豎立的動態雕塑」是要直接安裝在地面上，然而像《混沌》這樣的作品，桌面卻更為適合 - 使得紅白兩色元素共同形成與周圍環境的對比。這與通常以全白的天花或牆面為背景所懸掛的「動態雕塑」具有明顯的差異。 1969年完成《混沌》時，考爾德已經是一位國際藝術知名的藝術家。他已在許多國家使用多種媒介進行過創作。他成功地在那些於第二次世界大戰之前的數年裡與他一同生活在巴黎的超現實主義藝術家和1940年代後期於美國本土開始走入藝術前端的抽象表現主義藝術家的兩個世界之間構架了一座橋樑。抽象表現主義的許多繪畫中不可或缺的動態感和超現實主義作品中所必需的輕鬆自由及遊戲性，都能夠在考爾德的雕塑中找到兩種特性並存。這兩個特點都能在《混沌》中看到強烈的痕跡。考爾德的成功使他創作的規模不斷擴大，甚至為音樂廳和飛機提供設計。儘管他對這些挑戰樂此不疲，然而是在像《混沌》這樣的作品中，得以與那些他用來進行創作的材料保持直接的聯繫。這讓《混沌》相對精緻的比例有著更為強大的緊密感，僅管小巧，卻散發出宛若紀念碑安不容忽視的氣度，更展現藝術家在創造中靈光一閃的動能和愉悅。

The artist in his studio 藝術家於工作室 Eric Schaal © Life Magazine Image courtesy of Calder Foundation, New York/ Art Resource, NY, Artwork © 2019 Calder Foundation, New York/Artist Rights Society (ARS), New York.

畢竟，考爾德是一個一生孜孜不倦的發明家、匠人和創造者。創造的衝動在他身上永無止息。他能夠將在身邊找到的、常常是廢棄的材料，將其進行改變，放置在新的語境中，使它們昇華為藝術品。「金屬是屬於考爾德獨有的材料」，他的朋友，資深博物館館長詹姆斯·約翰遜· 斯威尼（James Johnson Sweeney）寫道。「他總是避開建立模型，偏好採用直接處理 - 切割、錘打成型，或逐件組裝。這種處理方式使他的作品達到形式上的簡潔和輪廓上的清晰。與布朗庫西、阿爾普、摩爾和賈科梅蒂等藝術家一樣，他拒絕進入任何流派」（詹姆斯·約翰遜· 斯威尼，《亞歷山大·考爾德》，展覽圖錄，紐約，1951年，轉載於 C.Giménez＆ASC Rower（編輯），《考爾德：重力與優雅》，倫敦， 2004年，第72頁）。除了在材料上的掌握之外，考爾德還通過結合動態為雕塑注入了更多的生命力。在1930年，當他訪問他的朋友、荷蘭畫家彼埃·蒙德里安（Piet Mondrian）的工作室並得到啟示時，考爾德的「動態雕塑」在那個時候誕生。蒙德里安的工作室大部分都是白色的，原色系的正方形和長方形懸掛得到處都是。考爾德提出他認為假如它們擺動起來效果將會更好。儘管蒙德里安對此表示反對，但這一想法成為了「動態雕塑」的起源。在某種意義上說，《混沌》在色彩組合上的特意制約可以被看作是對蒙德里安的一種致敬，因為蒙德里安許多最受人尊崇的作品在色彩的選擇上都高度集中在黑、白、灰，以及原色。考爾德在他的雕塑中淡化了色彩的作用，他告訴 Katharine Kuh，他基本上是用色彩來區分形式。「黑色和白色是第一位 - 接著是紅色 - 然後我開始模糊化處理......我太喜歡紅色了，所以我幾乎想把所有東西都塗成紅色。我經常希望我是一名生活在1905年的野獸派藝術。」（考爾德，引自K. Kuh，《藝術家之音：與十七位藝術家的對話》，紐約，2000年，第41頁）

邁爾斯及雪莉·菲特曼夫妻藝術收藏

7. Andy Warhol

1928-1987

Flowers signed, dedicated and dated ‘Andy Warhol 64 To Mr. and Mrs. Fiterman ♡ ’ on the overlap silkscreen ink on linen 35.6 x 35.6 cm. (14 x 14 in.) Executed in 1964. Provenance Leo Castelli Gallery, New York Locksley Shea Gallery, Minneapolis Acquired from the above by the present owner Exhibited Philadelphia, Institute of Contemporary Art, Andy Warhol, 8 October - 21 November, 1965 Literature Georg Frei and Neil Printz, eds., The Andy Warhol Catalogue Raisonné: Paintings and Sculptures 1964-1969, vol. 2B, New York, 2004, no. 1558, p. 77 (illustrated, p. 73; dated 1965)

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

安迪．沃荷《花》絲印油墨麻布 1964年作款識：Andy Warhol 64 To Mr. and Mrs. Fiterman ♡ (畫布邊緣) 來源紐約，Leo Castelli 畫廊明尼阿波利斯，Locksley Shea 畫廊現藏者購自上述來源展覽費城，當代藝術學院，〈安迪·沃荷〉， 1965年10月8日-11月21日出版 Georg Frei 與 Neil Printz 編，〈安迪·沃荷目錄全集：第2B集，油畫與雕塑，1964-1969年〉，紐約，2004年，作品全集編號 1558，第77頁 (圖版第73頁；目錄列為1965年作)

邁爾斯及雪莉·菲特曼夫妻藝術收藏

Against a verdant green ground, a grid of four exuberant red foral forms emerges, each delicately delineated by traces of a monochrome photographic image. As a preeminent example from one of Andy Warhol’s most iconic series of paintings, Flowers represents a formative moment in the history of Pop Art. Succinctly conjuring the artist’s most important themes of mortality and beauty, Warhol calls upon the historic genre of still life painting, adding the symbolic weight of the fower to his pantheon of mass produced products, celebrities and macabre images sourced from the daily news. Whilst the Flowers series would also signify Warhol’s adoption of mass-production techniques within his recently acquired ‘factory’, the present work is rare within the wider corpus. Of all 14 inch Flowers paintings listed in the artist’s catalogue raisonné, there are only fve works (including the present) which utilise this uniquely vibrant combination of contrasting red and green paint. Furthermore, the present work is one of only two 14 inch Flowers that are signed with a dedication. Warhol assigned this work to prolifc collectors Miles and Shirley Fiterman, in whose collection it has remained since they acquired it shortly afer it was painted in 1964. Flowers thus represents the dawning of a long-standing relationship of patronage between the couple and Warhol, and attests to the unparalleled historic importance of their collection as well as their role as collectors. Conceived and executed within a seminal year, the Flowers paintings are regarded as the pinnacle of Warhol’s painterly output in the early sixties; a period in which he revolutionised the history of representation through his adoption of the silkscreen technique. In 1964 Warhol was beginning to turn away from painting, as signalled by his last exhibition with Eleanor Ward of the Stable Gallery, where he presented three-dimensional reproductions of commercial shipping cartons. However, for his frst show with renowned art world impresario Leo Castelli and ahead of his temporary break from the painted medium, Warhol debuted one of his most iconic series – the Flowers.

Presenting a radical switch from the images of American consumerism that he championed in his early oeuvre, the show was an instant success, leading to subsequent Flowers paintings being produced for a show at Galerie Ileana Sonnabend in Paris, as well as a second consignment to Castelli. It was from this batch of 14 inch Flowers paintings that the present work originates. As a close associate of Castelli, the preeminent Minneapolis gallerist Gordon Locksley not only facilitated the acquisition of the present work by Miles and Shirley Fiterman, but also introduced the couple to Warhol around this time. The rare personal dedication on the back of the present work speaks of a fourishing friendship between the prominent collectors and the rising art star. In the iconic composition, the aerial viewpoint of Warhol’s source photograph, and the way he cropped it to his perfect square format, succinctly dispenses with a sense of depth. As noted by art historian Nina Zimmer “Warhol reduced and radicalised his Flowers to such an extent that the banal subject matter was now transformed into a powerful pictorial concept. The directionless format contributed to this: the pictures can be read in all directions; like an abstract painting, top and bottom, lef and right, have been revoked.”(Nina Zimmer, Exh. Cat., Basel, Kunstmuseum, Andy Warhol: The Early Sixties – Paintings and Drawings 1961-1964, Ostfldern 2011, p. 177) Diverging signifcantly from the original source image – a colour photograph of seven hibiscus blossoms that was printed in Modern Photography to illustrate Kodak colour processing – Warhol abstracts the photographic clarity of the image to focusing instead on the luscious handpainted base forms. As his assistant Billy Linich would recount: “He didn’t want it to look like a photo at all. He just wanted the shape, the basic outline, of the fowers” (Billy Linich quoted in Tony Sherman and David Dalton, Pop: The Genius of Andy Warhol, New York 2009, p. 247).

In the present work, Warhol selects two colours at opposite ends of the colour spectrum, utilising their inherent sensational contrast to create an arresting sense of ocular disturbance. Despite both colours being found in nature the image is decidedly synthetic. Crucially Warhol purposefully allows for the slight misalignment of the colourful underpainting and the overriding image, leading to a profoundly holographic quality at the points where the red and green meet, un-curtailed by the silkscreen print. Whilst the fowers appear eternally exuberant, their evident status as a manufactured image also illuminates the transience of the beauty expressed by nature. Flowers represent a profound visual shif from Warhol’s Death and Disaster images: here he ofers a more subtle memento mori, recalling the vanitas tradition that he would return to once again in his skull paintings of 1976.

Painted in the same year as Warhol debuted his provocative mural 13 Most Wanted Men at the New York World’s Fair, the renowned French author Jean Genet eloquently noted how Warhol was a master of expressing contrasts, whilst fnding cohesion in his choice of subjects: “There is a close relationship between fowers and convicts. The fragility and delicacy of the former are of the same nature as the brutal insensitivity of the latter” (Jean Genet quoted in, Eykyn Maclean, Andy Warhol Flowers, New York, 2012, p. 6). Between the partial pathos of the verdant green foliage and the unbridled passion of the red petals, it is in Flowers that Warhol artfully probes the unassailable paradoxes of life at a meeting point between concepts of beauty, transience and a fearful obsession with our own mortality.

邁爾斯及雪莉·菲特曼夫妻藝術收藏

在一片碧綠的草地上，四個鮮麗炫目的紅色花朵在方形畫布上浮現，每個都藉由單色攝影圖像的痕跡精心勾勒。安迪·沃荷（Andy Warhol）最具代表性的系列作品之一；《花》成為波普藝術史上的一個決定性之關鍵時刻，為藝術家的傑出範例。在描繪了「死亡」與「美」這兩大沃荷作品中最重要的主題之後不久，沃荷回到藝術史上靜物繪畫這一主題，將花的象徵意義歸列到他創作中使用的大量生產、名人以及來自新聞事件的悚人圖像等主題之中的一支。雖然《花》的系列也意味著沃荷在他當時開創不久的「工廠」中對大量生產技術的採用，這件作品在他的整個系列中卻是罕見的一幅。在藝術家的畫冊全集中所收錄的所有14英寸《花》的繪畫中，只有5件（包括這件作品）將對比鮮明的紅色和綠色進行了如此獨特生動的組合。此外，這件作品是所有14英寸的《花》之中僅有的簽署了為誰而作的2件作品之一。沃荷的這件作品是為收藏家邁爾斯及雪莉·菲特曼夫婦而作，他們於1964年在作品完成不久後，即將其購安珍藏，此畫一直保留在他們的收藏中。《花》因此代表了這對夫婦與沃荷之間長期的藝術贊助人與藝術家的關係，並證明了他們的收藏所具有的；無與倫比的歷史重要性以及他們作為收藏家的角色。

沃荷所使用的原照片中鳥瞰視角的標誌性構圖，以及他完美切割的方形，簡潔地去除了景深。正如藝術史學家尼娜·齊默（Nina Zimmer）所說：「沃荷將他的花簡化和改變到如此程度，以至於讓這個平凡的主題如今轉變成一個強大的圖像概念。隱去方向性的格式促成了這一點：圖像可以從任一方向去觀看；就像一幅抽象繪畫一樣，上下、左右，這些規則都不再成立。」（尼娜·齊默，展覽目錄，巴塞爾，巴塞爾美術館，《安迪·沃荷：1960年代早期繪畫1961-1964》，Ostfldern 2011年, 第177頁）大尺度地從原始圖像－一張來自《現代攝影》（Modern Photography）用來展示柯達的色彩處理的；七朵盛開的木槿花之彩色照片，從中分離開來，沃荷將原本著眼於攝影清晰度的圖像轉化成為以鮮麗的手繪為基礎的形式。正如他的助手Billy Linich後來回憶的：「他根本不希望它看起來像一張照片。他只是想要花朵的形狀，和基本輪廓」（Billy Linich，引自Tony Sherman與David Dalton，《波普：安迪·沃荷的天才》，紐約，2009年，第247頁）。在這件作品中，沃荷選擇了色環兩端的兩種顏色，利用它們固有的感官上之對比來創造一種引人注目的視覺干擾。儘管這兩種顏色都屬於自然色，但最終的成像卻明顯表現著人造感。至關重要的是，沃荷有意地讓層疊的底色與主導的圖像形成輕微的錯位，讓紅色與綠色相交處產生強烈之全息圖的質感，讓畫面不受絲網印刷的限制。

經歷了一整年的構思與創作，《花》被認為是沃荷在六十年代初的繪畫作品的巔峰之作；這是一個他通過對絲網印刷技術的使用對「再現」的歷史進行了革命性的改變之時期。1964年，沃荷開始遠離繪畫，由艾蕾諾· 沃德（Eleanor Ward）在史提波畫廊（Stable Gallery）雖然花朵看起來永遠也不會凋零，但它們作為被製造出來為他舉辦的前一個展覽正象徵著這一轉變，展覽中沃荷的圖像，明顯也指示著大自然所蘊含的美是稍縱即逝的。展出了一批商業運輸紙箱的立體複製品。然而，在他與著《花》代表了沃荷從「死亡」和「災難」主題的圖像上之巨大名的藝術經紀人李歐·卡斯特里（Leo Castelli）合作的視覺轉變：在這裏他用更為微妙的方式在講述「一切終第一個展覽中，也是在他短暫脫離繪畫媒介之前，沃荷將逝去」，指向他後來在1976年創作的骷髏頭主題繪畫中首次推出了他最具代表性的系列之一《 : 花》。徹底從他所詮釋的虛空派的傳統。與沃荷首次在紐約世界博覽會上早期作品中所大量使用的美國消費主義的圖像中轉移，亮相並引起爭議的壁畫《13個頭號通緝犯》創作於同一年，這個展覽立即獲得了成功，並因此隨後為巴黎的伊利安娜· 著名的法國作家雄辯地指出沃荷是一位創造對比的大師，索拿本德畫廊（Galerie Ileana Sonnabend）的展覽，同時也在他選擇的主題上找到一致性：「鮮花與罪犯之間以及第二次與卡斯特里的合作而創作了其他《花》系列有著密切的聯繫。前者的脆弱和精緻與後者的殘酷不仁作品。這件拍品正是來自那一批14英寸的《花》的繪畫。有著相同的性質」（讓·熱內，引自艾肯·麥克萊恩，《安迪· 作為卡斯特里的親密合作夥伴，明尼阿波利斯著名的畫廊沃荷的花》，紐約，2012年，第6頁）。在翠綠的枝葉之主Gordon Locksley不僅促成了邁爾斯及雪莉·菲特曼某種悲催與紅色花瓣奔放的激情之間，沃荷在《花》這件夫婦對這件作品的藏購，更是在那個時期將這對夫婦作品中巧妙地探究生命中無懈可擊的悖論；對美的概念、介紹給沃荷。在這件作品背後罕見的個性化簽名正說明了生命中的稍縱即逝，以及我們對自身生命的有限的極度這對著名的收藏家和當時冉冉升起的藝術明星之間深厚迷戀之間的交匯點。的友誼。

Andy Warhol, Gerard Malanga and Philip Fagan at the Silver Factory, New York, 1964 Photo by Ugo Mulas © Ugo Mulas Heirs. All Rights Reserved © 2019 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

安迪·沃荷, 杰拉德·馬蘭加及 1964年菲利普·法根在銀廠，紐約，

邁爾斯及雪莉·菲特曼夫妻藝術收藏

8. Roy Lichtenstein

1923-1997

Brushstroke Sculpture incised with the artist’s signature, number and date ‘3/6 rf Lichtenstein ‘81’ and stamped with the Tallix foundry mark on the base painted bronze 80 x 33 x 16.5 cm. (31 1/ 2 x 13 x 6 1/ 2 in.) Executed in 1981, this work is number 3 from an edition of 6. Provenance Thomas Segal Gallery, Boston Acquired from the above by the present owner Exhibited Madrid, Fundación Juan March, Roy Lichtenstein 1970-1980, 14 January – 20 March 1983 (another example exhibited) Mexico City, Instituto Nacional de Bellas Artes, Museo del Palacio de Bellas Artes; Museo de Arte Contemporáneo de Monterrey; Valencia, Instituto Valenciano de Arte Moderno; A Coruña, Fundación Pedro Barrié de la Maza; Lisbon, Centro Cultural de Belém, Roy Lichtenstein: Imágenes reconocibles: Escultura, pintura y gráfca / Roy Lichtenstein: Imagens Reconhecíveis, 9 July 1998 - 15 August 2000, n.p. (another example exhibited and illustrated on the front cover); then traveled as Washington D.C., The Corcoran Gallery of Art, Roy Lichtenstein: Sculpture & Drawings, 5 June - 30 September, 1999, 5 no. 88, p. 139 (another example illustrated and on the front cover) Literature Diane Waldman ed., Roy Lichtenstein, New York, 1993, p. 333 (another example illustrated)

HK$ 2,500,000-3,500,000 US$ 321,000-449,000

羅伊·李奇登斯坦《筆觸雕塑》上色銅 1981年作，共有6版，此為第3版。款識：3/6 rf Lichtenstein '81; Tallix (製造廠商標記) (印於底部) 來源波士頓，Thomas Segal 畫廊現藏者購自上述來源展覽馬德裡，胡安基金會，〈羅伊·李奇登斯坦 1970-1980〉， 1983年1月14日-3月20日（同系列他版作品）墨西哥城，國立美術學院，美術宮博物館; 蒙特裡當代藝術博物館；巴倫西亞，巴倫西亞現代藝術學院；科魯尼亞；佩德羅·巴裡埃·德拉馬扎基金會；里斯本，貝倫文化中心，〈羅伊·李奇登斯坦：可識別圖像：雕塑、繪畫和圖形〉/〈羅伊·李奇登斯坦：識別的圖像〉， 1998年7月9日-2000年8月15日，無頁數（同系列他版作品, 並刊登在封面上）之後展於華盛頓特區，科克倫美術館，〈羅伊·李奇登斯坦：雕塑與繪畫〉1999年6月5日-1999年 9月30日，圖版88，第139頁（同系列作品圖版；並刊登在封面上）出版 Diane Waldman 編，〈羅伊·李奇登斯坦〉，紐約， 1993年，第333頁 (同系列作品圖版)

邁爾斯及雪莉·菲特曼夫妻藝術收藏

As a seminal addition to the history of sculpture, Roy Lichtenstein’s defnitive bronze, Brushstroke Sculpture, 1981, provides the ultimate challenge of our ideas on representation and the stylistic paradigms to 20th century visual culture. As the very frst sculpture made by Lichtenstein on the brushstroke motif, the present work (from an edition of six) is testament to the prestige of the collection from which it originates, and the ability of its original owners – Miles and Shirley Fiterman – to acquire the most signifcant Pop Art pieces at the time of their production. In the present work the founding father of Pop Art employs his longstanding preoccupation with the mediation of images to a mesmerically confounding efect. Disrupting the traditional division between artistic mediums, Lichtenstein gives the art of painting three dimensional form. Executed in 1981, inaugurating an expansive series, Brushstroke Sculpture draws from the elegantly kitsch stylings of Lichtenstein’s iconic Brushstroke paintings of the mid 1960s. These groundbreaking paintings were based on cartoon-esque images of painted brushwork that Lichtenstein sourced from print media, forming a witty riposte to the supremacy of non-referential abstraction within the history of modern American painting. Further challenging the idea that painting in its purest form should refer solely to the act of painting itself, in Brushstroke Sculpture, Lichtenstein employs Duchampian strategies of dislocation and re-contextualisation, instead making a work of art that disrupts accepted defnitions of art itself.

Through his characteristic gloss of primary colours laid upon the classical medium of bronze, Lichtenstein narrows the gap between the avant-garde and popular culture; a schism that was expounded upon by post-war art critics such as Clement Greenberg and propagated by the Abstract Expressionist painters he championed in the early days of Lichtenstein’s career. As such, Brushstroke Sculpture represents the enduring centrality of pastiche as a visual tactic used by Lichtenstein as he constructed the radical parameters that defned Pop Art – the most important aesthetic and conceptual movement in the 20th century. A crucial paradox of Lichtenstein’s engagement with the brushstroke motif is that he portrayed the ultimate symbol of self expression in a style that seems to completely eface the presence of the author. Rather than showing the artist’s hand, he would defer representation to the ubiquitous and recognisable lexicon of graphic fction. Brushstroke with Spatter, 1966, in the collection of the Art Institute of Chicago, is a paradigmatic example of how Lichtenstein parodied the expressive mark-making and bravura application of paint that had long dominated American painting in the 1950s. Long revered as a spiritualistic embodiment of the creative moment, when Lichtenstein thematised the Brushstroke Sculpture in the mid 1960s he represented common gestures from action painting – the splatters of Jackson Pollock or the raw unblended marks of Willem de Kooning and Franz Kline – with the thick black outlines and block primary colours. In his distinctive comic book style, actual brushstrokes that composed images of brushstrokes remained invisible. As the artist noted, “Visible brushstrokes in a painting convey a sense of grand gesture. But, in my hands, the brushstroke becomes a depiction of a grand gesture. So the contradiction between what I’m portraying and how I am portraying it is sharp.” (Roy Lichtenstein, A Review of My work since 1961: a slide presentation, 1995, transcript online).

Roy Lichtenstein and Shirley Fiterman at the artist’s studio Photograph courtesy of authorized representatives of Shirley Fiterman

羅伊·李奇登斯坦與雪莉·菲特曼在藝術家工作室

Roy Lichtenstein Brushstroke with Spatter, 1966 Collection of Art Institute of Chicago © Estate of Roy Lichtenstein

羅伊·李奇登斯坦《筆觸與飛濺》1966年作芝加哥藝術學院收藏

‘Like Andy Warhol’s soup-cans, Lichtenstein’s brushstrokes were, clearly and at frst glance, generational icons.’ Dave Hickey

Whilst Lichtenstein engaged with diferent artistic styles and movements throughout his career, the present work comes from a period where he begins to re-engage with his own work, referencing past series. Created in 1981, the present work is the very frst time that Lichtenstein transfers his iconic brushstroke motif to the medium of sculpture, thus giving it greater monumentality as an icon of his own making. As noted by renowned art critic and historian Hal Foster, the work is the frst instance where “traditional bust meets abstract mannequin, Abstract Expressionist brushstroke meets cartoon sign of the same.” (Hal Foster, Roy Lichtenstein, Sculpture, New York and London, 2005). Lichtenstein constructs an elegant totem that annunciates a set of three brushstrokes in his characteristic bold black outlines and primary colours. A swirling vertical slick of white and blue supports a horizontal dash of ebullient yellow which in turn supports and vibrant red vertical swipe. Each is articulated as an image that holds a false sense of urgency, which is crucially at odds with the permanence of the medium.

Lichtenstein conjures an idea of quick-handed expression with his erratic lines, despite the classically symbolic material or bronze requiring consideration and planning in its execution. As a medium that has been utilised from ancient times to the present day, Lichtenstein initiates an instance in which bronze is not simply painted, but becomes a representation of paint. Whilst sculpture occupied a central position in Lichtenstein’s oeuvre from the frst time he cast a female fgure in glazed ceramic in 1965, crucially Brushstroke Sculpture plays with our expectations of sculpture as a plastic and three dimensional medium. When Lichtenstein began his career, minimalist artists such as Frank Stella and Ellsworth Kelly were making paintings that presented themselves as objects; by 1981, in Brushstroke Sculpture, Lichtenstein reverses this transcendental process with great humor, creating a beguiling object that presents an unconvincing image of itself as paint.

邁爾斯及雪莉·菲特曼夫妻藝術收藏

「就像安迪·沃荷（Andy Warhol）的罐頭濃湯一樣，李奇登斯坦（Lichtenstein）的筆觸明顯地一眼便知是屬於一個世代的標誌。」（大衛·霍克尼，〈筆觸〉，來自《筆觸：四十年》，紐約，2002年，第10頁）。作為名列雕塑史的一件重要作品，羅伊·李奇登斯坦創作於1981年的；具有定義性的銅雕作品《筆觸雕塑》，是讓我們對於「再現」這一概念在認知上的挑戰，並建立了 20世紀視覺文化在風格上的典範。作為李奇登斯以筆觸為主題所創作的第一件雕塑作品，這件創作（限量的六版之一）象徵著其原本所屬的收藏之聲望，也體現了它最初的所有者－邁爾斯及雪莉·菲特曼夫婦－在最重要的波普藝術作品一經問世便將其購入的能力。這位波普藝術的先驅長期專注於藉由圖像轉變，來達到引人思考的效果，並將此形式運用在這件作品的創作中。打破了傳統藝術與媒介之間的劃分，李奇登斯坦賦予了繪畫藝術三維的形式。完成於1981年，作為他延伸系列中首次推出的作品，《筆觸雕塑》源自李奇登斯坦1960年代標誌性的《筆觸》繪畫中通俗卻帶著優雅的風格。這些開創性繪畫作品基於李奇登斯坦對採集自印刷媒介的卡通式圖像所作的彩繪，是對非指涉性抽象所佔據主導地位的美國現代繪畫史所作出的一種詼諧的反思。進一步對繪畫最純粹的形式應單純指涉繪畫行為本身這個概念做出挑戰，在《筆觸雕塑》中，李奇登斯坦採用了杜尚式的錯位和語境重組的策略，創造出了一件對已成文的藝術進行破壞後的作品。通過將其典型的原色亮光漆上色於銅這一經典材質上，李奇登斯坦縮小了前衛與流行文化之間的距離；如克萊門特·格林伯格（Clement Greenberg）等戰後藝術評論家所闡釋的，以及在李奇登斯坦的職業生涯早期由他所倡導的抽象表現主義畫家所應大力提倡的變革。因此，《筆觸雕塑》延續了藝術家將影像複製作為其視覺策略主軸的一致性。李奇登斯坦的美學概念，建立了深遠的影響力，為將波普藝術推上20世紀藝術史重要章節的主力之一。李奇登斯坦在筆觸這一主題上的一個關鍵悖論在於，他以一種近乎將作者的跡象完全抹去的風格；描繪了自我表達的終極象徵。作品上沒有創作者的存在感，藝術家展現的是無處不在的、高辨識度之圖像敘事。以芝加哥藝術學院收藏；創作於1966年的作品《潑濺的筆觸》（Brushstroke with Spatter），作為一個典型範例，展示了李奇登斯坦如何詼諧模仿了主導1950年代美國繪畫製圖的表現力和對顏料的出色使用。長期以來，作為創作時刻的精神主義體現，當李奇登斯坦在1960年代中期將《筆觸》主題化的時候，他已然代表了行動繪畫的常見手勢－傑克遜· 波洛克（Jackson Pollock）的潑濺或威廉·德·庫寧（Willem de Kooning）與弗朗茨·克萊恩（Franz Kline）的即興和肆意－厚重的黑色輪廓與大片原色的使用。

在他獨特的漫畫式風格中，由實際筆觸所構成的痕跡的圖像是看不見的。正如藝術家所指出的那樣：「在一幅畫中可見的筆觸傳遞了一種宏大的姿態。然而，在我的手中，筆觸成為一種對宏偉姿態的描繪。因此，我所描繪的與我描繪它的方式之間的矛盾是尖銳的。」（羅伊· 李奇登斯坦，《我自1961年以來的作品回顧：幻燈片演示》，1995年，網路文章）。雖然李奇登斯坦在其整個職業生涯中參與了不同的藝術風格和運動，但這件作品源自於他開始重新審視自己的作品，參考過去的系列創作。這件作於1981年的作品是李奇登斯坦首次將其標誌性的筆觸主題轉移到雕塑的媒介上，讓它成為其個人創作的標誌，從而賦予它更深刻的存在性。正如著名藝術評論家和歷史學家霍爾·福斯特（Hal Foster）所指出的那樣，這件作品是「傳統的半身像對上抽像型體，抽象表現主義筆觸融合相同的卡通標誌」的首次結合。（霍爾·福斯特，《羅伊·李奇登斯坦，雕塑》，紐約和倫敦，2005年）李奇登斯坦構建了一個優雅的圖騰，以其特有的大膽的黑色輪廓和原色來展現三個筆觸的組成。垂直面上旋轉、光滑的白色和藍色部分支撐著水平面上洋溢著的黃色部分，而這黃色部分反過來再支撐著垂直面上鮮亮的紅色條型。雕塑的每一部分都帶著特意展現的緊迫感，與媒介本身的永久性形成強烈的反差。銅這一經典的穩重材質，常需要費時在其規劃和製作，李奇登斯坦卻以不規則的線條喚起了一種速度感。作為一種從古至今都被使用的媒介，李奇登斯坦卻於銅雕上再現了繪畫。雖然從李奇登斯坦於1965年第一次在釉面陶瓷中塑造了一個女性形象開始，雕塑就在他的作品中佔據了重要地位，至關重要的是，《筆觸雕塑》挑逗著對我們對雕塑作為一種可塑的三維媒介的期望。當李奇登斯坦開始他的職業生涯時，像弗蘭克·斯特拉（Frank Stella）和艾爾斯沃茲·凱利（Ellsworth Kelly）等極簡主義藝術家正在創作以物體的形式出現的繪畫作品；到了 1981年，在《筆觸雕塑》中，李奇登斯坦以極其幽默的方式將這種超凡的處理倒了過來，創造了一件以難以置信的顏料的形象出現的迷人的物體。

邁爾斯及雪莉·菲特曼夫妻藝術收藏

9. Roy Lichtenstein

1923-1997

Head signed and dated ‘© rf Lichtenstein ‘86’ on the reverse oil and Magna on canvas 228.6 x 152.4 cm. (90 x 60 in.) Executed in 1986. Provenance The Mayor Gallery, London Acquired from the above by the present owner Exhibited West Palm Beach, Norton Museum of Art, April 1997 (on extended loan)

羅伊·李奇登斯坦《頭像》油畫麥格納顏料畫布 1986年作款識：© rf Lichtenstein ‘86 (畫背) 來源倫敦，The Mayor 畫廊現藏者購自上述來源展覽西棕櫚灘，諾頓藝術博物館，1997年4月 (長期借展)

HK$ 22,000,000-35,000,000 US$ 2,820,000-4,490,000

邁爾斯及雪莉·菲特曼夫妻藝術收藏

Painted in 1986, Roy Lichtenstein’s monumental work Head represents the sum of a prodigious career dedicated to interrogating the history of painting whilst melding the aesthetic tendencies of popular culture and fne art. The present work belongs to an important group of abstract portraits from the same year, each composed through the layering of seemingly conficting painterly styles. Here Lichtenstein abolishes the divisions between abstraction and representation that underpinned critical discussions surrounding the medium within the 20th century. The artist provides a thorough history of mark-making, but also a succinct summary of the vast scope of art historical references that he has mastered within his own career. When the work was executed the artist had spent almost three decades reimagining a plethora of artistic styles through the lens of his bold, comic-book aesthetic. Considering Futurist and Art Deco aesthetics respectively, Horse and Rider, 1976, and Modern Painting, 1967 are two examples that recall artistic movements, both coming from the prestigious Fiterman Collection that has housed the present work for the past three decades. Head reorientates Lichtenstein’s long-standing “hands-of” engagement with Abstract Expressionism and takes a newly tactile appraisal of the signifcance of the brushstroke.

邁爾斯及雪莉·菲特曼夫妻藝術收藏

Lichtenstein will be forever immortalised within the annals of art history for his re-appropriation of comic book imagery and the aesthetics of industrial printing through the medium of paint. In the mid 1960s Lichtenstein would turn his unique Pop eye to focus on the very foundations of painting and the act of mark making itself in his Brushstroke series. In Little Big Painting, 1965, in the collection of the Whitney Museum of American Art, New York he attentively illustrates the physical qualities of brushstrokes at an exaggerated scale. Typical to the playfully sardonic edge that defned Pop Art, the motif was actually taken from a printed source: the comic book story entitled The Painting, printed in Strange Suspense Stories in October 1964. In this seemingly irreverent act – copying from widely available imagery rather than painting from life or emotion – Lichtenstein wittily debunked the spiritual aura of the brushstroke as enshrined by his Abstract Expressionist forebears who had dominated the New York art scene prior to his arrival. As the artist surmised: “It’s taking something that originally was supposed to mean immediacy and I’m tediously drawing something that looks like a brushstroke… I want it to look as though it were painstaking.

It’s a picture of a picture and it’s a misconstrued picture of a picture” (Roy Lichtenstein, quoted in James Rondeau and Sheena Wagstaf, Roy Lichtenstein, New Haven & London, 2012, p. 50) Painted two decades later, in Head Lichtenstein makes a far more explicit reference to Abstract Expressionist gestures. Displaying some of the loosest brushwork within his oeuvre, at the margins of the frame and as a central component of the face motif, Lichtenstein provides a visceral account of raw paint being drawn across the canvas with expressive abandon. At the same time, these gestures are immediately parodied by contrastingly illustrative versions of themselves. A set of clearly delineated block-colour forms to the right are reminiscent of the Brushstroke paintings. Finally, further allusions to the foundation of Pop Art are made through the background presence of the exaggerated Ben-Day dot motif; their mechanical regularity and allusions to commercial printing act as a patterned riposte to the sweeping swathes of unblended pigment.

Roy Lichtenstein Little Big Painting, 1965 Collection of Whitney Museum of American Art © Estate of Roy Lichtenstein

羅伊·李奇登斯坦《小小的大畫》1965年作紐約，惠特尼美國藝術博物館收藏

右: 巴布羅·畢加索《哭泣的女人》1937年作倫敦，泰特博物館收藏

1983 was also the year that Lichtenstein designed his important poster Against Apartheid to protest the ongoing human rights violations in South Africa. In this iconic image, Lichtenstein makes diferent styles of brushstroke his subject. Images of painted lines in his characteristic cartoon style harmonise with traces of raw paint drawn over the image surface to create an exuberant symphony where each component supports the aesthetic weight of the other – a metaphor for the peaceful societal coexistence. In Head we are drawn into the same game of meta-referencing. Lichtenstein recalls his long-standing relationship with the mediated image to confuse the relationship between what is ‘original’ and what is copied. Whilst the basis of the right hand side seems grounded in simplifed forms reminiscent of the 60s Brushstroke paintings, their cartoon illusionism is disrupted by luscious, feshy pinks that recall the oversized mark-making of Willem de Kooning. The methods of signifcation are further challenged by the face motif itself. Lips and eyes appear to be conjured in a mixture of styles; they represent human facial features but can equally be read purely as brush strokes. From early on in his career Lichtenstein was quick to acknowledge his work in relation to Abstract Expressionism’s overriding tendency towards “grounddirectedness” where “You put something down, react to it, put something else down, and the painting itself becomes a symbol of this.” (Roy Lichtenstein in What is Pop Art? Interviews with eight painters, G. R. Swenson, Art News 67, November 1963, pp. 25-27)

But whilst Lichtenstein would admit that the referential propensities of Pop Art ofered a more “object directed” approach, he was also quick to highlight the union between his work and the abstractions of the New York school: “There is humor here. The work is still grounddirected; the fact that it’s an eyebrow or an almost direct copy of something is unimportant. The grounddirectedness is in the painter’s mind and not immediately apparent in the painting.” (Roy Lichtenstein, Ibid.) In the present work the iconic Ben-Day dots are employed as a decorative pattern rather than a component of a visual narrative. Head thus expresses Lichtenstein’s fundamental belief that, despite the elements of popular culture it might refer to, his art is equally a formal exercise that examines the abstract components of a composition through the application of paint to canvas. As noted by his wife Dorothy Lichtenstein, “Roy viewed all of his paintings as abstract lines and marks on canvas, no matter what they looked like.” (Dorothy Lichtenstein in exhibition catalogue, Lichtenstein: Modern Painting by Dave Hickey, New York: Richard Gray Gallery, 2010, p. 5) Referring obliquely to the naive abstract portraits of Picasso, Lichtenstein constructs Head in two distinct halves, dissected vertically: a freehanded vertical swatch of brown pigment is contrasted with the mechanically regulated pattern of the Ben-Day dots. Successfully bringing together free wielding artistic abstraction with the aesthetics of commercial printing, in Head Lichtenstein proves that not only is it possible for these styles to harmoniously coexist, but they can also work together to create a new vision of humanity.

邁爾斯及雪莉·菲特曼夫妻藝術收藏

羅伊·李奇登斯坦（Roy Lichtenstein）於1986年繪製的偉大作品《頭像》（Head），代表了他在致力於審視繪畫史的過程中，融合了流行文化和藝術這兩者的審美傾向的龐大之專業藝術生涯的歸總。這件作品來自一組創作於同一年的重要抽象肖像畫，其中每一件都以看似相互矛盾的繪畫風格層疊而構成。在這裡，李奇登斯坦破除了抽象和支撐著20世紀圍繞著該媒介的所有批判性討論的再現之間的分離。藝術家展示了一個全面的圖像符號史，同時也是對他自己的創作生涯中所掌握的大量藝術史參考資料的簡潔總結。在創作這件作品時，藝術家已經花了將近三十年的時間，通過大膽的漫畫式美學視角重新築構了其主要的藝術風格。分別以未來主義（Futurist）和裝飾風藝術（Art Deco）美學為例，1976年的《馬與騎手》（Horse and Rider）和1967年的《現代繪畫》（Modern Painting）分別指涉了兩個藝術運動，這兩件作品均來自著名的菲特曼收藏，而本次的拍品在過去三十年裡也一直為該收藏所有。《頭像》重新定位了李奇登斯坦長期以來與抽象表現主義繪畫的「放手」式的參與，並對筆觸的重要性進行了新的觸覺評估。李奇登斯坦以他對漫畫圖像的重新挪用，及他將工業印刷美學在繪畫中的運用而在藝術史上留名。在1960年代中期，李奇登斯坦在他的《筆觸》系列中將他的「波普」視角轉向對繪畫的基礎和形狀符號繪畫行為本身的關注。在紐約惠特尼美國藝術博物館（the Whitney Museum of American Art）收藏的創作於1965年的《小小的大畫》（Little Big Painting）中，他以誇張的尺度專注地展示了筆觸的物理特質。有著定義波普藝術的典型詼諧諷刺特質，作品的主題取自一件印刷品：來自印刷於 1964年10月的《奇異懸疑故事》（Strange Suspense Stories）中的一個名為《繪畫》的漫畫故事。在這種看似不恭的行為中 - 從大眾圖像中復製而不是從生活或情感中汲取靈感 - 李奇登斯坦巧妙地諷刺了那些在他之前佔據著紐約藝術界主導地位的抽象表現主義藝術家們；所被人追捧的筆觸精神之光環。正如藝術家所猜測的那樣：「採取原本應該意味著即時性的東西，而我卻很乏味地在那畫一些看起來像筆觸的東西......我希望它看起來好像很辛苦。這是根據一張圖片所作的繪畫，這是對一張圖片曲解後的繪畫」（羅伊·李奇登斯坦，引自詹姆斯· 蘭多（James Rondeau）和西娜·瓦格斯塔夫（Sheena Wagstaff），《羅伊·李奇登斯坦》，紐黑文和倫敦， 2012年，第50頁）。二十年後，李奇登斯坦在《頭像》這件作品中對抽象表現主義風格做出了更明確的指涉。這件作品中有著藝術家畢生創作中最為寬鬆的一些筆觸，在畫框的邊緣和作為面部圖案的中心組成部分，李奇登斯坦用顏料以充滿表現性的張力，進行本能的描繪。同時，這些筆勢又立即被與它們有著對比表現的自身版本所效仿。右側的一組清晰勾勒的色塊形狀讓人立即想到藝術家的《筆觸》繪畫。

最後，通過誇張的「班戴點」（Ben-Day dot）背景之圖案，進一步影射了波普藝術的基礎；它們的機械規律性和對商業印刷的暗示則充當了對大片未混合顏料所作出的圖案化反駁。 1983年也是李奇登斯坦為抗議南非持續存在的侵犯人權行為而設計了他的重要海報作品《反對種族隔離》（Against Apartheid）的一年。在這一標誌性的圖像中，李奇登斯坦用不同風格的筆觸來描繪作品中之主題。以其獨特的卡通風格描繪的線條圖像與橫跨圖像表層的原顏料之痕跡相互協調作用，創造出一曲活力四射的交響樂，而其中的每個組成部分相互支持著各自的美學重量 - 隱喻著一個和平共存的社會。在《頭像》中，我們被吸引進同一個元參考遊戲之中。李奇登斯坦回憶起他與所挪用的圖像之間長期存在的關係，模糊了所謂的「原創」與復制之間的連結。雖然作品右側的構成似乎是以簡化的形式為基礎，讓人聯想到60年代的《筆觸》繪畫，但是它們的卡通化則被嬌豔的粉肉色所干擾，讓人聯想起威廉·德·庫寧（Willem de Kooning）的超大型符號。創造意義的方法進一步被面部的圖案本身所挑戰。嘴唇和眼睛以混合的風格出現；它們代表了人類的面部特徵，但同樣也可以純粹作為筆觸來解讀。從他職業生涯的早期開始，李奇登斯坦便迅速承認他的作品與抽象表現主義中的「底子指向性」（grounddirectedness）的壓倒性傾向之間的關係，「你畫下一些東西，對之作出反應，再畫下一些別的東西，於是繪畫自身就變成了這樣一個符號。」（羅伊·李奇登斯坦，摘自《什麼是波普藝術？與八位畫家的訪談》，G.R.斯文森，藝術新聞67，1963年11月，第25-27頁）但是儘管李奇登斯坦承認波普藝術的參照傾向倡導為「物件指向性」（object directed）的方法，他同樣迅速地強調了他的作品與紐約學派的抽象之間的結合：「這裏有著幽默感。作品仍舊是底子指向的；這是一條眉毛也好，或者是什麼東西的幾乎直接複製也好，都不重要。底子指向性存在於畫家的腦子裡而不是在繪畫中立即顯現出來。」（羅伊·李奇登斯坦，引自同上）在這件作品中，「班戴點」（Ben-Day dots）被用作裝飾圖案而不是視覺敘事的組成部分。因此，《頭像》表達了李奇登斯坦的基本信念，即使它可能指涉了流行文化中的元素，他的藝術同樣是一種形式上的實踐，通過將顏料應用於畫布上去審視構圖的抽象組成。正如他的妻子多蘿西·李奇登斯坦（Dorothy Lichtenstein）所指出的那樣，「羅伊將他的所有畫作視為畫布上的抽象線條和標記，無論它們看起來如何。」（多蘿西·李奇登斯坦在展覽畫冊中，《李奇登斯坦：現代繪畫》，戴夫·希基（Dave Hickey），紐約：Richard Gray 畫廊，2010年，第5頁）間接引用畢加索（Picasso）稚拙的抽象肖像畫作，李奇登斯坦將《頭像》用鮮明的兩側各半垂直解剖架構而成：徒手而繪的一片垂直棕色顏料與班戴點的機械規劃圖案形成對比。成功地將自由揮舞的藝術抽象與商業印刷美學結合在一起，李奇登斯坦在《頭像》這件作品中證明，這些風格不僅可以和諧地共存，而且它們還可以共同創造人類的新視野。

邁爾斯及雪莉·菲特曼夫妻藝術收藏

10. Fernando Botero

b. 1932

Niña incised with the artist’s signature and numbered ‘Botero, E.A. 2/2’ and stamped with the foundry mark on the top of the base bronze with dark brown patina 106.7 x 61 x 40.6 cm. (42 x 24 x 15 7/8 in.) Executed in 1981, this work is artist’s proof number 2 from an edition of 6 plus 2 artist's proofs. Provenance Marlborough Gallery, New York Acquired from the above by the present owner Literature Jean-Clarence Lambert, Botero Sculptures, Bogotá, 1998, no. 58, n.p. (another example illustrated)

費爾南多·博特羅《女孩》銅深色銅綠 1981年作，共有6版及2版藝術家試作版，此為第2藝術家試作版。款識：Botero E.A 2/2; 制造廠的標記 (印於底部) 來源紐約，Marlborough 畫廊現藏者購自上述來源出版 Jean-Clarence Lambert著，〈博特羅雕塑〉，波哥大，1998年，編號58, 無頁數（同系列作品圖版）

HK$ 2,500,000-3,500,000 US$ 321,000-449,000

邁爾斯及雪莉·菲特曼夫妻藝術收藏

Standing just shy of four feet tall, Fernando Botero’s Niña has been rendered on an incredibly human scale. She has a patina that introduces a heightened sensuality, a tactile efect that is only heightened by the sof undulating forms with which she has been captured— be it her body, her hair or her dress. Niña was executed in 1981, only a few years afer Botero had begun to pay increasing attention to the medium of sculpture, rather than the paintings for which he was formerly better known. The plastic arts are particularly suited to the swollen forms of Botero’s fgures, and this has resulted in their incredible popularity—they have been shown not only in galleries and museums, but also in town centres as diverse as Paris, Florence and Jerusalem. Although Botero had experimented with sculpture as early as 1963, it was afer his 1973 move to Paris that he had truly begun to explore the medium. Indeed, half a decade before Niña was created, in 1976-77, he essentially abandoned painting in favour of sculpture. In 1983, only two years afer Niña was created, Botero’s love of sculpture would even lead him to acquire properties in Pietrasanta, next to one of the famous quarries whose marble was used by Michelangelo. This reveals the way in which Botero’s works are underpinned by a conscious communion with the Old Masters of Renaissance Italy. It was, afer all, during his time in Florence in the 1950s that he had begun to consolidate his style, abandoning the freworks of conspicuously and self-consciously avant garde painting in order to create works that conveyed a sense of form, volume and fgure. Shortly aferwards, Botero moved to New York. It was at this time at the end of the 1950s that Botero would begin to explore the theme of the Niña, painting pictures of lone female fgures, ofen with large heads. While some of these would feature a freedom of brushwork that would soon be abandoned, the Niña paintings nonetheless were a crucial step in Botero’s development. Crucially, they also played a key part in his international recognition: it was thanks to the intervention of the legendary curator Dorothy Miller that his Mona Lisa at the Age of 12 of 1959 would be acquired by the Museum of Modern Art, New York.

It was in the mid-1950s that Botero had begun to see the artistic potential of disrupting the sense of scale of the recognisable world. This had initially come about when he had been painting a still life of a mandolin: he had realised that, by shrinking the size of the aperture in the instrument’s surface, he tampered with its entire sense of size. He lent it a new, distorted monumentality. Soon aferwards, he began to explore this in a number of other subject matters, and it has become a hallmark of his work, recognised internationally. As Botero pointed out to Time Out Shanghai in 2016, it is not only in pictures of the female form that he exploits the potential of scale through these enlargements: “some people think that I paint fat women. But if you see, everything I do is volumetric: if I do a landscape, a still life, a fruit, a bottle, a horse, a tree, everything is volumetric. And it doesn’t have anything to do with fatness. It has to do with a certain conception of sensuality in art: I am convinced that painting must be generous, sensual, voluptuous, and I discovered a way to express this sensuality magnifying forms and volumes. You see, it is not a comment about fatness or thinness; it is the refection of a certain way to conceive beauty in art.” (Botero, quoted in J. Newby, ‘Interview: Fernando Botero’, Time Out Shanghai, 25 February 2016, reproduced online)

Fernando Botero Mona Lisa, Age Twelve, 1959 Collection of MoMa, New York © Image Scala Archives © Fernando Botero

費爾南多·博特羅《12歲的蒙娜麗莎》1959年作紐約, 現代藝術博物館收藏

‘Now, of course, the language that you use to express the subject matter must be universal: the composition, the colour, the balance, etc. In this sense, subject must be local, but the language must be universal, in order to touch any human being in the world.’ Fernando Botero

The subject matter of Niña appears linked less to the tradition of the Old Masters than to Botero’s own background in Colombia. There is an engaging innocence and modesty to this fgure. She appears vulnerable despite—or perhaps even because of—her exaggerated mass. This sense of naïveté links her to Botero’s own youth: his memories of his early years in Medellín have long remained a vital touchstone for the artist. Looking at the simplifed dress that Niña is wearing, it becomes clear that she is not a character from the early 1980s, but from some period further in the past, an idealised age seen very deliberately through rose-tinted glasses. She combines nostalgia with timelessness. In so doing, she manages to achieve the universality that Botero seeks in his work. “My subject matter is Colombia and it has always been Colombia,” he has stated. “I lived many years in New York, in Paris, and I have never had the feeling to paint an American or a French subject matter. The thing is that the art - and the artist - must have roots in his own land, in his own life: my life is in Colombia, and my land is Colombia.” (Botero, quoted in ibid.)

邁爾斯及雪莉·菲特曼夫妻藝術收藏

費爾南多·博特羅的《女孩》僅4英尺高，然而其呈現的驚人神韻卻與真人無二。她的身上充滿了極度性感的光澤，柔軟而起伏的形態使她的神韵彷彿讓人觸手可及—不管是她的體態、頭髮，又或者是身著的連衣裙。《女孩》創作於1981年，僅在博特羅越來越多地開始關注雕塑這一媒介的幾年之後，而在此之前博特羅更被人所熟知的是他的繪畫作品。雕塑這一媒介尤其適合用來創造博特羅作品中的脹鼓鼓的人物造型，並且受到人們超出想像的喜愛和追捧—它們不僅在畫廊和美術館中展出，而且也在巴黎、弗羅倫斯，以及耶路撒冷等不同城市中心被展出。

在20世紀50年代中期，博特羅開始意識到對可辨識世界中的尺寸感被打亂所具有的；藝術上的潛力。這最初是在他繪製曼陀林的靜物畫時所發現的：他意識到，通過縮小樂器表面光圈的大小，他改變了其整體尺寸感。他賦予了它一個全新的、變形後的不朽性質。不久之後，他開始在其他一些主題中對此進行探討，並且讓此成為他作品的標誌，得到國際上的認可。正如博特羅2016年在《Time Out上海》的採訪中指出，他不僅是在對女性形象的繪畫中通過擴大的方式來開發尺寸的潛力：

儘管博特羅早在1963年就曾嘗試過雕塑創作，但是在他1973年移居巴黎之後，才真正開始探索這一媒介。事實上，在創作《女孩》的五年之前，即1976年至 1977年間，他基本上放棄了繪畫，轉而進行雕塑創作。 1983年，也就是創作完成《女孩》僅兩年後，博特羅對雕塑的熱愛甚至促使他在皮耶特拉桑塔（Pietrasanta）購置房產，而旁邊就是出產米開朗基羅曾用來創作的大理石著名採石場。

「有些人認為我畫胖女人。但你仔細看，我做的所有東西都是大的：如果我創作一幅風景、一張靜物、一個水果、一個瓶子、一匹馬、一棵樹，一切都是大的。這跟肥胖沒有任何關係。它與藝術中的某種感官概念有關：我確信繪畫必須是豐富的、感官的、性感的，而我找到了一種通過將形態和體量放大化來表達這種感官性的方法。你看，它不是對肥或瘦的表達；它反映了在藝術中對美的構思之某一種方式。」（博特羅，引自J. Newby，《採訪：費爾南多·博特羅》，Time Out 上海，2016年 2月25日）

這顯示了博特羅的作品與意大利文藝復興時期的大師們的作品有著意識上之對話。畢竟，他在20世紀50年代在佛羅倫薩的時候，開始進一步鞏固自己的風格，放棄了前衛繪畫的炫耀性和刻意性，以求創作能夠傳遞形式、體量，和體態的作品。不久之後，博特羅移居紐約。正是在20世紀50年代末，博特羅才開始探索「小女孩」這一主題，繪畫獨自一人的、通常有著較大頭部的女性形象。儘管其中一些帶有很快又被藝術家所摒棄的自由筆觸，但這些「小女孩」畫作依然是博特羅藝術發展中的關鍵一步。至關重要的是，它們在他獲得國際上的認可也發揮了關鍵的作用：正是由於傳奇策展人多蘿西·米勒（Dorothy Miller），他在1959年創作的作品《12歲的蒙娜麗莎》（Mona Lisa at the Age of 12）後來被紐約現代藝術博物館所收藏。

《女孩》的主題似乎與古典大師傳統之間的聯繫要比博特羅出身於哥倫比亞背景之間的聯繫相對要少。這個人物身上帶有一種天真無邪的氣息和謙虛的姿態。儘管 - 又或者甚至是因為她被誇張化的體積，讓她看起來顯得脆弱。這種天真感源自博特羅自己的青年時期：他對家鄉麥德林（Medellín）的早年記憶長期以來一直都是藝術家重要的試金石。從《女孩》穿著的簡約連衣裙可以明顯看出，她不是來自20世紀80年代早期的人物，而是來自更早的某個時期，一個非常刻意地透過玫瑰色眼鏡才看到的理想化的時代。她是懷舊與永恆的結合體。帶著這樣的氣質，她達到了博特羅在作品中所追求的普遍性。他說：「我的主題是哥倫比亞，而且一直以來都是哥倫比亞。」「我在巴黎和紐約生活了很多年，但我從未有過要畫美國或法國主題的感覺。關鍵是藝術 - 和藝術家 - 必須在他自己的土地上、在他自己的生活中紮根：我的生活在哥倫比亞，我的土地是哥倫比亞。當然，現在，用來表達主題的語言必須具有普遍性：構圖、色彩、平衡等等。從這個意義上說，主題必須具有本地性，但所用的語言必須具有普遍性，才能去感動世界上的任何一個人。」（博特羅，引自同上）

11. Léonard Tsuguharu Foujita

1886–1968

Femme Pensive signed and dated ‘Tsuguharu [in Kanji] Foujita 1928’ lower right oil on canvas 38 x 45 cm. (14 7/8 x 17 3/4 in.) Painted in 1928, this work is accompanied by a certifcate of authenticity issued by Sylvie Buisson. Provenance Private Collection, France Crédit Municipal de Paris, Paris Artcurial, Paris, 5 December 2005, lot 21 Private Collection, Switzerland Acquired from the above by the present owner Literature Sylvie and Dominique Buisson, Léonard-Tsuguharu Foujita: Volume 2, Paris, 1987, no. 28.195, p. 273 (illustrated)

藤田嗣治《沉思美人》油畫畫布 1928年作，並附Sylvie Buisson所發之保證書。款識：嗣治 Foujita 1928（右下）來源法國私人收藏巴黎市立典當銀行收藏巴黎，Artcurial, 2005年12月5日，拍品編號21 瑞士私人收藏現藏者購自上述來源出版 Sylvie 與 Dominique Buisson 著，〈藤田嗣治：第2集〉，巴黎，1987年，作品全集編號28.195，第273頁 (圖版)

HK$ 2,500,000-3,500,000 US$ 321,000-449,000

‘I was raised in Japan, but my painting grew up in France.’ Léonard-Tsuguharu Foujita

Léonard Tsuguharu Foujita was one of the most famous Japanese artists working in the West during the 20th Century, whose hypnotic, iridescent paintings were fêted by Western and Eastern collectors alike and eagerly collected by contemporaries such as Pablo Picasso. Landing in Paris on the eve of the First World War, Foujita – who as a boy took French lessons and dreamed of moving to France – threw himself into Montparnasse’s bohemian life, befriending the School of Paris set’s most prominent avant-garde artists of the day including Henri Matisse and Amedeo Modigliani (as well as the aforementioned Picasso), and sleeping only a few hours a night in order to devote all possible waking hours to his art. “I was raised in Japan, but my painting grew up in France”, said Foujita of his work (Foujita in M. Guillemot & J. Doherty, trans., Foujita: Paroles d’artiste, Lyon, 2018, p. 42). His hybrid of Eastern and Western subjects and techniques captivated the Parisian imagination, and his frst solo exhibition in 1917 sold out instantly. Picasso, one of the frst visitors, reportedly lef with as many works as he could aford. His dealer, who also represented Modigliani and Chaïm Soutine, asked him to produce two works a day to meet demand. Together with his fair for dramatic appearances, Foujita became so well-known in Paris that ‘Foujita’ mannequins (complete with his trademark bangs, gold hooped earrings and thick, round tortoiseshell eyeglasses) were used to sell clothes in department store windows. In 1921, Foujita became involved with Lucie Badoud, a Frenchwoman with skin so enchantingly white that he re-christened her ‘Youki’ – ‘snow’ in Japanese. “I have fallen in love with a lovely, lovely beauty of almost twenty, and she also loves me,” he wrote to a friend (Hiraoka Genpachirō, “Fujita Tsuguharu-shi no tegami”, Kokumin bijutsu, December 1923). Foujita’s next request was that she pose for a large nude painting for him. Thus began the period when Foujita produced some of his most iconic and sensuous works. His models numbered over 3000 – amongst them his lovers, close friends, acquaintances from his favourite hangouts La Rotonde and Le Dôme, and some even plucked from the streets of Montparnasse.

Femme Pensive, whose subject has never been defnitively identifed (indeed, Foujita’s nudes were drawn partly from life, and sometimes partly from his imagination), conceivably pays homage to some of Foujita’s most cherished muses. It is both an intimate portrait which shimmers with passion and tenderness, and a frank admiration of the female body, sensuous and milkywhite against an undulating, snowy background. Whilst comparisons can be drawn with other portraits (for example, the limpid blue eyes and wavy copper-toned hair of Foujita’s 1927 painting Nu, Youki, and the distinctive nose and almond-shaped eyes of Nu allongé, Madeleine (1931), the silken folds of the backdrop form a halo around the model’s head and body, transforming her into a goddess from another world. Her gaze, neither coy nor passive, rests directly upon the viewer, and the canvas vibrates with unspoken tension. Although he thoroughly embraced the artistic freedom of Paris, Foujita repeatedly counseled his fellow Japanese artists to remember their heritage in order to avoid slavish imitation in their art. Indeed, whilst the trend amongst many of his Parisian contemporaries was to pile on bold clashing paints thickly and wildly, Foujita used a very thin Japanese writing brush to create the black sumi ink-like lines of his subjects, and relied on his signature delicate milky white glaze – what he called the grand fond blanc - to breathe life into them. This white, luminous ground seemingly gave his subjects fesh of radiant ivory, and its exact recipe (a blend of faxseed oil, crushed chalk or white lead, and magnesium silicate – a formula virtually unheard of in the West) was carefully guarded by Foujita. It was a bold and original choice. Despite his uncompromising portraits, which spurned the modest portrayals of women in traditional Japanese art, Foujita never strayed far from his Japanese aesthetic roots, in particular the traditional Japanese concept of ma, or the consciousness of empty space. He sought to capture the essence of his model within a few smooth, supple lines, refning his drawings in several iterations before transferring them to canvas. It is this uncompromising and unconventional vision that built Foujita’s enduring reputation and legacy both in the East and the West. 2018, the ffieth anniversary of his passing, was commemorated with a retrospective at the Musée Maillol in Paris and a travelling exhibition at the Tokyo Metropolitan Art Museum and the National Museum of Modern Art in Kyoto.

藤田嗣治可以說是20世紀在西方發展的日本藝術家中最知名的，其攝人心魂、流光異彩的繪畫作品受到東西方收藏家所追捧，並被畢加索等同時代的藝術家所熱切收藏。在幼年起便學習法文並夢想移居法國的藤田，從在一次世界大戰前抵達巴黎開始，就將自己全身心地投入到蒙帕納斯的波希米亞式的生活中，並結交了如亨利·馬蒂斯、阿米地奥·莫迪里阿尼（以及前面提到的畢加索）等當時巴黎畫派最傑出的前衛藝術家們。他每晚僅睡幾個小時，將其時間儘可能地投入到藝術創作中去。「我生長於日本，但我的畫成長於法國」，藤田如此描述自己的作品（Foujita in M. Guillemot & J. Doherty, trans.,〈藤田: 藝術家的話語〉, 里昂, 2018, p. 42）。他作品中具有的特殊東方與西方混合的主題和技巧牢牢捕捉了巴黎人的想像力，而他1917年的首次個展便立即一售而空。畢加索，作為展覽的第一位參觀者，據說在離開時傾其所有地購買了多件作品。而同時代理莫迪里阿尼、柴姆·蘇丁與藤田嗣治的經紀人甚至要求他每日要畫兩張作品，以滿足藏家們的購買慾望。憑藉他充滿戲劇性的個人形象，藤田在巴黎聲名鵲起，甚至以他的形象而製作的「藤田」人體模特（配有他的標誌性瀏海、金色環形耳環，以及厚厚的圓形玳瑁眼鏡）都被用來作為巴黎各大百貨櫥窗的服裝陳列。 1921年，藤田結識了法國女子露西·芭杜（Lucie Badoud），且因其肌膚如冰雪般迷人、潔白而將她喚作「小雪」（Youki）－日語中意為「雪」。「我愛上了一個如此可愛的、年方二十的美人，她也愛我」，他在給友人的信中如是說 (Hiraoka Genpachirō,〈Fujita Tsuguharu-shi no tegami〉 , Kokumin bijutsu, December 1923)。藤田接著讓她成為自己一張大幅裸體像中的模特兒。在這個時期，藤田創作出其最具象徵意義和最性感的作品。他畫過的模特超過3000人－其中包括他的情人、他親近的朋友、在他常光顧的La Rotonde和Le Dôme這兩家餐廳所認識的熟人，以及在蒙帕納斯大街上尋來的陌生人。

LEFT: Léonard-Tsuguharu Foujita Nu, Youki, 1927 Private Collection © Foujita Foundation/ ADAGP, Paris – SACK, Seoul, 2019

左: 藤田嗣治《裸女小雪》1927年作私人收藏 RIGHT: The artist his studio, 1917 © Foujita Foundation/ ADAGP, Paris – SACK, Seoul, 2019

右: 藝術家於工作室, 1917年

《沉思美人》畫中人物，具體是誰雖然從未明確（事實上，藤田畫的裸體部分來自現實生活，而有時則來自他的想像），但可想而知是在向一些藤田最鍾愛的繆斯們致敬。這既是一幅親密的肖像，閃耀著激情和溫柔，同时，乳白、可觸的肌膚與雪白、起伏的背景相互映襯，也坦言著對女性身體的坦率欣賞。雖然可以與其他肖像畫進行比較（例如藤田1927年的繪畫《裸女小雪》中清澈的藍眼睛和波浪狀的銅色系頭髮，還有《斜倚裸女，瑪德琳》（1931年作）中極具特點的鼻子和杏仁般的眼睛），然而背景中柔軟光滑的褶皺圍繞著模特的頭部和身體形成一個光環，使她仿若來自另一世界的女神。她的目光，既不靦腆也不被動，落在觀者身上，而畫面震懾著未曾言說的張力。雖然他熱切地接受巴黎的自由藝術氛圍，藤田仍不斷勸戒其他日本藝術家，不要忘記日本的文化和傳統，以避免創作中盲目的效仿。確實，當許多同時期的巴黎藝術家追捧厚重、狂野、大膽濃烈撞色的潮流時，藤田則用極纖細的日本毛筆，來勾勒他作品中的人物身上如水墨般的線條，並且秉承了他標誌性的乳白色白釉的使用－即為他所稱之的美妙的白色背景－為他們注入生命。這種白色、明亮的背景似乎給他畫筆下的人物創造了如象牙色一般的動人光彩，而其確切的調製方法（亞麻籽油、白堊粉或者白鉛粉，以及矽酸鎂－一種在西方聞所未聞的配方）則被藤田小心守護著。這個選擇既大膽又具有原創性。儘管在肖像畫上毫不妥協，摒棄了日本傳統藝術中對女性的溫和描繪，藤田的創作卻從未遠離日本的美學根源，尤其是日本傳統的「間」概念，或「空」的意境。他試圖用幾筆平滑、柔順的線條去捕捉模特的精髓，在幾番迭代中完善繪畫之後，才將之轉移到畫布之上。正是這種不妥協和非傳統的視野造就了藤田在東西方都經久不衰的聲譽，使他的精髓世代相傳。為了紀念藤田嗣治逝世五十週年，在2018年，巴黎的瑪佑爾博物館舉辦他的作品回顧展，而東京的東京都美術館和京都的國立近代美術館均舉辦了他的作品巡迴展。

Property from an Important Private French Collection

12. Zao Wou-Ki

1920-2013

14.09.70 signed ‘Wou-Ki [in Chinese] ZAO’ lower right; further signed and titled ‘ZAO WOU-KI “14.9.70”’ on the reverse oil on canvas 73.1 x 91.8 cm. (28 3/4 x 36 1/8 in.) Painted in 1970, this work is accompanied by a certifcate of authenticity issued by the Fondation Zao Wou-Ki. This work will be referenced in the archive of the Fondation Zao Wou-Ki and will be included in the artist’s forthcoming catalogue raisonné prepared by Françoise Marquet and Yann Hendgen (Information provided by Fondation Zao Wou-Ki). Provenance Acquired directly from the artist in the 1970s

重要法國私人收藏

趙無極《14.09.70》油畫畫布 1970年作，並附趙無極基金會所發之保證書。此作品將收錄在趙無極基金會之文獻庫，並將收錄於梵思娃·馬凱及揚·亨德根正籌備編纂的《趙無極作品編年集》（資料由趙無極基金會提供）款識：無極 ZAO (右下); ZAO WOU-KI《14.8.70》(畫背) 來源現藏者於70年代直接購自藝術家本人

HK$ 9,000,000-12,000,000 US$ 1,150,000-1,540,000

Joseph Mallord William Turner Sun Setting over a Lake, c.1840 Collection of Tate, London © Tate, London 2019

約瑟夫·馬洛德·威廉·特納《湖面落日》約1840年作倫敦，泰特美術館收藏

‘I think that Chinese art and Western art have no confict; they can only help each other and complement each other.’ Zao Wou-Ki

Born the son of a successful banker in Beijing, Zao Wou-Ki settled in Paris in 1948 in the hope of expanding his artistic possibilities. This supposed visit eventually became a permanent residency in France, where Zao plunged himself into the epicentre of the Parisian art scene. Zao created almost all of his mature works in Paris. Like many of his artistic peers who identifed with multiple cultures, he created works that arose from inhabiting the liminal space or ‘in-betweenness’ of being all at once an insider and an outsider of his artistic inheritances. Straddling the traditions of his Chinese heritage as well as the post-war school of painting in Paris, his artistic career is fully recognised as one deeply rooted in a holistic approach towards culture rather than a conveniently dichotomous vision of it. Within this realm, he is not bound to one tradition, but freed by having both. 14.09.70 comes from a French private collector who shared a deep friendship with Zao Wou-Ki over several decades. The collector frst came across Zao’s works at the artist’s Galerie de France exhibition circa 1970, and subsequently visited Zao’s studio where, drawn by the beauty of the work, he acquired it. Fresh to the market, 14.09.70 has since been in the home of this private collector. Painted in 1970, 14.09.70 exhibits the characteristics of Zao’s endeavours within a period of embracing ink painting aesthetics in his oil canvases. By the late ffies, Zao had committed himself to abstraction. As his evolution took him through diferent stages, he found himself infuenced by the Abstract Expressionist school when he visited New York during the height of the movement. What were seemingly spontaneous gestures on his canvases were painstakingly constructed.

A truly international artist by contemporaneous standards, Zao travelled widely and allowed himself to experience and absorb infuences at the forefront of global artist developments. Also in the late ffies, various artistic milieux brought Zao to witness frst-hand the avant-garde art movements in Japan, where he met with artists such as Kumi Sugai, Hisao Domoto, Morita Shiryu and Yuichi Inoue. He started to ponder the debt to the traditions of ink and calligraphy which he had been trained in. Having shied away from ink painting for sake of avoiding the repulsions of ‘chinoiseries’, Zao took up Chinese ink painting with a decisive and impactful dive in the early 1970s, which enabled him to further cross-pollinate the techniques he used across the various media of oil painting, lithography, ink painting and watercolours. He brought the approach of layering thin ink washes on paper to the way he sustained painting with oils diluted in extensive turpentine to add to and rework the surfaces to manipulate the pictorial ground between foreground, middle-ground and background, creating results that assimilated Western colour composition and layout, and which culminated in images flled with ephemeral light and sensual wonder. The poet Henri Michaux championed Zao’s so-called return to Chinese ink painting in the early 1970s: “He showed me other [paintings] that he had so subtly washed [with ink]. It was as though smoke had penetrated them instead of ink. Oh! What a surprise! And what joy! He had thus rekindled his legacy: the rhythms of nature, greater than nature, as pictured in the minds of people of that part of the world.”

“Deprived from trees, rivers, forests, hills, but full of waterspouts, jiggles, spurts, impulses, drips and diaphanous coloured magma dilating, coming out and bursting forth.” The composition of 14.09.70 is an artful, angled trisection evoking an abstract landscape of rising mist above expansive riverbanks and mountains, reminiscent of the liubai (‘to leave blank’) aesthetic of Chinese ink painting, especially seen in Ni Zan’s pared-down landscape compositions. Our gaze lingers on the ambiguity present in the composition where empty space can be interpreted as either sky or water within a composition of solid and void. There is a luminosity breathing through the middle and background of the landscape of sweeping brushstrokes of warm orange pinks and blue greens, evocative of rolling mountainside rivers or lakes, countering the enveloping, swirling darkness. Zao also inherits the spirit of the Chinese ink medium through colour, his use of monochromatic tones and a recourse to a black that resembles ink. The clouds in the distance seem still and swollen with moisture, while the black brushstrokes in the lower right corner form the dynamic heart of the work, as if the beginning of a hurling vortex of energy coalescing. As René Char describes it, ‘This chaos remains suspended in the wilderness. There the ethereal and telluric spell of the travelling Orpheus breaks through. Every element forming the dividing line is the one behind the distribution of colours in a tempestuous upheaval’. The work exhibits the calligraphic methods of feibai (‘fying white’), where a brush lightly steeped in ink smudges across silk in order to create a sense of fight; and, perhaps yet, of cunfa (‘crack technique’), whereby a tilted and loaded ink brush layers thick, broad strokes in order to evoke shadows and texture, ofen utilised to render nature itself.

Zao’s concern with nature is to capture its state and environment as an emotional or experiential one rather than a literal one, and can be likened closely to the tradition in Chinese classical landscape painting of capturing the impression of nature, rather than a factual representation. Through this work Zao utilises colours to represent the sense of consolation, shelter and reprise, and incorporates the xieyi approach in Chinese ink paintings with the boldness of Western modernism. Later in the 1970s, Zao’s works reveal a heightened manifestation of Taoist theories of nature and the spiritual qualities of water and air. 14.09.70 precisely embodies such preoccupations, evoking a vast, surreal sense of space whilst blurring the boundaries between myth and reality. François Jacob describes this as: “there is in Zao Wou-Ki’s painting, an endless questioning of the world. A determination to recreate it. Some of his paintings evoke the fury of origins, the giving birth to matter through energy, and the latest jolts of creative outbursts. Other ones display the teasing rebellion of the nebulas. Or the birth of light. Or the invention of water. Or the frst morning ever, such as this marvelous little triptych with pinky white hues. And, implicitly, beyond the convulsions of matter, as if ready to burst, life …” Art critic François Cheng places Zao within the context of the historic progress of Chinese painting: ‘Zao Wou-Ki’s artistic destiny was not merely personal, it was closely related to the development and evolution of thousands of years of Chinese painting.’ Zao’s artistic prowess lies in his ability to straddle both ancient and the modern, the East and West, and it can only command our utmost admiration.

Ni Zan Six Gentlemen, 1345 Collection of the Shanghai Museum 倪瓚《六君子圖》1345年作上海博物館收藏

出生於北京，父親是一名成功的銀行家，趙無極於1948年移居巴黎，旨在擴展其藝術創作上更多的可能性。這一次原本只是短期的停留，結果變成了在法國長期的定居，在那裡，趙無極全身投入到巴黎這一藝術的中心。而他幾乎所有成熟的作品都創作於巴黎。像許多同時代的藝術家一樣，他們都在多重文化中找到認同感，他的創作立足於一種臨界的空間，或可解讀為「中間性」，在藝術的繼承上他既是一個圈內人的同時又是一個局外人。而同時對中國傳統的傳承，與對巴黎戰後繪畫學派的駕馭，讓他的藝術生涯深深根植於面對文化的全面視角，而不是簡單一分為二的看待。在這一領域中，他不僅沒有被一種傳統所束縛，相反的則是在兼顧兩者中獲得自由。《14.09.70》來自一位與趙無極有著幾十年深厚交情的法國私人收藏家。這位藏家於1970年左右首次在藝術家於Galerie de France畫廊的展覽中看到其作品，隨後在拜訪他的畫室時，被這件作品的美感所吸引，於是將它納入收藏。《14.09.70》此後一直典藏於這位私人藏家的家中，本次拍賣是這幅畫作首次現身於市場，呈現在世人眼前。創作於1970年，《14.09.70》展示了趙無極嘗試將中式水墨畫的美學融入到西方油畫媒材中，是藝術家這一時期的作品特徵。到五十年代末為止，趙無極一直致力於抽象畫的創作。由於其創作經歷了不同時期的演變，在他訪問紐約時，也正是抽象表現主義運動到達高峰之際，他的創作也受到了抽象表現主義學派的影響。畫面上看似自發、隨意的姿態其實是經過精心構造的。作為一名真正意義上的國際藝術家，趙無極不但遊歷極廣，同時也在不斷體驗和吸收來自全球藝術發展前沿的影響。同樣是在五十年代末期，各種藝術環境讓趙無極開始親自目睹日本的前衛藝術運動，在那裡他結識了菅井汲（Kumi Sugai）、堂本尚郎（Hisao Domoto）、森田子龍（Morita Shiryu），以及井上有一（Yuichi Inoue）等藝術家。於是他開始思考自己曾經接受過訓練的水墨和書法的傳統。剛至巴黎之初，為了避開「中國風」（chinoiseries）而躲避水墨畫，到1970年代初期趙無極則毅然而然地全身投入到中國水墨畫風格的創作中，而這一轉變也讓他更加深入地將各種創作技巧運用到包括油畫、平版印刷、水墨畫，以及水彩畫等各種媒材中。他將水墨層層疊加在紙上的技法，運用到以大量的松節油稀釋油畫顏料後所創作的作品中，以便在畫布表面進行添加或修改，來操控前景、中景以及背景之間的畫面，創造出西式的顏色結構和佈局的效果，然而在圖像上則同時充滿了稍縱即逝的光芒和奇妙的官感。詩人亨利·米修（Henri Michaux）在1970年代早期便極為支持趙無極回歸水墨畫的創作：「他向我展示了他用水墨如此巧妙地渲染其他[繪畫]。就好像煙霧將它們穿透，而不是墨水。哦！如此的驚喜！如此的愉悅！他的文化繼承由此重新點燃：畫中大自然的節奏，更優於自然，正如生活在世界那一邊的人們思想中所描繪的一樣。」

「從樹木、河流、森林、山丘中抽離，但充滿了水龍捲、搖晃、噴射、衝動、滴水和透明的彩色岩漿擴張、衝出並且爆發。」－亨利·米修《14.09.70》的構圖是一個巧妙的、有角度的三分法，喚起了在廣闊的河岸和山川上方升起的霧氣之抽象景觀，讓人聯想到中國水墨畫中「留白」的美學，尤其是在倪瓒的畫中所展現的蕭條淡薄之山水構圖。我們的視角停留在圖像中所存在的模糊性，其中的空白空間可以被解讀為構築在虛與實之中的天空或水面。光從中景和背景中穿越、穿透空氣，席捲著溫暖的橙粉色和藍綠色的筆觸，喚醒著滾動的山間河流或是湖泊，對抗著那包圍著、旋轉著的黑暗。趙無極對中國水墨媒介的精神繼承體現在他對色彩、單色調，以及對與水墨相仿的黑色之使用上。遠處的雲彩看似靜止，且因水氣而膨脹，而右下角的黑色筆觸則形成了作品的動態核心，彷彿一股能量正在開始猛烈地旋轉、吞併。正如勒內·查爾（René Char）所描述的那樣，「混沌停留懸空在荒野之中。在那裡，流浪的奧菲斯（Orpheus，希臘神話中的一位音樂家）的空靈和人間的咒語一沖而過。狂風暴雨般的劇變中，色彩的分佈組成了這一分界線的每一個元素。」這件作品展示了書法上「飛白」的筆法，將毛筆輕輕地浸染墨汁後，在絲綢上書寫時留下絲絲點點的白痕，以創造一種飛動感；並且或許還有「皴法」（裂縫技法），是用沾滿墨汁的傾斜之毛筆來勾勒飽滿，厚實的筆痕，以喚起明暗和紋路，通常用於渲染自然本身。趙無極對自然的關注是從情感或體驗上去捕捉其意境，而非寫實性的，可將其與中國古典山水畫中的傳統相媲美，即捕捉山川自然景色的意境，而非對其寫實重現。通過這件作品，趙無極使用色彩來展現慰藉、庇護和再現感，並將中國水墨畫中的寫意與西方現代主義繪畫中的直接外露融合貫通。 20世紀70年代後期，趙無極的作品展示了其對道家自然理論以及水和空氣的無形精神美感之高度呈現。《14.09.70 》準確地體現了這種專注，喚起了巨大、超現實的空間感，同時模糊了神話與現實之間的界限。法蘭索瓦·賈克伯（François Jacob）將此描述為：「趙無極以畫作探索宇宙，同時決意重新創造，有的繪畫作品喚起宇宙初始的混沌，以能量造物，以及創造力爆發的石破天驚。有的作品展現星雲玩鬧戲耍、或是光的誕生、或是水之源頭、或是初露的清晨......畫中之粉岸白色調、還有，混沌之外隱約出現的，彷彿隨時蓄勢待發的，一股生命力……」藝術評論家François Cheng將趙無極置於中國繪畫歷史進程的背景之下：「趙無極的藝術使命不僅僅是他個人的，它與數千年中國繪畫的發展和演變都密切相關。」趙無極的藝術造詣在於他跨越古代和現代，東方和西方的能力，這足夠讓我們無限欽佩仰慕。

Property from a Prestigious Asian Collection

13. Zao Wou-Ki

1920-2013

Ailleurs signed and dated ‘Wou-ki [in Chinese] ZAO 55’ lower right; further signed, titled and dated ‘ZAO WOU-KI “Ailleurs” 1955’ on the reverse oil on canvas 130 x 97 cm. (51 1/8 x 38 1/4 in.) Painted in 1955, this work will be accompanied by a certifcate of authenticity to be issued by the Fondation Zao Wou-Ki. This work will be referenced in the archive of the Fondation Zao Wou-Ki and will be included in the artist’s forthcoming catalogue raisonné prepared by Françoise Marquet and Yann Hendgen (Information provided by Fondation Zao Wou-Ki). Provenance Collection of Maria Martins, Rio de Janeiro (acquired directly from the artist) Private Collection (by descent) Sotheby’s, Hong Kong, 2 October 2016, lot 1018 Acquired at the above sale by the present owner

重要亞洲私人收藏

趙無極《他方》油畫畫布 1955年作, 並將附趙無極基金會所發之保證書。此作品將收錄在趙無極基金會之文獻庫，並將收錄於梵思娃·馬凱及揚·亨德根正籌備編纂的《趙無極作品編年集》（資料由趙無極基金會提供）。款識：：無極 ZAO 55(右下); ZAO WOU-KI《Ailleurs》1955 (畫背) 來源里約熱內盧，瑪麗亞·瑪汀收藏（直接購自藝術家本人）私人收藏 (上述藏家家屬繼承作品) 香港，蘇富比，2016年10月2日，拍品編號1018 現藏者購自上述拍賣

HK$ 40,000,000-60,000,000 US$ 5,130,000-7,690,000

Fig 1. Zao Wou-Ki 09.08.50, 1950 Phillips, Hong Kong, 28 May 2017, lot 42 Private Collection 趙無極《09.08.50》1950年作香港，富藝斯，2017年5月28日，拍品編號42 私人收藏

Inspired by the works of modern masters such as Paul Cézanne and Henri Matisse, Zao Wou-Ki arrived in Paris in 1948 to pursue a new artistic direction. During a short visit to Switzerland in the early 1950s, the artist encountered works by Paul Klee, and felt that his pictorial forms resonated with the kind of creative vocabulary he was looking to express. This eventually led the artist towards a phase of semi-abstraction, and what is now known as the ‘Klee period’ of his career. During his Klee period, Zao treated the canvas as a space for artistic meditation; fgures, landscapes, architecture and still lifes were depicted with an infusion of spontaneity and ambiguous perspectives as he began to transition towards abstraction (fg.1). Eager for a breakthrough, Zao wanted to “invent a language that will no longer be confned by the choice of the subject” (Zao Wou-Ki and Françoise Marquet, Autoportrait, Fayard, 1988, p.104). From 1953 to 1954, Zao’s artistic style underwent a tremendous transformation. He recalled in 1976: “During this period my paintings were no longer recognisable, still lifes and fowers no longer existed. I yearned to develop a type of imaginative and incomprehensible artistic vocabulary.” (Françoise Marquet, “Chronologie de Zao Wou-Ki”, in A Retrospective of Zao Wou-Ki, Kaohsiung Museum of Fine Arts, 1995. p.264) Zao began to renounce the representational in his works, instead returning to his cultural roots with the incorporation of ancient Chinese hieroglyphic scripts found on oracle bones into his works.

‘What must be said is that there are many things that I owe France, although I don’t make comparisons about where those things are biger than what I owe China. Because I feel a deep connection with the ancient traditions of China. However, it is France that has made me clearly see that these traditions live inside me, that has liberated that feeling in my own creativity.’ Zao Wou-Ki

These oracle bone inscriptions recorded divinations performed by the kings of the Shang Dynasty and documentation of the royal court by ofcial historians. Known as the origins of Han Chinese writing, to this day these inscriptions have not been completely interpreted nor understood. Writing was a mark of human civilisation— transcending space and time through the handing down of history and culture to future generations (fg.2). During his ‘oracle bone’ period, Zao was inspired by the spirituality of these ancient inscriptions. Rather than simply depicting these inscriptions, Zao dissected, re-organised and created unique scripts and symbols of his own. By then, the artist had completely abandoned fgurative painting, and now concentrated solely on abstraction. The imagery present in his works became increasingly liberated— his use of colour and light fuid and rhythmic. His work conveyed the sense of a brand new universe birthed in the artist’s mind– one that masterfully incorporated elements of Oriental culture with the aesthetics of Western abstraction. The present work, Ailleurs, was completed in 1955 — a moment when Zao’s style of painting underwent a crucial and decisive transformation. As a teaching assistant at his alma mater (the Fine Art School of Hangzhou) in the 1940s, Zao made the decision to move to Paris in pursuit of wider artistic possibilities that Chinese traditional art education could not satisfy.

Upon his arrival in Paris, Zao spent much time visiting art museums to learn about the works of Western masters. Hoping to be accepted as a painter in Europe, Zao deliberately avoided traditional Chinese techniques and media such as ink and brush. Afer several years of artistic pursuit and self-discovery, Zao eventually returned to the Chinese traditions that he had originally shied away from, achieving artistic liberation and developing a unique personal style as he stepped away from the world of fguration and moved towards abstraction. Ailleurs tells of Zao as a stranger in a foreign land where he had found his artistic path; through this journey he had the opportunity to explore his identity and discover, examine, unite and sublimate the innovations, traditions, and cultures of the East and the West. In Ailleurs, enigmatic signs and glyphs resembling oracle bone script meld into a background of earthy hues. These texts foat and drif against a feld of dark paint on the upper part of the canvas. Within this space, touches of yellow, blue and pink intermingle with the inscriptions. The signs merge organically, with the rhythm of dark clouds and light created through layers of paint projecting life as they swirl within the space. Through diferent layers of paint, Zao builds depth to create an image reminiscent of a galaxy and its constellations. Upon closer look, the signs and glyphs dance and drif along the canvas. Condensed and richly textured, these elements draw viewers into a state of meditation, allowing their minds to drif along the currents of time, to traverse the origins of the universe and to discover the chapters of human civilisation woven into stories.

Fig 2. Oracle Bone, between 1600 BC and 1050 BC Collection of the British Library 甲骨文, 公元前1600年至公元前1050年之間英國圖書館收藏

Fig 3. Maria Martins and Ma Chanson, 1944 Collection of Wadsworth Atheneum Museum of Art Collection, Hartford 瑪麗亞．瑪汀與《我的歌曲》1944年作哈特福德，沃茲沃思雅典博物館收藏

Ailleurs was originally in the collection of the Brazilian Surrealist sculptor Maria Martins (1894-1973) (fg.3), who acquired the work during her visit to Zao’s studio in the late 1950s. Martins, along with her diplomat husband, travelled extensively and lived in many diferent countries. She participated in the Exposition Internationale du Surréalisme in Paris on multiple occasions and also helped to establish the São Paulo Art Bienniale. In 1955, Zao was invited to participate in the Biennale’s third edition where his works were exhibited in the French Pavilion. It was through this occasion that two artists from opposite ends of the world became friends. It was a shared sentiment of being a migrant in a foreign country; the drive both artists possessed in pursing their careers (one a Chinese artist working in Paris, the other a once-marginalised female artist) that prompted Zao to entrust Ailleurs to Martins. For the next sixty years, this work remained in the treasured collection of Martins and her family.

Zao’s cultural roots were always inherent to his works, from the Shang Dynasty oracle bone inscription-inspired abstract works from the 1950s, to the development of his whirlwind style of brushstrokes that resembled the Tang Dynasty calligraphers Zhang Xu and Su Huai’s kuang cao (‘wild cursive’) in the 1960s, or even to his approach to large scale atmospheric paintings in the 1970s: “What must be said is that there are many things that I owe France, although I don’t make comparisons about where those things are bigger than what I owe China. Because I feel a deep connection with the ancient traditions of China. However, it is France that has made me clearly see that these traditions live inside me, that has liberated that feeling in my own creativity.”- Zao Wou-Ki Ailleurs is a powerful imprint made by the artist’s creative journey; an outstanding example of Zao’s pivotal transition from Klee towards oracle bones that suggest the artist’s creative style and artistic practice was moving in an increasingly enlightened direction.

趙無極因為在保羅·塞尚及亨利·馬諦斯等大師的作品中找到了他想探索的藝術理念，於1948年抵達法國巴黎深造，50年代初，至瑞士的短暫旅行機緣下發現保羅· 克利的藝術符號相近於他所想要表達的創作語彙，開啟了其繪畫的「克利時期」進入了半抽象的契機。克利時期的圖像與畫面空間處理方式，趙無極找到了連結自身藝術冥想的接口，將人物、自然、建物及靜物以混沌、散點透視及符號化的處理方式，讓他探尋到抽象繪畫的因子(圖1)。很快的，趙無極渴求更進一步的突破，他想要「發明一種語言來打破因主題選擇而產生的束縛」(趙無極與梵思娃·馬凱，自畫像，法亞爾， 1988年，第104頁)，1953、54年，趙無極的藝術風格經歷重大的轉變，藝術家於1976年回憶道：「在這個時期，我的繪畫變得難以辨識，靜物和花卉已經不存在。我希望朝著一種難以解讀的想像書寫文字發展。」 (梵思娃·馬凱，趙無極年表，「趙無極回顧展」，高雄市立美術館，1995年，第264頁)。隨著時間的推移，畫面中具象元素在作品中漸漸退去，趙無極轉向自身傳統的根源，將中國古老文化中的文字書寫符號「甲古文」置入創作之中。甲骨文為殷商時代君王藉由占卜問事而記錄下之「卜辭」，亦是史官「錄辭」記載王室政府文檔。為漢字發展的源起，時至今日尚未完全被破解傳釋出完整樣貌。文字是人類文明發展的標記，突破時空的限制，歷史文化得以發展流傳。(圖2) 趙無極的甲骨文時期，由古文字中得到神諭般的靈感，趙無極並非純然的描繪甲骨文，而是將期拆解、重組；並創造出獨特的符號，至此，他的藝術與具象分道揚鏕，全然進入抽象繪畫之路。畫面更加解放，顏色及光也越發運用自如。氣韻遊刃有餘的流淌於畫面之上，我們彷彿在趙無極的藝術中，看到了一個他創造出來的全新之宇宙觀，將東方文化元素巧妙的融合於西方抽象繪畫審美之中。此次拍賣的1955年作品，正好在趙無極畫風轉變的決定性之關鍵時刻完成，畫作命名為《他方》，令人玩味。 40年代趙無極於杭州藝專完成學習並留校任教，因當時在中國的藝術教育內容無法滿足他的藝術追求而踏上異鄉，初抵巴黎之時，他花費許多時間，流連美術館，吸收西方藝術大師的精髓，並在創作上，刻意的不使用墨、毛筆等中國材料，迴避傳統技法，他想要遠離傳統，想要被視為歐洲藝術家，而非來自於東方的畫家。

創作的追尋之路，以及自我實踐數年之後，於畫作之中他反而拾起了一度放下的中國傳統，接受它並因此得到解放，將他的藝術推向抽象，走出有形的世界，自此創造出趙無極不斷進化的個人風格。《他方》— 一個異鄉遊子，在他鄉找到了屬於自己的藝術之路，而正是這個旅程，讓這位遊子有機會發掘自我，在創新與傳統，東方與西方文化之間 — 發現、審視、融合、昇華。仔細欣賞《他方》一作，背景的大地色彩之中，由上至下，充滿被趙無極拆解並重組、如同天書般，無法破解的甲古文符號，靈動而飛舞，上方以濃重的深色油彩塗抹，間或綴以幾筆赭紅，深色顏料於畫面中接續，下層白色顏料輕重之間，一抺黃、淡淡的藍色、粉色順勢點綴於中，與文字符號交相呼應，這些符號彷彿形成了有機體，在油彩明暗堆疊創造出來的雲霧及光之氣韻中，產生了生命於空間之中遊移、作用。遠觀作品，讓我們不由得折服於趙無極於一方畫布之中創造不同層次，形成近似宇宙星體空間感的能力；趨近檢視，這些舞動跳躍、疏密有致的符號圖騰，吸引觀者進入冥想，將思緒拉入時光的洪流，穿梭太初，於渾沌渺邈之中，編織一幕幕人類文明的記事。《他方》原為巴西超現實主義雕塑藝術家：瑪利亞·馬汀 (1894-1973)(圖3)舊藏，50年代末馬汀至趙無極工作室拜訪而購藏了此一畫作。馬汀與身為外交官的丈夫旅居不同國度，也數度參加於巴黎舉辦的國際超現實主義藝術展，亦曾協助創立了巴西聖保羅雙年展，而趙無極於 1955年曾受邀參加第三屆雙年展，於其中的法國館展出。上個世紀跨越地球的兩端，二位藝術家的連結，也許是同為異鄉遊子，也許是各自在其藝術生涯發展中的努力不懈(一位是身於巴黎的中國藝術家，一位是曾經被邊緣化的女性藝術家)，讓趙無極選擇將《他方》交付於馬汀，而此作也在她及家屬手中珍藏了60年之久。綜觀趙無極的藝術，文化中的血脈，自然的在他的創作中蹦出火花，一脈相承，50年代由殷商甲骨文的靈感進入抽象，60年代發展如唐代顛張醉素的狂草，走筆如旋風，至70年代澎湃之山水氣韻。趙無極曾說道：「必需說明的是，我在法國身受其惠的收獲，與在中國受到的影響究竟孰大? 我與中國古代的傳統有深刻淵源，那無法衡量。這傳統活在我裡面，但開啟我的自覺，並以此作為創造而給予解放的都是法國。」(趙無極，フランスに，第38頁) 《他方》一作，是藝術家在其創作之路中，一件強而有力的印記，為記錄了趙無極50年代由克利時期進入甲古文時期的佳作，也引導著藝術家越來越明確的創作風格與藝術實踐。

14. Gerhard Richter

b. 1932

Ohne Titel (VIII ‘98) signed and dated ‘Richter, VIII ‘98’ on the reverse oil on canvas laid on board 21 x 21 cm. (8 1/4 x 8 1/4 in.) Painted in 1998. Provenance Galerie Springer, Berlin Private Collection, Korea Johyun Gallery, Busan Acquired from the above by the present owner

格哈特．里希特《無題 (VIII‘98)》油畫畫布裱於木板 1998年作款識：Richter VIII‛98（畫背）來源柏林，Springer 畫廊韓國私人收藏釜山，Johyun 畫廊現藏者購自上述來源

HK$ 1,600,000-2,500,000 US$ 205,000-321,000

‘I always need to paint abstracts again. I need that pleasure...there must be something, some higher faculty, some progressive sensibility that we fnd in abstraction.’ Gerhard Richter

“I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)” (Gerhard Richter, in Hans Ulrich Obrist ,Text: Writings, Interviews and Letters, London, 2009) Gerhard Richter is a contemporary German visual artist widely considered “the greatest modern painter” and one of the most infuential living artists today. Known particularly for his powerful abstract works, the enigmatic Richter has been compared by art historians and critics to artists as diverse as Vermeer and Picasso. Born in 1932 in Dresden, Germany and living through the rise of the Nazi regime and Soviet rule afer the end of World War II, Richter began his career producing socialist realist murals. Struggling to fnd a new aesthetic language amidst the increasingly uncomfortable restrictions being forced upon his work, Richter’s turning point came in 1959 when he discovered the work of the Abstract Expressionists at the second documenta exhibition in Kassel, Germany. The free, painterly spontaneity of abstract works produced by artists such as Jackson Pollock was an “expression of a totally diferent and entirely new content” for Richter, and spoke to a realisation within him that “there was something wrong with my whole way of thinking”. (Gerhard Richter, quoted in Interview with Benjamin H. D. Buchloh, Gerhard Richter: The Daily Practice of Painting, Writings 1962-1993, pp.132-3) A painter frst and foremost, Richter initially became widely known for his dreamlike blurred photo-paintings, which were appropriated from images found in photos and magazines and which explored the relationship between representation and abstraction. His approach reversed course as Richter experimented further with pure abstraction: “[Painting abstracts] is more like walking, step by step, without an intention, until you discover where you are going. When I paint a landscape from a photograph or an image like this one, I can see the end point before I start, although in fact it always turns out slightly diferent than I imagined.” (Michael Kimmelman, ‘An Artist Beyond Isms’,The New York Times, 27 January 2002, online)

Around 1978, Richter began to apply paint in his abstract pictures by scraping. Typically starting with simple smears of paint or a geometric composition, Richter typically applies pressure using homemade wood and plexiglass squeegees to drag and wipe the paint repeatedly across his canvas, methodically building up and deconstructing the layers of paint. Manipulating the viscosity of the oil medium, Richter applies thin layers of paint such that small tears in the flm create spontaneous windows into underlying layers, gathering in clusters or at other times rippling across the canvas to create compositional accents or axes. His technique is as visually arresting in smaller works as on larger canvases, and on special occasions Richter would make gifs of these smaller works to his friends and employees. Untitled (VIII ‘98) is a particularly beautiful example of how Richter’s abstract paintings matured during the 1990s, leaning toward the more structured and minimalist end of abstraction. He explained in a 2002 interview with The New York Times, “I always need to paint abstracts again. I need that pleasure. […] there must be something, some higher faculty, some progressive sensibility that we fnd in abstraction. But it is impossible to describe.” (Michael Kimmelman, ‘An Artist Beyond Isms’,The New York Times, 27 January 2002, online) In 2012, one of Richter’s abstract paintings set a record auction price for a painting sold by a living artist - Abstraktes Bild (Cat. Rais. No. 809-4) (1994). He broke this record twice more, most recently in 2015 with the sale of another abstract work - Abstraktes Bild (1986). Richter has been honoured with several solo retrospectives over the past decade, including at the Tate Modern (London), Centre Pompidou (Paris), and Neue Nationalgalerie (Berlin). His works are held in preeminent public collections around the world, including the Art Institute of Chicago, the Museum of Modern Art (New York), and the Tate (London). The artist currently lives and works in Cologne, Germany.

「我喜歡一切沒有風格的東西：字典、照片、自然界、我自己，以及我的畫作。（因為風格是暴力的，而我不是）」 (葛哈·李希特, Hans Ulrich Obrist 著〈寫作、訪談、信件〉，倫敦，2009年) 葛哈·李希特是被廣泛視作「最偉大的現代畫家」的當代德國視覺藝術家，也是當今最具影響力的在世藝術家之一。以其具有強大震撼力的抽象作品聞名，藝術史學家和評論家們常將神秘的李希特與維梅爾（Vermeer）和畢加索（Picasso）等藝術家來做廣度的比較。 1932出生於德國的德雷斯頓，經歷了納粹政權時期和第二次世界大戰結束後的蘇聯統治時期，李希特的職業生涯始於繪製社會主義之寫實主義壁畫。當創作中所強加給他的限制讓他感覺日漸窒息時，他開始苦苦尋找一種新的審美語言，而1959年在德國卡塞爾的第二次文獻展上發現抽象表現主義藝術家的作品，則成為了李希特的一個轉折點。傑克遜·波洛克等藝術家所創作的抽像作品中所體現的自由、繪畫的自發性，對李希特來說是「完全不同的和全新內容的表達」，並在其內在激起了一種「我的整個思維方式都出現了問題」的認識。(與本雅明· 布赫洛的訪談，〈葛哈·李希特：繪畫的日常實踐〉， 1962年－1993年的寫作, pp. 132-3) 首先是一名畫家的李希特，最初因其夢幻般模糊的攝影繪畫而廣為人知，從照片和雜誌中搜尋的圖像取材，並對表現與抽象之間的關係進行探索。當李希特進一步嘗試純抽象的實驗時，他的藝術實踐有了方向上的改變：「繪畫抽象]就像是行走，一步一步，不帶目的性地走，直到你發現你要去往何方。當我參考照片或一張圖像來畫風景時，我會在畫之前就先看到終結的點在哪裏，儘管事實上結果總是跟我想像的會有些許差異。」(Michael Kimmelman,〈超越主義的藝術家〉, 紐約時報, 2002年 1月27日, 網路文章)

大約在1978年的時候，李希特開始採用刮刀塗抹的方法將顏料刷至他的抽象作品上。通常從簡單的顏料塗抹或幾何構圖開始，李希特常使用自製的木材質或有機玻璃的刮刀在畫布表面反覆用力地刮和刷，有條不紊地堆疊和刮除顏料的層次。通過對油介質的黏度之控制，李希特塗上薄薄的顏料層，使薄膜中的小裂縫在下面的層次中自發產生窗口，時而匯聚成簇，時而在畫布上成波紋狀擴散，形成結構上的重心或軸。不管是在小件作品還是在大幅的畫布作品中，他的創作技巧在視覺上都同樣吸引人，而在一些特殊場合李希特還會創作這些小件作品作為禮物贈送給他的朋友以及僱員。《無題(VIII ‘98)》就是李希特的抽象作品在1990年代愈加成熟的一件絕佳的代表作，在抽象上往更為結構化和極簡主義的方向靠攏。他在2002年接受《紐約時報》採訪時解釋道：「我總是需要再次去畫抽象畫。我需要那種樂趣。 [...]有一些東西，一些更高層次的能量，一些疊進的情感，要我們在抽像中去找到。但是卻無法去描述它。」 (Michael Kimmelman,〈超越主義的藝術家〉, 紐約時報, 2002年1月27日, 網路文章) 2012年，李希特的一幅1994年創作之抽像畫作品《抽象畫》（作品全集編號809-4）的售出創下了在世的藝術家於拍賣價格上的紀錄。他繼而又兩次打破這一紀錄，最近一次是在2015年拍出的另一件抽象創作《抽象畫》（1986年作）。李希特在過去十年裡曾多次舉辦個人作品回顧展，包括在泰特現代美術館（倫敦），蓬皮杜中心（巴黎）和新國家美術館（柏林）。他的作品被全世界多個重要公共藝術機構所收藏，其中包括芝加哥藝術學院、現代藝術博物館（紐約）和泰特美術館（倫敦）。藝術家目前生活和創作於德國科隆。

葛哈·李希特《抽象畫》1994年作

Property from an Important Hong Kong Collection

15. Zao Wou-Ki

1920-2013

22.05.2002 signed ‘Wou-Ki [in Chinese] ZAO’ lower right; further signed, titled and dated ‘ZAO WOU-KI “22.05.2002”’ on the reverse oil on canvas 73 x 92 cm. (28 3/4 x 36 1/4 in.) Painted in 2002, this work is accompanied by two certifcates of authenticity, issued by the artist and Alisan Fine Arts respectively. This work will be referenced in the archive of the Fondation Zao Wou-Ki and will be included in the artist’s forthcoming catalogue raisonné prepared by Françoise Marquet and Yann Hendgen (Information provided by Fondation Zao Wou-Ki). Provenance Alisan Fine Arts, Hong Kong Acquired from the above by the present owner

重要香港私人收藏

趙無極《22.05.2002》油畫畫布 2002年作，並附由藝術家本人所簽署及藝倡畫廊所發之保證書。此作品將收錄在趙無極基金會之文獻庫，並將收錄於梵思娃·馬凱及揚·亨德根正籌備編纂的《趙無極作品編年集》（資料由趙無極基金會提供）款識：無極 ZAO (右下); ZAO WOU-KI《 22.05.2002》(畫背) 來源香港，藝倡畫廊現藏者購自上述來源

HK$ 4,000,000-6,000,000 US$ 513,000-769,000

Zao Wou-Ki, one of the most celebrated Chinese modern artists in the world, was born in Beijing and trained at the National School of Arts in Hangzhou under the tutelage of the pioneering modern Chinese painter Lin Fengmian. Zao’s move to Paris as a young artist led to the development of a singular style which moved freely between Chinese painting techniques and Westerninspired abstract compositions, and the creation of works which demonstrated a profound afnity with both traditions. Part of a generation of Chinese artists who went abroad in the 1940s to study and eventually stayed in their adopted countries, Zao avoided the fate of many contemporaries in this ‘lost generation’ who struggled to establish a name for themselves in the West whilst also remaining unknown in their native countries. For him, Paris proved to be the catalyst for the next phase of his artistic journey, granting him the long-desired freedom to create and innovate. Zao quickly rose to prominence as an abstract gestural painter, befriending other Paris émigrés such as Pierre Soulages and Joan Miro. Originally inspired by the Impressionists, he was particularly taken by the work of Paul Klee, the Swiss avant-garde painter who explored the expressive potential of colour and its relationship to music, spirituality and folk art (see for example Klee’s They’re Biting, 1920). Zao embraced lyrical abstraction, which provided new avenues for personal expression in his work. By the mid-1950s he re-incorporated Chinese infuences more boldly into his work, at times substituting calligraphy for his previously loose and winding brushstrokes. Zao explained in a 1962 interview with the French magazine Preuves, ‘Although the infuence of Paris is undeniable in all my training as an artist, I also wish to say that I have gradually rediscovered China.’

He added, ‘Paradoxically, perhaps, it is to Paris that I owe this return to my deepest origins.’ His travels in the West also led to encounters with the Abstract Expressionists, including Barnett Newman and Franz Kline. He experimented with Indian ink, but from the 1970s onwards his paintings eschewed overt lines and gestures in favour of a creating a heightened sense of spontaneity and otherworldly serenity. 22.05.2002 (like all of Zao’s mature works, named afer the date it was completed) is a beautiful example of how Zao’s artistic and personal journey culminated in a sublime, even spiritual, dynamism in his works. The canvas is sufused with light, the warm glow of spring tempered with rich, earthy soil. His characteristic diluted ink wash-like oils sweep across the canvas, grounded by subtle painterly gestures reminiscent of the Chinese oracle bone script which appeared in his earlier works (see for example lot 13 Ailleurs, 1955). But the youthful energy of earlier abstract works has evolved into a search for a more profound, nuanced inner landscape, the same kind eulogised by Chinese literati painters through the ages. Enriched by his artistic encounters both in the East and West, in this season of his life Zao had come to embody the meaning of his given name, Wou-Ki – an artist with ‘no limits’. 22.05.2002 is from a collection spanning nearly four decades, one which features a singular preoccupation on fne art created by the world’s most renowned Asian artists that resided and worked in postwar Europe. Phillips is thrilled to have the opportunity to ofer a selection from this collection across our upcoming Day and Evening sales of 20th Century & Contemporary Art in Hong Kong, a collection as unique in its personality and passion as the collector himself.

左: 保羅･克利《他們上鈎了》1920年作倫敦，泰特美術館

趙無極是世界上最著名的中國現代藝術家之一，出生於北京，師從中國現代繪畫先藝術家林風眠，畢業於杭州國立藝術專科學校(現為中國美術學院)。作為一名年輕藝術家定居巴黎的趙無極，形成了自己獨特的風格，將中國繪畫技巧與西方抽象構圖融會貫通，並創作出將兩種藝術傳統兼容並蓄的鉅作。

《22.05.2002 》（就像所有趙無極成熟時期的作品一樣，以它完成的日期而命名）是趙無極的藝術和個人旅程在其作品中達到昇華，甚至是出神入化的極致之一件完美代表。畫布上充滿了光線，春天溫暖的霞光與豐潤的土壤相依伴。在讓人聯想起他的早期作品（參見《他方》1955年作，拍品編號13）中出現的如甲骨文般的微妙繪畫姿態之上的，是他所特有的如淡淡水墨般的油彩在畫面橫掃而過。但早期抽像作品所含的青春活力已演變成為對更深刻、更細微的內在景觀之追求，與歷代中國文人畫中所歌頌的如出一轍。融會了東西方藝術的精華，趙無極在他生命的這一階段，已然實現了自己名字的意義，正所謂－藝術上的「無極」。

作為一代於20世紀40年代出國留學並最終留在國外發展的中國藝術家之一，趙無極避開了許多同時代人努力在西方成名結果卻在國內不為人知，淪為「迷惘的一代」之命運。對他而言，事實證明巴黎是他下一段藝術旅程的催化劑，給予他期待已久的創作和創新的自由。趙無極迅速成為一名重要的抽象繪畫藝術家，並與皮埃爾·蘇拉熱（Pierre Soulages）、胡安·米羅（Joan Miro）等旅居巴黎的藝術家《22.05.2002 》來自一個跨越近四十年之久的收藏，涵蓋了交好。最初受到印象派啟發的他，對瑞士前衛畫家保羅· 對世界上最著名的於戰後歐洲生活和創作的亞洲藝術家的克利（Paul Klee）的作品尤為驚豔，因為克利在作品中藝術作品的獨特關注。探索了色彩的表現潛力及其與音樂、靈性和民間藝術的關係（參見克利的《他們上鈎了》，1920年）。趙無極欣然富藝斯很榮幸有機會在我們即將在香港舉辦的二十世紀接受了為他作品中的個人表達提供了新途徑的抒情抽象。及當代藝術的日間和晚間拍賣中呈現來自該收藏的精選到20世紀50年代中期，他更加大膽地將中國繪畫的傳統作品，而這組精選與其藏家一樣，有著獨特的個性和激情。融入到他的作品中，並時常用書法來替代他之前輕疏而曲折的筆觸。趙無極在1962年接受法國雜誌《Preuves》的採訪時解釋說，「巴黎無疑對我的藝術磨練影響深遠，但我必須說，我亦逐漸重新認識中國。」他補充說，「矛盾的是，全靠巴黎我才會回歸最深刻的本源。」他在西方世界的旅行也導致了他與抽象表現主義藝術家的邂逅，其中包括巴尼特·紐曼（Barnett Newman）和弗朗茨· 克萊恩（Franz Kline）。他用印度墨進行過實驗性創作，但從20世紀70年代開始，他的繪畫避開了明顯的線條和姿勢，轉而營造出一種極度的率意自然和超凡脫俗的寧靜致遠。

16. Lee Ufan

b. 1936

From Point No. 7901256 signed and dated ‘L. UFAN 79’ lower right; further signed and titled ‘“From point NO. 7901256” lee ufan’ on the reverse mineral pigment on canvas 90.3 x 90.3 cm. (35 1/ 2 x 35 1/ 2 in.) Executed in 1979, this work is accompanied by a certifcate of authenticity issued by gallery FuTaBa. Provenance Gallery Takagi, Nagoya Private Collection, Tokyo (acquired from the above in the late 1980s) Private Collection, Nagoya (acquired from the above in 1997) Gallery FuTaBa, Tokyo (acquired from the above in 2006) Acquired from the above by the present owner

李禹煥《從點–7901256號》礦物顏料畫布 1979年作，並附FuTaBa畫廊之保證書。款識：L. UFAN 79（右下）；《From point NO. 7901256》 lee ufan（畫背）來源名古屋，高木畫廊東京私人收藏（於80年代後期購自上述來源）名古屋私人收藏（於1997年購自上述來源）東京，FuTaBa 畫廊（於2006年購自上述來源）現藏者購自上述來源

HK$ 3,500,000-4,500,000 US$ 449,000-577,000

Lee Ufan is a Korean painter, philosopher, and poet best known for his devotion to minimalism and leading roles in the avant-garde movements Mono-ha (literally ‘the school of objects’) in the mid-1960s, Japan’s frst contemporary art movement to gain international recognition, and later Dansaekhwa (‘monochome painting’), the late-1970s movement that marked the liberation of South Korean art from its strict artistic traditions. For Lee, Mono-ha was a rejection of traditional ideas of representation in favour of depicting the world ‘as is’. Relying predominantly on the use of natural and industrial materials, it was an artistic practice largely derived from modern European phenomenology and Eastern philosophical beliefs concerning the nature of being and nothingness. Afer years of developing his Relatum series of sculptural installations, Lee Ufan returned to painting in 1972, profoundly infuenced by the Barnett Newman retrospective which he visited at the Museum of Modern Art in New York. Newman’s vertical, white abstractions had a materiality and a strong sense of space which transcended the paintings two-dimensionality and motivated Lee to draw the medium into his overall project of marking time and space. Spending approximately one month on each of his paintings, Lee’s slow and introspective painting process refects his experience and consciousness of time: “My paintings are not a direct representation of an image, nor are they concerned with a particular meaning, rather they are the phenomenological result of a temporal gesture created by neutral actions.” (Lee Ufan: From Point, From Line, From Wind, Pace Gallery, London, 2015, p.27) Lee started his frst signature series of painting, From Point series and From Line series in 1972-1973. Recalling the literati principles that he had absorbed as a child, he returned to the notion of the point and line in search of a new abstraction. Summoning the principles of classical Eastern writing and painting, Lee saw point and line as the basic units of the universe, the primordial basis for the origin of the cosmos. Lee once articulated his idea on point and line: “A line always has a beginning and an end. Space appears with the passage of time, and time disappears as the formation of space comes to an end. Because each mark and brushstroke, which creates its own space-time, has a strong presence, I cannot be permitted to paint over or touch it up. Each moment of time occurs only once, but because everything is a continuation of single moments, it is necessary for them to repeat and resonate with each other”. (Lee Ufan, The Art of Encounter, Lisson Gallery, London, 2004).

From Point No. 7901256 belongs to the artist’s From Point (1972-1984) series of works executed over a period of 12 years. In this series, he restricted his palette to a single pigment applied onto the white canvas: cobalt blue or burnt orange, evoking sky and earth respectively. Lee also began using the East Asian method of painting with the work surface fat on the foor, involving his entire body as he hovered over the canvas. This particular work is covered with the artist’s characteristic squared dots applied methodically and repeatedly until the paint on the brush has run near-dry. Unlike the more common linear compositions from the same series, it belongs to the group of works created from 1977 onwards in which the red spiralling composition creates a delicate, pulsating tension, enveloping and drawing the viewer into the heart of the painting. These paintings involving points spiralling out in circular forms were frst presented in July 1978 at his frst European solo museum exhibition at the Stadtische Kunsthalle, Dusseldorf. In these works, Lee draws a fne balance between the painted and unpainted, with progressively larger amounts of empty space lef between points, allowing the interaction of negative and positive space to transcend the canvas surface. This dynamic balance inherent to Lee’s work lends his vision a transformative, timeless quality, whilst the denial of a subject encourages a contemplative relationship to fourish between the work, the site and the observer. Lee explained that, for him, ‘What you see is what you don’t see.’ (Lee Ufan quoted in Lee Ufan, Inhabiting time, Centre Pompidou-Metz, Paris, 2019). Lee Ufan’s work is an invitation to slow down, step outside the world - with its endless infux of imagery and communication - and focus our attention on perception itself.

巴內特·紐曼《聲音》1950年作紐約, 現代藝術博物館收藏

Installation view of Lee U-Fan: From Point—From Line, Städtische Kunsthalle, Düsseldorf, 21 July – 27 August, 1978 (From Point , 1978, shown second from the lef) Courtesy of Kunsthalle Düsseldorf

杜塞爾多夫，市立藝術館，〈李禹煥：從點—從線〉展場一景， 1978年7月21日 - 8月27日《從點》 ( 1978年作 (左二))

李禹煥是一位韓國畫家、哲學家和詩人，以其對極簡主義的投入、在1960年代中期日本第一場獲得國際認可的當代前衛藝術運動「物派」（Mono-ha）中的主導地位、以及後來在1970年代末標誌著韓國藝術從刻板的藝術傳統中解放出來的單色畫（Dansaekhwa）中的領軍人物而聞名。對李禹煥來說，「物派」是對再現的傳統藝術觀念的摒棄，轉向以原面貌來描繪世界。主要依賴於對天然和工業材料的使用，這是一種主要源於現代歐洲現象學和東方哲學信仰中關於存在和虛無的本質的藝術實踐。經過多年對他的《關係》系列雕塑裝置的開發後，李禹煥在紐約現代藝術博物館參觀巴尼特·紐曼（Barnett Newman）的回顧展時受到了深刻的啟發，於1972年重新回歸繪畫。紐曼的垂直、白色抽象作品所具有物質性和超越繪畫的二維性的強烈空間感，激發了李禹煥將這一媒介融入到他對時間和空間進行標記的整體實踐中。用大約一個月的時間去畫每一幅畫，李禹煥緩慢和內省的繪畫過程反映了他的經歷和對時間的意識：「我的畫作不是圖像的直接再現，也不是對某個特定意義的關注，而是由中立行為所創造的時間性姿態的現象學結果。」（《李禹煥：從點、從線、從風》，佩斯畫廊，倫敦， 2015年，第27頁）李禹煥於1972年至1973年開始了他的第一個標誌性繪畫系列:《從點》和《從線》。回視他自兒時起便開始耳濡目染的文人理念，他在尋找新的抽象時回到了點和線的概念上。基於東方書畫的原則，李禹煥將點與線視作宇宙的基本單位，宇宙起源的原始基礎。李禹煥曾經闡述他對點和線的觀點:

「一條線總是有起點和終點。空間隨著時間的推移而出現，而時間隨著空間形成的結束而消失。因為每個標記和筆觸創造了自己的時空，具有強烈的存在感，所以我不能被允許去做層疊或修飾。每一個時刻只會發生一次，但因為一切都是單一時刻的延續，所以它們必須重複出現並相互產生共鳴」（李禹煥，《藝術上的偶遇》，里森畫廊，倫敦，2004年）。《從點-7901256號》（1979）來自藝術家在12年裡完成的《從點》（1972-1984）系列。在該系列中，他將色彩的使用限制在將單一顏料繪製在白色畫布上：鈷藍色或焦橙色，分別象徵天空和大地。李禹煥也開始使用東亞繪畫的方法，將作品平放在地面上進行繪製，在畫布上前後來回時牽動他的整個身體的運動。這件作品上佈滿了藝術家所特有的方形的點，有條不紊地重複揮舞，直至畫筆上的顏料接近乾竭。與同一系列中較常見的線性構圖不同，它屬於從1977年開始創作的一組作品，其中紅色螺旋上升的構圖創造了一種精細、脈動的張力，吸引和包圍著觀者進入到繪畫的核心。這些有著以圓形螺旋向外轉出的點之繪畫於1978年7月在杜塞爾多夫市立藝術館（Stadtische Kunsthalle）舉辦他的首次歐洲美術館個展中第一次被展出。在這些作品中，李禹煥在畫於未畫之間取得了良好的平衡，在點與點之間留下了越來越多的空白空間，讓負空間和正空間相互作用，並超越畫布表面。李禹煥作品中所固有的動態平衡為他的藝術視野賦予了變革性、永恆的品質，而對主題的否定則引發了作品、空間和觀者之間的思考性關係的蓬勃發展。李禹煥解釋說，對他而言，「所見即所不見」（李禹煥引自《李禹煥，居於時間》，龐畢度中心梅斯分館，巴黎，2019年）。李禹煥的作品邀請觀者放慢腳步, 走出世界－帶著不斷湧入的圖像和溝通—將我們的注意力集中在感知本身。

Property from a Distinguished Private New York Collection

17. George Condo

b. 1957

Red and Green Composition signed and dated ‘Condo 06’ on the reverse oil on canvas 157.5 x 136.5 cm. (62 x 53 3/4 in.) Painted in 2006. Provenance Luhring Augustine, New York Acquired from the above by the present owner in 2006 Exhibited New York, Luhring Augustine, George Condo: Existential Portraits, 5 May - 3 June 2006, p. 119 (illustrated) New York, Mary Boone Gallery, Paintings: Nina Chanel Abney, Derrick Adams, Math Bass, Ross Bleckner, Francesco Clemente, George Condo, Will Cotton, Elizabeth Neel, Peter Saul, Julia Wachtel, 2 November - 21 December 2018

HK$ 4,000,000-6,000,000 US$ 513,000-769,000

重要紐約私人收藏

喬治·康多《紅綠構圖》油畫畫布 2006年作款識：Condo 06 (畫背) 來源紐約，Luhring Augustine 畫廊現藏者於2006年購自上述來源展覽紐約，Luhring Augustine 畫廊，〈喬治·康多: 存在的肖像〉， 2006年5月5日 - 6月3日, 第119頁（圖版）紐約，Mary Boone 畫廊，〈繪畫：妮娜·香奈爾·阿布尼、德瑞克·亞當斯、馬思·巴斯、羅斯·布萊克納、弗朗西斯科·克萊門特、喬治·康多、威爾·科頓、伊麗莎·白尼爾、彼得·索爾、朱麗亞瓦切爾〉， 2018年11月2日 - 12月21日

左: 《紅色扶手椅上的女子》1929年作巴黎, 畢加索國家博物館收藏 RIGHT: Édouard Manet Olympia, 1863 Collection of the Musée d'Orsay, Paris 右: 愛杜爾·馬奈《奧林琵雅》1863年作巴黎，奧塞博物館收藏

A quintessential example of George Condo’s singular and iconic approach to portraiture, Red and Green Composition belongs to the handful of paintings from the artist’s seminal Existential Portraits series that tackle the grand tradition of the nude. At the same time, it explores the visual cross section of mental states, with its tense, psychological fair in its use of jarring colours of complementary reds and greens. Painting entirely from his imagination and art historical memory, Condo synthesises infuences ranging from Old Master painting to Cubism with a sensibility informed by popular culture, to construct a character that is “seductive and repulsive,” “frightening and appealing” all at once (R. Rugof, “The Enigma of Jean Louis: Interview 14 March 2006”, in George Condo: Existential Portraits: Sculpture, Drawings, Paintings 2005/2006, exh. cat., Luhring Augustine, New York, 2006, pp. 8-9). True to Condo’s penchant for exaggeration and distortion, however, the woman’s face has been transformed into a twisted dichotomy featuring a Phantom-like mask in monstrous green with menacing fangs and bulging eyes that meets our scrutiny with a confrontational gaze. The contrast between the Jekyll and Hyde-like expression of an animal-like snarl and mischievous smirk is an example of Condo’s ability to depict that which ‘goes between a scream and a smile.’ (George Condo, quoted in Ossian Ward, ‘George Condo: Interview’, Time Out, 6 Feb 2007, online.) In its palpable psychological intensity, Red and Green Composition is exemplary of Condo’s approach to portraiture as a type of “Psychological Cubism”. Just like Picasso embraced multiple viewpoints in his cubist portraits of his muses, Condo incorporates a multitude of extreme mental vicissitudes. The majority of the image is made up of a velvety ruby-red ground that would feel at home in the portraits of Diego Velázquez or the psychologically dense images of Francis Bacon. The impudent bust sits up against a blue and white striped object that resembles a beach chair.

“My painting is all about this interchangeability of languages in art,” Condo notes, “where one second you might feel the background has the shading and tonalities you would see in a Rembrandt portrait, but the subject is completely diferent and painted like some low-culture, transgressive mutation of a comic strip” (George Condo, quoted in J. Belcove, “George Condo interview”, in Financial Times, 21 April, 2013). The theme of the reclining nude represents a key recurring motif in Condo’s oeuvre since the artist’s emergence as a fgurative painter on the New York art scene nearly four decades ago. Having explored the subject matter in the late 1980s and early 1990s vis-à-vis Picasso’s nudes, in the mid-2000s Condo revisited the genre with a handful of paintings that took as their point of departure Francisco Goya’s La Maja desnuda, 1795-1800, and Édouard Manet’s Olympia, 1863. Both paintings radically subverted the conventions of a genre that advocated classical ideals of nudity – a nude woman within a contemporary setting whose defant stare and straightforward gaze confronted the viewer. Showcasing both Condo’s remarkable draughtsmanship and virtuoso handling of paint, Red and Green Composition is exceptional in Condo’s oeuvre for the way in which it explicitly addresses the loaded history of the gaze through the nude; the female nude appears to reclaim her agency by challenging the voyeuristic impulse in our looking, and set the foundation for the artist’s celebrated Drawing Paintings from 2011 and 2012. Condo has used Old Master techniques and subject matter to create an image that is at once timeless and contemporary, masterfully allowing the viewer to step beyond aesthetic comfort zones and embrace the honest liberality of this new style of portraiture. Above all it is Condo’s ability to capture the spectrum of human emotions, psychological states and the existential plight of humanity, which has made him one of the most revered painters of his generation.

此幅《紅綠構圖》是喬治·康多對肖像畫最奇特，並最具標誌性的經典範例，屬於藝術家著手古典題材裸女的「存在主義肖像」重要系列之量少質精的畫作之一。作品亦通過衝突對立的紅與綠帶來的張力和心理效果，探索精神狀態的視覺橫切面。康多的繪畫完全來自其想像力和腦子裡的藝術史，混合截然不同的靈感來源，包括古典油畫、立體派和對流行文化的感知，建立出同時擁有「誘人與反感」、「可怕與動人」的角色。（R.Rugoff，〈簡·路易斯之謎: 訪談〉, 2006年3月14日，展覽圖錄， Luhring Augustine 畫廊，紐約，2006年，第 8-9頁。）作品保持了康多對誇張和扭曲的追求，但女子的臉龐已經被改造成扭曲的分裂狀態，綠色怪異如鬼魂的面具，露出恐怖利牙，突出的雙眼直視觀者的目光。有著「變身怪醫黑傑克」般對立的表情，一邊是如猛獸的咆哮，一邊是惡作劇般的嬉笑，突出了康多所呈現的「介乎尖叫與微笑之間」（喬治·康多，錄於 Ossian Ward，《Time Out》，2007年2月6日，節錄自網路文章）的才能。《紅綠構圖》的心理張力清晰可觸，是康多視肖像為「精神病立體派」的典範之作。與畢加索在其立體派繆斯肖像中採取的多種視角手法同理，康多在畫面融入了多種極端的心理變幻狀態。畫面大部分由光滑的深紅色背景構成，令人想起迪亞哥· 維拉斯蓋斯的肖像，或是弗朗西斯·培根筆下充滿內心張力的畫面。畫中人放肆地坐在一個像沙灘椅般的藍白條紋物件前。「我的畫作是藝術語言的交換互動，」康多詮釋道，「前一秒你可能會覺得背景有林布蘭肖像中的色調和明暗處理，但畫中人卻完全不同，像是一個來自連環畫的低俗變種。」（喬治·康多，錄於 J. Belcove，《金融時報》，2013年4月21日）自近四十年前，康多在紐約藝術界以具象畫家身份成名後，側臥裸女的主題就在其作品中反復出現，於1980年代後期和1990年代初針對畢加索的裸體像進行創作。到了2000年代中，康多又回到這個主題，創作了一系列建基於弗朗西斯科·戈雅的《裸體的瑪哈》（19751800年）和愛德華·馬奈《奧林匹亞》（1863年）的作品。兩幅畫作都徹底推翻了一個主題類型的慣例常規，不再推崇古典理想化的裸體，在當代背景下的裸女大膽地直視觀者目光。《紅綠構圖》彰顯了藝術家精湛的構圖和對顏料的絕妙掌控，更直白地通過裸體向「注視」的歷史和故事對話，裸女似乎在挑戰觀者窺視的念頭，重奪自己的主動權，並為藝術家2011至2012年備受讚譽的「素描油畫」奠定基礎。康多採納了古典油畫技法和繪畫對象，創造出既永恆又有當代感的畫面，讓觀者走出美學的舒適區，擁抱這種新風格肖像的坦誠自由。另外，康多捕捉到人性情感、心理狀態和人類現實境況，使他成為一代最備受崇敬的畫家之一。

Property from an Important Private European Collection

18. Zhang Xiaogang

b. 1958

Bloodline: Big Family No. 11 signed and dated ‘Zhang Xiaogang [in Chinese and Pinyin] 1998’ lower right oil on canvas 148.7 x 189.9 cm.(58 1/ 2 x 74 3/4 in.) Painted in 1998. Provenance Galerie de France, Paris Galerie Andy Jllien , Zurich Private Collection, Switzerland (acquired from the above in 2001) Acquired from the above by the present owner Exhibited Paris, Galerie De France, Zhang Xiaogang - Les Camarades, 1 April – 15 May 1999, n.p. (illustrated) Literature Hanart TZ Gallery, Umbilical Cord of History: Paintings by Zhang Xiaogang, Hong Kong, 2004, p. 106 (illustrated)

HK$ 9,000,000-15,000,000 US$ 1,150,000-1,920,000

重要歐洲私人收藏

張曉剛《血緣系列11號- 大家庭》油畫畫布 1998年作款識：張曉剛 Zhang Xiaogang 1998 (右下) 來源巴黎，法國畫廊蘇黎世，Andy Jllien 畫廊瑞士私人收藏（於2001年購自上述來源）現藏者購自上述來源展覽巴黎，法國畫廊，〈張曉剛-同志〉，1999年4月1日- 5月15日，無頁數(圖版) 出版漢雅軒，〈時代的臍帶：張曉剛繪畫〉，香港，2004年，第106頁（圖版）

Inspired by old black and white family photographs, the Bloodline series is a body of works by Chinese contemporary artist Zhang Xiaogang produced between 1993 and 1999. A style conceived during a period of political turmoil in China during the Cultural Revolution, this iconic series has come to embody the collective vision of socialist China and the artist’s 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. Subsequently, in 1999 the artist held his frst solo exhibition in Europe at Galerie de France, a well-established gallery with a long history of exhibiting works from star artists, featuring the likes of Zao Wou-Ki and Pierre Soulages. Titled Zhang Xiaogang Les Camarades, the exhibition featured newer works from his acclaimed Bloodline series, including the present work Bloodline: Big Family, No. 11. The title of the exhibition in conjunction with the Big Family series showed how the term ‘comrade’ was used as a unifying socialist term to address all citizens of the People’s Republic of China as part of a ‘big family’. Executed in the later years of the series, Bloodline: Big Family No. 11 is a mature product of many years of study and development borne of the artist’s personal experiences growing up during the Cultural Revolution. A critical symbol central to the Bloodline series, sliver thin red threads weave around a young boy and girl in Bloodline: Big Family No. 11, as they stare straight ahead at the viewer. Wearing solemn, distant expressions, modest attire and conservative haircuts, the two subjects each bear the typical appearance of a member of collectivist-era China. Zhang’s children are precocious; depicted as too mature for their ages, shaped by the restrictions and rules set by adult society. The artist borrows the language of photography in his works, staging its composition to resemble that of old family photographs from that era. As a later work from his series, the present work is the product of years of practice replicating the sof ambient glow and lens glare of old black and white photographs. This allowed the artist to introduce more light into his paintings compared to earlier works, and to achieve a luminous efect through the use of multiple layers of thin paint. The photograph functioned as a mode of documenting individual memories in time, as well as preserving a moment in real life for posterity. However, inspired by Gerhard Richter’s works, Zhang started exploring the psychological and emotional potential of photography: how a simple, direct family portrait taken in a studio can carry the emotional burden of history, illustrate the complexities of the individual versus the collective identity, as well as fulfl people’s nostalgia for old flm. To paint works that look realistically like photographs, Zhang essentially creates ‘fake’ images composed of many diferent pictorial references and memories.

Against a predominantly monotone palette, the viewer’s eye is automatically drawn to the girl’s attire, highlighted in a striking hue of pinkish red. Though one would assume that the choice of colour is related to the red fag of the Cultural Revolution, in an interview with the artist he explained that the colour choice was simply a new red that he had seen and purchased in fabric stores at time: “Works created between 1995 to 1996 carried a strong sense of national identity, you could tell at frst glance from the communist attire that they were living through the Cultural Revolution. From 1998 onwards, I wanted to gradually sofen this image and to make my works more dreamlike. At this point, I started pursuing a lighter palette, with more illusory qualities in the works as compared to the darker, more sombre palette I used before.” (Zhang Xiaogang, quoted in Zhang Wenjia, “Interview with Zhang Xiaogang”, March 2019) The emphasis on attire highlighted the artist’s decision to steer away from the strong political connotations that his earlier works carried with their communist uniforms and darker tones (see for example the artist’s Portrait, 1996). The change in attire extended the work’s relevance for people living in China between the 1960s and 1990s, not just for those who experienced the Cultural Revolution, but also into the modern and contemporary era. It is also important to consider that the present work was created afer the birth of the artist’s daughter in 1994. At the point of execution, Zhang Xiaogang’s daughter would have been about 4 years old, and the children in the painting are conceivably modelled upon a similar age range to that of hers. However, instead of documenting the contemporaneous experiences of his daughter in the 1990s, the old black-and-white photographic style of the work conveys the experiences from the artist’s own childhood. An image that presents a narrative of time and family, the thin red bloodlines connect the young boy and girl as siblings – not related by birth, but as a part of a nation that emphasised unity and conformity in Mao’s communist era. The painting thus represents the collective memories of entire generation of children who lived and grew up during the Cultural Revolution, imbuing the work with a poetic sense of nostalgia and of changing times. Zhang Xiaogang’s iconic Bloodline series not only explores collective and self-identity through the nation’s historical memories, mature works such as Bloodline: Big Family, No. 11 provide insights into his own personal life, ofering a piece of complex emotional and psychological history that is universally relatable. Phillips would like to thank Zhang Xiaogang for his assistance with this essay.

LEFT: Zhang Xiaogang Portrait, 1996 Collection of Harvard Art Museums/Fogg Museum, Cambridge, Gif of Reade and Elizabeth Grifth 左: 張曉剛《肖像》1996年作劍橋，哈佛藝術博物館/福格博物館收藏，里德及伊麗莎白·格里菲斯捐贈 RIGHT: An old photograph of brother and sister the artist used as one of his many pictorial references Courtesy of the artist studio 右: 張曉剛的畫家朋友陳衛閩與他妹妹的老照片 (照片由藝術家工作室提供 )

《血緣》系列是中國當代藝術家張曉剛於1993年至1999年間創作的作品，其創作靈感來自家裡的黑白老照片。此風格形成於中國文化大革命的政治動亂時期，這一標誌性系列體現了社會主義中國的集體視角以及藝術家自己當時的反思。為了表達1990年代初期集體於個人身份之間的衝突，張曉剛創作了他的第一幅《大家庭》繪畫作品。隨後，在1999年，藝術家在法蘭西畫廊（Galerie de France）舉辦了他的第一次歐洲個展。這個歷史悠久的畫廊，曾經展出過許多重量級藝術家的作品，其中包括趙無極和皮埃·蘇拉吉（Pierre Soulages）等。這個名《張曉剛 - 同志》的展覽展出了他著名的《血緣》系列中較新的作品，包括這件《血緣系列11號- 大家庭》。展覽的標題與《大家庭》系列一起，顯示了「同志」一詞是如何作為統一的社會主義術語，被用來稱呼中華人民共和國「大家庭」中一份子的所有公民。創作於該系列後期，《血緣：大家庭11號》是藝術家在經過多年的研究和發展後，並承載了其成長於文革時期的個人經歷所創作的一件成熟作品。對《血緣》系列引發重要作用的一個關鍵的標誌，是一條如銀絲般纖細的紅線。在《血緣系列11號-大家庭》中圍繞著畫中直視著觀者的小男孩和小女孩，這兩個人物的表情嚴肅、疏離，穿著簡樸，髮型保守，兩人都帶著典型的集體主義時代中國人的裝扮。張曉剛作品中的孩童是早熟的；因為被成年人社會規範的限制所塑造，而顯示出超越年齡的成熟。藝術家在他的作品中借用了攝影語言，使其與那個時代的家庭老照片有著相似的構圖。作為這個系列中的後期創作，該作品是他多年練習營造柔和的環境光和製造黑白老照片的鏡頭眩光效果之產物。與其早期作品相比，藝術家已經能夠在作品中注入更多的光線，並通過使用較薄的顏料進行色彩層疊來展現光暈的效果。照片的作用在於及時記錄個人記憶，並為後代保留真實生活中的某一時刻。然而，在葛哈·李希特的作品的啟發下，張曉剛開始探索攝影的心理和情感潛能：在攝影棚所拍攝的一張簡單、直接的全家福是如何承載歷史的情感負擔，展示個體相對於集體身份之間的複雜性，並且滿足人們對老膠片的懷舊情緒。為了繪畫出看起來像是真實照片的作品，張曉剛本質上創造出了由許多不同的圖像參考和記憶所組成的「假」圖像。

對於單色色調佔據主導的畫面，觀者的視線會主動被吸引到小女孩那醒目的紅中帶粉色調的服裝上。儘管人們可能會認為對紅色的選擇與文化大革命時期的紅旗有著關聯，但在採訪中藝術家解釋說，對這種顏色的選擇僅僅是來自他在當時在美術用品店所看到和購買的一種新的紅色顏料：「1995年至1996年間創作的作品之身份感特別強，一眼就能看出人物身上穿的是文革時期或70年代的服裝。到1998年我就想慢慢把畫淡化一點，而且也想讓畫更夢幻一點。在色彩上也開始追求虛幻、偏淡一點的，比較沒那麼沈重的色彩。」（張曉剛，引自張文嘉，《張曉剛訪談》，2019年3月）。對服裝的強調凸顯了藝術家決定脫離他早期作品中描繪的共產主義制服和深色調所帶有的強烈政治意味（參見藝術家的《肖像》，1996年）。服裝上的變化使作品與生活在 1960年代和1990年代之間的中國人都產生共鳴，不僅僅是在講述那些經歷過文化大革命的人，而且也將時序擴展至現當代。同樣值得關注的是，這幅作品是1994年藝術家在他的女兒出生後創作的。在創作這幅作品時，張曉剛的女兒大概已經4歲了，畫中的孩子們可以想像與她的年齡相近。然而，這件老黑白照片風格的作品所記錄的並不是他女兒在1990年代的同期經歷，而是傳遞了藝術家自己童年時代的經歷。一幅關於時間和家庭敘事的圖像，纖細的紅色血緣線將這對男孩女孩如兄妹般連接在一起 - 並非真正因血緣相連，而是同樣作為強調集體和整合的、毛澤東時期的共產主義時代之中國的一部分而相連。因此，這幅畫代表了在文化大革命期間生活和成長的整整一代兒童之集體記憶，使作品充滿詩意的懷舊感和時代變遷感。張曉剛標誌性的《血緣》系列不僅通過整個民族的歷史記憶來探索集體歸屬和自我認同，如《血緣系列11號-大家庭》等成熟的作品同時也為觀者打開了進入藝術家個人生活的視角，展示了一段讓人們普遍感同身受的複雜情感和心理歷史。富藝斯特別鳴謝張曉剛協助指導此專文。

The artist in his studio, 1996 藝術家於工作室, 1996年

19. Liu Wei

b. 1972

Purple Air III No. 2 (diptych) oil on canvas each 301.6 x 190.4 cm. (118 3/4 x 74 7/8 in.) overall 301.6 x 380.8 cm. (118 3/4 x 149 7/8 in.) Painted in 2006. Provenance Wedel Fine Art, London Private Collection, Asia Christie’s, Hong Kong, 26 November 2016, lot 16 Acquired at the above sale by the present owner

劉韡《紫氣三第2號》（雙聯作）油畫畫布 2006年作來源倫敦，Wedel Fine Art 亞洲私人收藏香港，佳士得，2016年11月26日，拍品編號16 現藏者購自上述拍賣

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

Liu Wei leads a contemporary generation of avant-garde Chinese artists forging a new vocabulary inspired by Western artistic references, forgoing the “Made-in-China” iconography, eluding a national narrative while alluding to their environs. A multifaceted artist and a thinker, Liu Wei continually pushes the boundaries in his pursuit of the ‘visual truth’ (Liu Wei, quoted in Hans Ulrich Obrist, ‘Hans Ulrich Obrist: Interviews Liu Wei’, in The China Interviews, Hong Kong, March 2012, online). It is this search that links his diverse practices across paintings, photography, video, sculpture, and installation.

There is a brutal modernity to this systematic, grid-like composition. Aptly, Liu’s working method consists of frst creating a design using computer-generated pixels and patterns, before transposing onto canvas.

“I don’t begin from a material or a technique and then think about what I want to do. Rather, I have an idea and then think about how to express it.” (Liu Wei, quoted in Jerome Sans, ‘Liu Wei, an interview’, in China Talks, Beijing, 2009, p. 41).

It is unclear whether Purple Air III No.2 is a metaphor or indictment. Liu Wei candidly admitted that although the idea of pollution in Chinese cities crossed his mind, his rendering of buildings and cities is rooted in his belief that they represent the blueprint of human existence. The title emanates from the Chinese saying ‘purple air comes from the east’ (紫氣東來) that augurs an auspicious omen. ‘In the Chinese classics, this idea of purple air refers to a state of haze, a lack of clarity, but actually full of vitality. There are so many problems, but it is still lovely’ (Jerome Sans, ‘Liu Wei, an interview’, in China Talks, Beijing, 2009, p. 43).

Executed in 2006, Purple Air III No. 2 is from Liu Wei’s seminal series of the same name. Cityscape dominates this impressively sized diptych. Sharp lines and stacked columns rendered in monochromatic shades of grey and punctured by sporadic verticals of bright white, yellow, orange and red evoke soaring skyscrapers. A round shape referencing the sun or the moon glow through the enveloping hazy air, opaque grey tinged with a purple hue. Dark specks hover nearby, reminiscent of birds. A large blue rectangle superimposed across suggests a window through which the spectator peers, catching a glimpse of the sprawling metropolis. Geometric abstraction amplifes the verticality of the urban architecture.

The Purple Air series began in 2005, a time of Liu Wei’s emergence onto the international art scene and conceptual shif towards a more subtle narrative. Liu’s motif of a cityscape reduced to geometric abstraction has since reappeared in various painting series and installations.

“I am with the viewers, in the quest for meaning. I hope the viewers could use my works as starting points or points of reference in their discussions, contributing to their own thinking. In this sense, art means freedom. Not only am I free as a creator, the viewers are free as spectators as well.” (Sam Gaskin, ‘Liu Wei in Conversation’, in Ocula, 1 April 2015).

劉韡代表著一代中國前衛藝術家，借鑒西方藝術而創造出新的藝術語言，捨去「中國製造」的固有形象，避開民族性描繪的同時反映周遭環境。劉韡是一位多元性藝術家兼思想家，在不斷推動認知界限中追尋「視覺真理」。正是這種探索將他的各種藝術實踐與繪畫、攝影、錄像、雕塑和裝置相互串聯。「我不是從材料或技術面來考慮創作。而是先有一個想法，然後考慮如何表達它。」（漢斯·烏爾里希·奧布里斯特，〈漢斯·烏爾里希·奧布里斯特：劉韡訪談〉，錄於《中國訪談》，北京，2012年，網絡文章）《紫氣三第2號》作於2006年，屬劉韡著名的同名系列作品。此雙聯作尺幅碩大，以城市景觀佔據主要空間。線條鮮明利落，大量縱向柱體呈灰調單色系，偶爾穿插著鮮艷白、黃、橙和紅色豎線，猶如高聳的摩天大廈。朦朧的空氣裡灰色透著些紫色，其中可見一個代表太陽或月亮的圓形發光體，附近有幾個深色的黑點，像是盤旋的鳥兒。畫面重置著一個大型藍色長方形框，像是觀者穿過窗戶的視線，看著不斷擴展的大都市。畫面的幾何抽象令都市建築顯得更加誇張，構圖結構鮮明，如網格一般，是現代化冷酷現實。劉韡的創作手法是先以電腦生成的像素和圖案設計，再轉移至畫布之上。

「紫氣」系列從2005年開始，當時劉韡剛在國際藝壇冒起，在藝術概念上轉向更為含蓄的描述。其由城市景觀精簡至幾何抽象的主題構圖又再次出現在其繪畫系列和裝置作品。究竟《紫氣三第2號》是個隱喻或控訴不得而知。劉韡直白承認，雖然他的確思考過中國城市的污染狀況，但他對城市和建築的描繪是源於他心中城市和建築所代表的人類存在藍圖。題目來自成語「紫氣東來」，寓意祥兆。「在中國古典中，紫氣是一種朦朧的狀態，非清澈的，但充滿活力。有那麼多問題，但依然可愛。」（Jerome Sans，〈劉韡訪談〉，錄於《中國訪談》，北京，2009年，第43頁）「我與觀者一樣，在尋求意義。我希望觀者可以視我的作品為起點，或者討論的借鑒點，發展他們自己的思考。如此一來，藝術代表著自由，不僅我作為藝術家是自由的，觀者也是自由的。」（Sam Gaskin，〈對話劉韡〉，錄於《Ocula》，2015年4月1日）

20. Banksy

b. 1975

Everytime I Make Love to you I Think of Someone Else tagged ‘BANKSY’ on the lower right edge; further signed, numbered and dated ‘BANKSY 1/5 LA 2002’ on the stretcher; acrylic, spray paint and stencil on canvas 91.5 x 76 cm. (36 x 29 7/8 in.) Executed in 2002, this work is accompanied by a certifcate of authenticity issued by Pest Control. Provenance 33 1/3 Gallery, Los Angeles Private Collection (acquired from the above in 2002) Sotheby’s, London, 16 October 2010, lot 214 Acquired at the above sale by the present owner Exhibited Los Angeles, 33 1/3 Gallery, Existencilism, 19 July - 18 August 2002

班克斯《同床異夢》壓克力噴漆模版畫布 2002年作，並附Pest Control工作室之保證書。款識：BANKSY（右下畫緣）; BANKSY 1/5 LA 2002（簽於內框）來源洛杉磯，33 1/3 畫廊私人收藏（於2002年購自上述來源）倫敦，蘇富比，2010年10月16日，拍品編號214 現藏者購自上述拍賣展覽洛杉磯，33 1/3 畫廊，〈Existencilism〉，2002年7月19日-8月18日

Courtesy of Pest Control Ofce

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

‘It takes a lot of guts to stand up anonymously in a western democracy and call for things no-one else believes in like peace and justice and freedom.’ Banksy

The iconic British artist Banksy is an anonymous street artist, painter, and social and political activist. A provocateur who grew up “bombing” walls with his trademark stencilled grafti during the 1990s in Bristol, England, his work has appeared on the streets, walls and bridges of cities around the world including San Francisco, Barcelona, Paris and Detroit. Starting as a freehand grafti artist, Banksy reportedly turned to stencilling as his method of choice afer noticing the stencilled serial number under a rubbish lorry whilst hiding from the police. Stencilling presented a practical solution for creating and replicating his work quickly and keeping him safely beyond the reach of law enforcement. A mutinous, iconoclastic streak underpins Banksy’s iconic stencilled works and their pithy epigrammatic titles. Acid yellow smiley-faced policemen, rats wielding drills, monkeys detonating weapons of mass destruction, a monkey-faced Queen Elizabeth - Banksy uses his stencilled subjects as a form of incisive, biting social commentary that transcends language barriers. Protesting war is a theme that occupies a special place in Banksy’s work (see for example Banksy’s CND Soldiers), and Everytime I Make Love to you I Think of Someone Else – an image of two cheerfully humping military vehicles, surrounded by a saccharine pink heart - is a pertinent example of Banksy’s views on modern warfare. Striking a balance between the whimsical and subversive is key trait of Banksy’s work: though the work strikes an ostensibly light-hearted, even humorous tone, Everytime I Make Love to you I Think of Someone Else was executed in the wake of 9/11, in the midst of escalating tensions and around the same time the US government began publicly setting out the groundwork for an invasion of Iraq, supported by key allies such as the United Kingdom.

As the title of the work suggests, modern warfare is an expired, loveless relationship in which the invading parties are simply going through the motions. The banality of this arrangement is mocked by the oversized pink heart, which speaks to the superfcial - even tacky - nature of the ‘theatre’ created by the parties intent on going to war. The vehicle on the lef bears a strong resemblance to a British Humber armoured car, one of the most widely produced armoured cars of the Second World War. Its machine gun, pointed away from view, disappears into the undercarriage of a second military vehicle, one that bears a strong resemblance to the American M1117, a mineresistant armoured military vehicle that was deployed in increasing numbers afer 2001 in Iraq and Afghanistan. Everytime I Make Love to you I Think of Someone Else skewers the intentions of the two main protagonists in the Iraq War, suggesting that both parties have their sights set on other objectives and willingly engage in war to further a hidden agenda – as a means of obtaining access to oil felds, or to re-assert waning global infuence for example. Banksy uses his art as a call to action: “It takes a lot of guts to stand up anonymously in a western democracy and call for things no-one else believes in - like peace and justice and freedom.” (Banksy, quoted in Wall and Piece, London, 2006, n.p.) Everytime I Make Love to you I Think of Someone Else was exhibited at the artist’s frst show in Los Angeles (and his fourth ever solo show in a formal exhibition space) at Gallery 33 1/3 in 2002. Called ‘Existencilism’, the exhibition debuted some of his most iconic works including “Queen Victoria” and “Laugh Now”, and almost sold out. Once an outsider, today Banksy is frmly considered a cultural icon and his artistic achievements extend to canvas paintings, conceptual sculpture and even flm, with the Academy Award-nominated documentary Exit Through the Gif Shop. His work now forms part of eminent public collections including the British Museum and the Victoria and Albert Museum in London.

英國代表性藝術家班克斯是一位匿名的街頭藝術創作者、畫家和社會政治行動主義者。他一直是個挑釁者， 1990年代他自少年時期就開始在英國布里斯托活躍，從90年代末起以他最具標誌性的模板塗鴉「轟炸」城市街道的墻壁。隨後他的作品逐漸出現在三藩市、巴塞羅那、巴黎、底特律等世界各地的城市街道、墻壁和橋樑上。班克斯一開始是用徒手塗鴉的，據說，有一次他躲避警察的時候在一輛廢棄卡車底部看到一個模板印刷序號，此後便轉為用模板塗鴉創作。用模板便可以快速地創作和複製作品，讓他更容易避開執法單位追緝。班克斯的模板塗鴉作品有著反叛的思想，反偶像崇拜的底蘊，題目精簡諷刺。黃色尖酸笑臉的警察、拿鑽地機的老鼠、引爆致命武器的猴子、猴臉的伊麗莎白王后，班克斯創造的模板塗鴉角色都是一種超越語言界限的社會評論，尖銳而辛辣。反戰題材在班克斯作品中具有特殊的地位（見作品《反核運動士兵》為例），《同床異夢》的圖像中，兩輛軍用車開心地交合，被甜蜜的粉紅色愛心環繞著。此作貼切地體現出班克斯對現代戰爭的看法。而且這種結合了玩笑和破壞性思想的巧妙安排也是班克斯作品的核心特點之一。雖然《同床異夢》表面看起來輕鬆幽默，但其實是九一一事件後，在一片劍拔弩張的緊張氣氛中，當時美國政府開始公開計劃對伊拉克的進攻，並且得到英國等主要盟友支持之時的創作。

Banksy CND Soldiers, 2005 Phillips, Hong Kong, Banksy: Who’s Laughing Now?, 17 November - 7 December 2018 Private Collection Courtesy of Pest Control Ofce

班克斯《反核運動士兵》2005年作香港，富藝斯，〈班克斯: 現在誰在笑〉, 2018年11月17日- 12月7日私人收藏

如此作題目所示，現代戰爭就像一種過期、無愛的關係，進攻的一方只是麻木地進行動作。作品的平板構圖被那顆超大型粉紅色愛心打破，愛心指向那些意圖開戰政黨所創造的膚淺甚至俗套的「戲劇效果」。左邊的那輛車很像英國 Humber 裝甲車，是第二次世界大戰中最廣泛生產的裝甲車種之一。它的機關槍指向視野以外，消失在另一輛軍車之下，那輛車與美國 M1117 防爆裝甲車極為相似，自2001年之後在伊拉克和阿富汗都擴大了使用量。《同床異夢》針對伊拉克戰爭的兩大主腦，暗示雙方都另有目的，同意參戰只是為了繼續自己暗中的計劃，比如佔有油田，或重新搶奪漸漸失去的國際影響力。班克斯用自己的藝術作為對大眾採取行動的呼籲。「我認為我有膽量在西方民主社會匿名地站出來，呼籲和平、平等和自由這些其他人並不太相信的事情。」（班克斯，錄於《Wall and Piece》，倫敦，2006）《同床異夢》於藝術家2002年在洛杉磯 33 1/3 畫廊展出之作品，該展覽是班克斯藝術生涯的第四個個展，也是第一個在正式展覽空間舉辦的大型個展。展覽名為〈Existencilism〉，是包括《維多利亞女王》和《笑在當下》等作品的首次公開露面，幾乎全部售出。班克斯曾經是一個局外者，但現在已是絕對的文化代表人物，其作品延伸至布面油畫、概念性雕塑甚至電影，其紀錄片《畫廊外的天賦》獲得奧斯卡金像獎提名。班克斯的作品現在已被納入倫敦大英博物館和維多利亞與阿爾伯特博物館等著名公眾收藏。

O♦

21. KAWS

b. 1974

UNTITLED (MBFL6) signed and dated ‘KAWS..15’ on the reverse acrylic on canvas diameter: 244.3 cm. (96 1/8 in.) Painted in 2015. Provenance Honor Fraser Gallery, Los Angeles Acquired from the above by the present owner

KAWS 《無題 (MBFL6)》壓克力畫布 2015年作款識：KAWS..15（畫背）來源洛杉磯，Honor Fraser 畫廊現藏者購自上述來源

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

‘What’s abstraction to somebody that knows something? If you look at something but then you know what it is, is it still abstraction?’ KAWS

Installation view of MAN’S BEST FRIEND, Honor Fraser Gallery, Los Angeles , 13 September – 31 October 2014 洛杉磯，Honor Fraser 畫廊，〈人類最好的朋友〉展覽一景， 2014年9月13日-10月31日

Cartoons have had a long history in American popular culture— their short narratives simple, direct and persuasive under the unsuspecting veil of humour and cuteness. A genre no longer confned to the realm of children’s entertainment, its ability to relate to all ages and remain timeless throughout history and contemporary culture is ofen overlooked. American artist Brian Donnelly, better known as KAWS, taps into this medium by parodying characters from popular cartoons with his distinct artistic aesthetic. These characters, with crossedout eyes, skull-like faces and crossbones for ears have become the most iconic features of his oeuvre. KAWS draws from the comforting familiarity associated with popular cartoon characters, but also abstracts and reworks them with warped perspectives and frenzied outlines to elicit more complex emotional responses from his viewers. In 2014, Honor Fraser Gallery in Los Angeles held a solo exhibition for the artist featuring his then-latest body of works. The exhibition MAN’S BEST FRIEND highlighted how various cartoons infuenced KAWS, with hints of iconic characters coming through abstract compositions of colours and crossed eyes. The present lot continues this exploration in the form of a large-scale tondo work. With ‘X’s for eyes that conventionally represent death in cartoon culture, KAWS uses his signature motif as main anchors of the composition as diferently-sized fragments of the familiar comic strip beagle emerge into view. Well-known for his clean visual imagery, KAWS’s lack of visible brushstrokes and use of a minimalist monochrome palette maintain a graphic quality to the work— stripping the fgurative into an abstract surface that directly confronts its viewers.

KAWS MAN’S BEST FRIEND, 2014 KAWS 《人類最好的朋友》2014年作

The viewer recognises the lovable beagle character, but its crossed-out eyes and agitated lines assign an entirely new personality to the original cartoon. The repetitive efect from the multiplication of the fgure conveys a sense of insecurity— as if the character is attempting to assert its presence by echoing itself. Accompanied by its outstretched limbs and unnatural smile, undercurrents of angst, unease and even empathy, are elicited in the viewer. As with the present lot, the MAN’S BEST FRIEND series applies a highly zoomed-in perspective towards his paintings. His fgures are only seen in parts, as the rest of them disappear along the edges of the canvas. Almost as if to mimic the familiarity of taking snapshots of a friend on a mobile phone (most evident in the work MAN’S BEST FRIEND, 2014), works from this series convey a sense of the nostalgia experienced by a generation of youths and millennials who grew up watching and reading these cartoons. Through UNTITLED (MBFL6), KAWS brings to light the abstract nature of animation, but also shows how personal an image can be in evoking inherently human expressions. As pointed out by curator and scholar Michael Auping, “cartoons are designed to simplify human emotions: happy/ angry, good/ bad. KAWS introduces more complex and subtle feelings, such as melancholy, disgust, pride, and envy. This is existentialism absorbed into a cartoon world.” (Michael Auping, in ‘America’s Cartoon Mind’, in Modern Art Museum of Fort Worth, WHERE THE END STARTS: KAWS, Texas, 2017, p.68 ).

Put simply, KAWS’s unique vision allows the artist to sugarcoat the harshness and uncertainty of contemporary life through lovable characters and simple colours. Using accessible characters as his main subjects, KAWS opens up the realm of art not only to art critics and intellectuals, but also to a mass audience through popular culture. Not only is he highly sought afer in the realm of art, he has continued to infuence every possible commercial outlet with his visual identity and voice, collaborating with the fashion and design industry, producing toys, clothes and even furniture, resulting in an increasingly large following on social media. One of the reasons why KAWS is gaining worldwide popularity at breakneck speed, according to art historian and curator Germano Celant, is that his works represent “the democratisation, industrial and commercial, of a contemporary aesthetic, which is supported by the digital network with KAWS as its protagonist with his thousands and thousands of followers”. (Germano Celant, quoted in ‘KAWS célèbre: street artist’s frst survey—and huge infatable—make waves in Hong Kong’, The Art Newspaper, 25 March 2019, online) KAWS was honoured in 2018 by amfAR at its fourth annual amfAR Gala in Hong Kong. He then received an honorary Doctor of Fine Arts (DFA) from the New York Academy of Fine Arts in New York in April 2019. The artist’s next solo exhibition will take place in Detroit at the Museum of Contemporary Art Detroit (MOCAD), showing 10 May – 18 August 2019.

「抽象對一個人來說是讓他知道了什麼？你去看一些東西但你知道它是什麼，它仍然是抽象嗎？你只是開始去看那些姿態，它們是如何作用的，並思考繪畫的歷史以及與之有什麼關聯。」（KAWS引自Senay Kenfe，《獨家：KAWS談弗雷澤榮譽畫廊展出的《人類最好的朋友》，The Hundreds，2014年9月16日，網路文章）卡通在美國流行文化中有著悠久的歷史 - 其簡要的敘事單純、直接，在讓人毫無戒心的幽默和可愛之下，直接被說服、感染。作為一種不僅僅局限於娛樂兒童的題材，它的老少咸宜以及它在整個歷史和當代文化中所保有的永恆性卻常常被人忽視。以KAWS為名的美國藝術家布萊恩·唐納利（Brian Donnelly），憑藉流行卡通人物為藍本，以及自己獨特的藝術審美，將這一題材融入到他的創作中。這些角色，帶著「XX」眼，骷髏般的臉和交叉骨耳朵，已成為他作品中最具標誌性的特徵。 KAWS汲取了流行卡通人物身上所存在的讓人舒心的熟悉感，同時也以扭曲的角度和瘋狂的輪廓將他們抽象化和重造，然後激發觀者更為複雜的情感反應。 2014年，洛杉磯的弗雷澤榮譽畫廊（Honor Fraser Gallery）為藝術家舉辦的個展中展出了他當時最新的作品。這個名為《人類最好的朋友》（MAN’S BEST FRIEND）的作品展示了卡通人物如何影響KAWS，畫中暗示了該漫畫家的標誌性人物，在KAWS抽象的構成和「X」眼的之組合中重生。此次的拍品以大尺幅圓形畫的呈現方式繼續探索這一主題。「X」眼傳統意義上在卡通文化中代表了死亡，KAWS使用他的標誌作為構圖的主要錨點，而人們熟悉的漫畫中的主角則以不同大小的碎片形式進入人們的視野。KAWS以其簡潔的視覺圖像而聞名，無形的筆觸和對極簡主義的單色調色塊的使用，為作品保留了平面圖像般的質感－將有形的圖像剝離成為直接面對觀者的抽象表面。可愛的卡通人物依然可辩，然而其「X」眼和顛狂的線條則給這個漫畫原型賦予了全新的個性。主題人物的重複增加傳遞了一種不安全感－彷彿在試圖通過回應自身來強調他的存在。伴隨著其伸展的四肢和不自然的微笑，引發觀者心中生起焦慮、不安甚至同情的暗流。

與本次拍賣作品一樣，《人類最好的朋友》系列在他的畫作中採用了高度放大的視角。他作品中的人物只能看到部分，而其餘部分則隨著畫布的邊緣消失不見。幾乎就像用手機為身邊朋友拍攝快照時所帶有的熟悉感一樣（在2014年《人類最好的朋友》中最為明顯），這個系列的作品傳遞了觀看和閱讀這些漫畫長大的年輕人和千禧世代記憶裡的懷舊感。通過《無題 (MBFL6)》，KAWS揭示了動畫的抽象本質，同時也展示了圖像在引發人類內在表達上的個人情感牽引作用。正如策展人和學者邁克爾· 奧平（Michael Auping）所指出的那樣，「卡通旨在簡化人類的情感：快樂/憤怒、好/壞。 KAWS 則引入了更複雜和微妙的感情，如憂鬱，厭惡，驕傲和嫉妒。這是存在主義被吸收到卡通的世界。（ ] 邁克爾· 奧平，摘自《美國的卡通心靈》，沃斯堡現代藝術博物館，《始於終點：KAWS》，德克薩斯州，2017年，第68頁）。簡而言之，KAWS的獨特視角讓他得以通過惹人喜愛的人物角色和簡單的色彩，來為當代生活的嚴酷性和不確定性裹上一層糖衣。以平易近人的人物為主題，KAWS所創造的藝術領域不僅為藝術評論家和知識分子開放，也通過流行文化面向普羅大眾。他不僅在藝術領域受到高度追捧，而且還持續用他的視覺形象和聲量去影響每一個可能的商業渠道，與時尚和設計行業合作，生產玩具、服裝甚至家具，並在社交媒體上吸引了越來越多的關注。根據藝術史學家兼策展人傑曼諾·塞蘭特（Germano Celant）的說法， KAWS能以極快的速度受到國際性的歡迎,原因之一在於，他的作品「代表了當代美學的民主化、工業化和商業化，而社群網絡的推波助瀾下，正如他作品中的人物有著成千上萬的粉絲支持一樣。」（傑曼諾·塞蘭特，引自《著名的 KAWS：街頭藝術家的首次回顧 - 以及巨大的充氣同伴－搔動香港》，藝術新聞，2019年3月25日，網路文章） KAWS於2018年在香港舉行的第四屆年度amfAR慈善晚宴上榮獲amFAR的頒獎。 2019年4月在紐約榮獲紐約美術學院榮譽美術博士（DFA）。藝術家的下一個個展將在底特律當代藝術博物館（MOCAD）舉辦，展期將由 2019年5月10日至8月18日。

22. Richard Prince

b. 1949

Untitled inkjet and acrylic on canvas 149.9 x 193 cm. (59 x 75 7/8 in.) Executed in 2010. Provenance Gagosian Gallery, New York Acquired from the above by the present owner

李察德·佩利斯《無題》噴墨壓克力畫布 2010年作來源紐約，高古軒畫廊現藏者購自上述來源

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

Louis Vuitton x Richard Prince: Afer Dark series at the Hong Kong Museum of Art 香港藝術博物館，路易威登 x 李察德· 佩利斯《不夜城》系列

Treading a thin line between satire and subversion, Richard Prince’s art seeks to disorient its audience with a sense of pseudo-familiarity. Foraging from photographs, billboards, and pulp fction—the latter thanks to the artist’s ardent bibliophilic tendencies—Prince’s work destabilises our notions of authenticity and authorship. When taken against the wider context of Prince’s ‘re-photography’ techniques, Untitled is a work that similarly features the artist’s adoption and repackaging of the world around him; a plane rife with various racial and sexual neuroses, perpetuated by a smorgasbord of mainstream humour, mythical cowboys and fetishised pin-up girls. One of Prince’s most coveted fgures, the trope of the ‘naughty nurse’ is a prevailing icon that continually resurfaces in the artist’s lexicon, and which originates from cabaret, pornography, and fashion magazines. From the late nineties onwards, and drawing from the covers of his own collection of mid-century Naughty Nurse books, Richard Prince created a series based on the same book titles, producing works from Millionaire Nurse to Man-Crazy Nurse. In these, Prince presents the viewer with a nurse-turned-seductress, masked and set against a dark, dripping surface, shown alongside a provocative yet ambiguous book title in neon. In de-contextualising the source of his protagonists, the nurses lend themselves to a renewed meditation of American pop culture that stretches beyond the boundaries of its original subject matter.

In 2007, Prince would go on to collaborate with Marc Jacobs on a Spring/Summer 2008 Louis Vuitton collection based on such ‘Nurse Paintings’. The collaboration proved so iconic that the duo cooperated further in 2009, on Louis Vuitton x “Afer Dark”, an exploration of cityscapes at night. As Prince recounts: “The Afer Dark series is another subject matter that’s just starting for me. It started when I met with Marc Jacobs a couple of years ago. I started to come up with some ideas for a campaign and one of the ideas was Louis Vuitton afer dark. I also just remembered I had all these ‘Afer Dark’ books in my library and what I liked about them was, aside from the suggestion of what that actually means, the books had been written in all these diferent cities that I would fnd. I tried to hunt them down and every country seemed to have an ‘Afer Dark’ book. I liked the little text that went with it and I liked the font.” (N.Skukur, ‘Interview with Richard Prince’, Russh Magazine, 2010).

A sense of exoticism certainly prevails in such ‘Afer Dark’ works: coupled with the tantalising ambiguity and displacement of the heroines, the series demonstrates Prince’s ability to reveal and obscure his subjects, imbuing his canvases with an aura of anticipation, promiscuity and unabashed sensuality. Especially given its pink and red colour palette, the present work in particular is an investigation of the fetishisation of the Far East—the kitschy, stereotypical “Chinese Takeout” typeface of the title glowing above the topless fgure can perhaps be considered a deliberate afront to such tawdry novellas, excavating such themes as colonisation, and its fetishisation and eroticisation of the “Orient”. In Prince’s rendition, the viewer is presented with a work that is a cipher, a riddle that is flled with layers of meaning. Prince has combined digital imaging with gestural brushwork in order to create a work that challenges not only notions of authorship, but also which summons the fetishisation and commodifcation of corruption in a seemingly calculated plunge into the depths of our collective psyche. Heralding art, fashion and exoticism, Richard Prince was invited once more by Louis Vuitton to create one of Hong Kong’s frst public art installations, essentially packaging the exterior of the Hong Kong Museum of Art in celebration of the city’s annual Le French May Arts Festival and the 2009 exhibition Louis Vuitton: A Passion for Creation. The museum was wrapped with a monumental patchwork of replicas of the pulp-fction novels that inspired the artist’s series—and it is perhaps especially ftting that the current work will be presently re-contextualised against an Asian setting, injecting the work with an added layer of signifcance. Richard Prince Mystery Nurse, 2009 Phillips, New York, 16 November 2017, lot 19 Private Collection 李察德‧佩利斯《神秘護士》2009年作紐約，富藝斯，2017年11月16日，拍品騙號19 私人收藏

Deliberately subversive in his mode of execution, Richard Prince’s signature navigation and adoption of American subculture, idiosyncrasies, and vernacular are at the heart of his oeuvre. Remarkably, while Prince draws from a rich and complex tapestry laced with the Marlboro Man, nymphomaniac nurses, grunge, and pulp fction central to American identity, the artist has been adept at creating a unique, universal language that is infused with his very own critique, commentary, and at times caricature of the world that surrounds him.

理查·普林斯的藝術介乎諷刺與顛覆破壞之間，以一種似是而非的熟悉感讓觀者迷茫疑惑。藝術家從相片、廣告牌和通俗小說中提取靈感，後者來自其對收集書籍的熱忱，普林斯的作品動搖了我們對真確性和原創性的認知，放在普林斯「翻製圖像」手法作品的大背景下，《無題》亦有相似的特性，突顯了藝術家對身邊世界的採納和重新包裝。在一個平面中充滿了各種種族和性別惶恐，加上一點主流幽默，傳奇般的牛仔和物化的海報女郎。普林斯最令人嚮往的作品之一是「俏皮護士」系列作品，此主題經常反復出現在藝術家的作品集中，亦來自歌舞廳、色情和時尚雜誌。自九十年代末開始，普林斯從五、六十年代「俏皮護士」書籍收藏中提取靈感，創造了一系列與書名相同題目的作品，包括《百萬護士》和《花癡護士》。在這些作品中，普林斯描繪護士形象的誘人女郎，面帶口罩，出現在黑暗、顏料淌流的畫面，旁邊的霓虹色而帶著既有挑逗性又模棱兩可的書名。撇除畫中人物來源背景，護士們成為對美國流行文化的嶄新反思，超越了其原本意義的界限。 2007年，普林斯與馬克·雅克布在路易·威登的2008年春夏季系列合作，創作以「護士畫作」為根基的系列。該次合作引得極大反響，於是二人在2009再次合作，完成了路易·威登 x「After Dark」（不夜城）在夜晚探索城市風景的項目。普林斯回憶道: 「『不夜城』系列對我來說是一個剛起步的主題，是我兩年前認識馬克·雅克布後激發的。我開始形成一些活動的念頭，其一就是路易·威登的不夜城。我也想起我書房架上的那些『不夜城』書籍，我所感興趣的是，名字除了提示它的內容，這種書在各個不同的城市都有。我試著追溯下去，發現每個國家都好像有一本「不夜城」的書。我喜歡那精簡的文字和字體。」（N. Skukur，《Russh 刊物》2010年）

「不夜城」系列作品中總瀰漫著一種異國情調：令人困惑的不明確性加上女主角的錯置，此系列彰顯了普林斯自如揭示或隱藏其主題的能力，在畫面營造期待、混亂氣氛和滿不在乎的感官享受。本次作品的粉紅和紅色調更似對遠東物化的探討，那種庸俗、固定概念化「中餐外賣」招牌似的熒光題目，出現在赤裸上身的女子之上，似乎是刻意輕蔑這種俗艷小說，揭開東方的殖民主義、物化主義和情色主義等主題。透過普林斯的作品，觀者如見到一個蘊藏許多層含義的密碼或密語。普林斯更結合數碼圖像和動態筆觸，作品不僅挑戰所參考的原創之概念，更觸及物化和物戀的訛用，看似算計地投入我們的整體心靈深處。理查·普林斯是藝術、時裝和異國情調的先驅，再次受路易·威登的邀請，創作香港首個公眾裝置藝術，在2009年的年度「法國五月藝術節」和「路易·威登：熱情創意」展覽之際，包裝整個香港藝術館外墻，以帶給藝術家本系列作品靈感的通俗小說複製品做成巨大的拼貼，覆蓋藝術館，而此次作品再次於亞洲呈現，又為作品注入另一層含義。理查·普林斯的創作模式刻意具有破壞意味，其標誌性對美國次文化、風格演繹和語言的引導和採用是其作品的核心。普林斯創作來源豐富而複雜，包括萬寶路牛仔、花癡護士、頹廢搖滾、通俗小說等美國文化的象徵性代表，但同時營造出一種獨特又具普世性的語言，交織著其個人的批評、評註和對身邊世界的諷刺體現。

23. KAWS

b. 1974

HALF FULL signed and dated ‘KAWS..12’ on the reverse acrylic on canvas 304.8 x 243.8 cm. (120 x 95 7/8 in.) Painted in 2012. Provenance Galerie Perrotin, Paris Christie’s, New York, 1 March 2018, lot 258 Private Collection, Korea Acquired from the above by the present owner Exhibited Paris, Galerie Perrotin, KAWS: Imaginary Friends, 3 November - 22 December 2012 Philadelphia, Pennsylvania Academy of the Fine Arts, KAWS @ PAFA, 12 October 2013 - 5 January 2014

KAWS 《半滿》壓克力畫布 2012年作款識：KAWS..12（畫背）來源巴黎，貝浩登畫廊紐約，佳士得，2018年3月1日，拍品編號258 韓國私人收藏現藏者購自上述來源展覽巴黎，貝浩登畫廊，〈KAWS: 幻想的朋友〉， 2012年11月3日 - 12月22日費城，賓夕法尼亞美術學院，〈KAWS @ PAFA〉， 2013年10月12日 - 2014年1月5日

HK$ 5,500,000-7,500,000 US$ 705,000-962,000

羅伊‧李奇登斯坦《現代繪畫與小螺栓》1967年作

KAWS is one of the most iconic and prolifc artists of our generation. An artist, collector, designer and entrepreneur with a multi-disciplinary artistic practice incorporating painting, sculpture and printmaking, his multi-faceted identity refects the fuid nature of art, technology and contemporary popular culture. Over the years KAWS has created a unique visual language spanning Pop Art, abstract painting, art history and popular culture. His innate understanding of the emotional and intellectual force of images is refected in the range of inspiration he draws from art history as well as popular culture – for example Bauhaus artist Josef Alber’s experimental abstract works exploring colour interaction and the dynamic schematic compositions of Pop artist Roy Lichtenstein (see for example Modern Painting With Small Bolt, 1967), who also used cartoons as a starting point for his works. KAWS also cites the Swedish-American sculptor Claes Oldenburg as one of his favorite artists (KAWS quoted in an interview with The Inquirer, April 11, 2013, online). Like Oldenburg, KAWS established his name creating monumental works based on everyday consumer objects, elevating the banal to the extraordinary. Whilst Oldenburg used telephones, hamburgers, and cake slices, in HALF FULL KAWS draws inspiration from children’s animations, deconstructing familiar outlines and placing the abruptly disconnected elements into saturated, staccato compositions that pulsate with mutinous energy. A dismembered cartoon arm clings to an eye marked with KAWS’s trademark ‘X’, whilst a blood-red paw clutches at a face beneath the shadow of a cartoon fgure striding into view.

Originally exhibited alongside a second painting, HALF EMPTY, KAWS draws upon a common proverbial phrase that conveys the subjectivity inherent to any situation, where pessimism and optimism are equally likely outcomes depending on individual worldviews and personal biases. Placed together, these works represent the two halves of an intensely-coloured, multi-dimensional reality: two ‘X’ eyes, a mouth open in a scream, falling debris, a choice to react with blue-like calmness (HALF FULL) or red-like defensiveness (HALF EMPTY). HALF FULL demonstrates an instinctive understanding of the power of symbols in a world continuously in fux: “Icons like Mickey, the Simpsons, the Michelin Man and Spongebob exist in a universal way that you forget their origin or even there [sic] narrative, and you just recognize them from the slightest glimpse of their image or sound.” (KAWS, quoted in conversation with K. Donoghue, Whitewall, December 2012). KAWS’s creations, universally recognised amongst this generation, belong to the same pantheon of iconic characters. KAWS’s work captures the shifing boundaries between the real and virtual, the personal and public, and he continues to work deliberately to reject the air of exclusivity surrounding art, synthesizing elements of high and low culture across all areas of his work. His most recent solo exhibitions include KAWS: WHERE THE END STARTS at the Modern Art Museum of Fort Worth (Texas) and the Yuz Museum (Shanghai).

KAWS是這一時代最具標誌性的和最多產的藝術家之一。他是一位藝術家、收藏家、設計師和企業家，他的藝術實踐跨越多種媒介，涵蓋繪畫、雕塑和版畫，他的多重身份體現了藝術、科技和當代流行文化的流動性本質。多年來，KAWS創造了一種獨特的視覺語言，涵蓋波普藝術、抽象繪畫、藝術史和流行文化。他對圖像在情感和知性上的影響力，及與生俱來的理解，反映在他從藝術史以及流行文化中所汲取的一系列靈感—比如：包豪斯藝術家約瑟夫·亞伯斯（Josef Albers）探索色彩之間互動的實驗性抽像作品（參見《向方型致敬：紅色黃銅》，1961年）和在創作初期同樣使用卡通主題的波普藝術家羅伊·李奇登斯坦（Roy Lichtenstein）充滿動態的構圖（參見《現代繪畫小螺栓》，1967年）。 KAWS同時也提到瑞典裔美國雕塑家克萊斯·歐登柏格（Claes Oldenburg）是他最喜愛的藝術家之一（來自 KAWS在2013年4月11日的在《The Inquirer》的採訪）。像歐登柏格一樣，KAWS使用日常生活中的消費物件來創造其廣受讚譽的作品而聞名，將平淡無奇提升到非凡。歐登柏格使用了電話、漢堡包和蛋糕切片來創作作品，而在《半滿》（HALF FULL）這件作品中 KAWS則是從兒童動畫中汲取靈感，將人們熟悉的輪廓進行解構，並將驟然斷開的元素置入飽和、斷續的構圖中，讓畫面充斥著躁動的能量。一隻肢解的卡通手臂緊緊依附在一只標有KAWS 標誌性「X」的眼睛上，而一隻血紅色的爪子則用力抓住一張躍入畫面的卡通人物陰影下的臉。

Installation view of IMAGINARY FRIENDS, Galerie Perrotin, Paris, 3 November – 22 December 2012 (the present lot shown on the lef) Courtesy of the Artist and Perrotin. Photograph: Guillaume Ziccarelli

巴黎，貝浩登畫廊，〈KAWS: 幻想的朋友〉展覽一景， 2012年11月3日 - 12月22日（圖片左側為此次拍品）

最初與另一幅繪畫《半空》（HALF EMPTY）一起展出，KAWS在作品中借鑒了一個常用的諺語詞彙，傳達了主觀性在任何情境中都不可避免，悲觀主義和樂觀主義有著同等的機率，取決於不同人的世界觀和個人偏見。放在一起看，這兩件作品代表了一個色彩強烈、多元維度的現實的兩半：兩隻「X」眼，張開尖叫的嘴巴，墜落中的殘肢，是選擇與藍色的平靜（《半滿》）還是與紅色般的戒備（《半空》）進行互動。《半滿》展示了對一個不斷變化的世界中，符號力量的本能理解：「例如米奇、辛普森一家、米其林人和海綿寶寶這些標誌以一種普遍的方式存在，以至於你會忘記它們的起源甚至是[原文]故事，只要對它們的形像或聲音輕輕一瞥，就能認出它們。」（B. Donnelly，引自與K. Donoghue的對談，Whitewall，2012年12月）。 KAWS創造出的那些被這一代人普遍認可的形象，屬於同一批標誌性的人物。KAWS的作品捕捉了真實與虛擬、個人與公眾之間不斷變化的界限，並且他持續刻意去排斥藝術所存在的排他性，將高低兩種文化元素同時融入到作品的各個方面。他最近的個展包括在沃斯堡現代藝術博物館（德克薩斯州）和余德耀美術館（上海）展出的《KAWS：始於終點》（ KAWS: WHERE THE END STARTS）。

24. Damien Hirst

b. 1965

Methanol-C signed, titled and dated ‘Damien Hirst “Methanol-C” 2007) on the reverse; further signed ‘Damien Hirst’ on the stretcher household gloss on canvas 175.3 x 160 cm. (69 x 62 7/8 in.) Executed in 2007. Provenance Gagosian Gallery, London Acquired from the above by the present owner in 2007 Literature Damien Hirst, Jason Beard and Millicent Wilner eds., The Complete Spot Paintings, 1986 – 2011, Damien Hirst, London and New York, 2013, pp. 518, 852 (illustrated, p. 518)

達明安．赫斯特《甲醇-C 》亮光漆畫布 2007年作款識：Damien Hirst《Methanol-C》2007（畫背）; Damien Hirst (簽於內框) 來源倫敦，高古軒畫廊現藏者於2007年購自上述來源出版達明安·赫斯特、杰森·比爾德與米莉森特·威爾納編，〈達明安·赫斯特，點畫大全，1986-2011年〉，倫敦、紐約，2013年，第518、852頁 (第518頁，圖版)

HK$ 3,000,000-4,000,000 US$ 385,000-513,000

達明安．赫斯特《圓點畫》1986年作

Damien Hirst rose to prominence in the 1990s as part of the frst generation of the Young British Artists (YBAs). Winning the Turner Prize in 1995 cemented Hirst’s reputation as a provocateur willing to challenge longestablished dogmas and taboos surrounding defnitions of art, science, religion and death, and today he is widely acknowledged as a pioneer of the British contemporary art world. Damien Hirst’s Spot Paintings are amongst his most recognisable yet enigmatic works, in particular his Pharmaceutical series of works which draw their titles at random from a catalogue of biochemicals Hirst frst encountered in the early 1990s. The title of Methanol-C (a toxic form of alcohol which can be converted to formaldehyde) is a signifcant example of Hirst’s ongoing search for meaning between the realms of science, death and art. Hirst’s fascination with science stemmed from a teenage preoccupation with exploring the ‘unacceptable idea’ of death (as part of this process Hirst made regular drawing visits to the Leeds anatomy school). In seeking to reconcile the idea of death in life he embraced many diferent forms of art, ranging from the unnatural clinical brightness of the Spot Paintings to the controversial and iconic The Physical Impossibility of Death in the Mind of Someone Living of 1991, a work comprising a museum-like glass vitrine containing a tiger shark preserved in formaldehyde. Hirst began experimenting with coloured spots in preparation for his breakout Freeze exhibition in 1988, painting these directly onto the wall of the warehouse. Aferwards he gradually refned his process, departing from years of spontaneous experimentation with paint and collage and instead attempting to erase any physical evidence of human intervention in his Spot Paintings. He devised a set of formal rules: no single colour ever to be repeated in the same painting, consistent dot size and shape, and a rigid grid system that would allow an infnite series of unique works to be created.

It was a departure from the Abstract Expressionist painting style he had grown up with: “I wanted to fnd a way to use colour in paintings that wasn’t expressionism. I was taught by painters who believed that as an artist you paint how you feel and I believed in that for a long time. And then I lost faith in it and wanted to create a system where whatever decisions you make within a painting, the paintings end up happy. And I came up with Spot Paintings.” (Interview with Reuters, “A Minute With: Damien Hirst on hitting the “spot”, 11 January 2012, online) It was a happy discovery for Hirst, who described his Spot Paintings as a means of “pinning down the joy of colour” (quoted in Damien Hirst and Gordon Burn, On the Way to Work, London, 2001, p. 119). Though undoubtedly beautiful in their simplicity, Hirst challenges the viewer to consider the tension inherent in the rigidity of the composition and the randomness of colour, a parallel for the vibrant uniqueness of life and the rigid inevitability of death. As with all of Hirst’s works, Methanol-C belies a deeper sense of existential anxiety: “If you look closely at any one of these paintings a strange thing happens: because of the lack of repeated colours, there is no harmony … So in every painting there is a subliminal sense of unease; yet the colours project so much joy it’s hard to feel it, but it’s there.” (Damien Hirst, I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now, London, 1997, p. 246). Hirst has been honoured with solo retrospectives at leading public institutions, including Damien Hirst at the Tate Modern, London (2012) and Relics at the Qatar Museums Authority , Doha (2013). Hirst’s works are held in numerous permanent collections, including the Tate in London, the Metropolitan Museum of Art and Museum of Modern Art in New York, and the National Galleries of Scotland in Edinburgh. The artist lives and works in London, Gloucestershire and Devon.

作為第一代英國青年藝術家群體（YBA）的一份子，達明安· 赫斯特在20世紀90年代開始嶄露頭角。1995年獲得特納藝術獎（Turner Prize），鞏固了赫斯特作為一名挑釁者的聲譽，挑戰著長期以來關於藝術、科學、宗教和死亡根深蒂固的教條與禁忌，今天他已被公認為是英國當代藝術世界的先驅人物。

然後我對此失去了信念，並希望創建一套系統，無論你在一幅畫中做出什麼決定，畫作都會是表現高興的情緒。於是我想出了圓點畫。」（路透社採訪，《一分鐘：達明安·赫斯特講關於「圓點」》，2012年1月11日，網路文章）對赫斯特來說，這是一個幸福的發現，赫斯特將他的圓點畫描述為「對色彩愉悅的解釋」（引自達明安·赫斯特和戈登· 伯恩，《去工作的途中》，倫敦，2001年，第 119頁）。雖然簡潔中透著無庸置疑的美麗，但赫斯特卻要求觀者去思考刻板的構圖所帶來的固有之緊繃，以及色彩的隨機性，象徵著生命的獨特活力與死亡之無從避免。如赫斯特的所有作品一樣，《甲醇 - C》底下所蘊藏的是更深層的存在焦慮感：

達明安·赫斯特的圓點畫系列是他最為人知且最讓人著迷的作品之一，從他的《藥房》系列作品開始，作品名稱隨機選自赫斯特在1990年代初期首次邂逅的生物化學品目錄。《甲醇-C》（一種可以轉化為甲醛的有毒形式的酒精）的標題作為一個重要的列子，表明了赫斯特在科學、死亡和藝術三個領域之間對意義的不斷尋求。赫斯特對科學的迷戀源於青少年時期對探索死亡的「不可接受的想法」之專注「如果你仔細觀察這些畫中的任何一幅，就會發現一件（出於這一興趣，赫斯特曾多次到利茲解剖學學校進行奇怪的事情：因為缺乏重複出現的色彩，也就沒有了和寫生）。為了與生命中必定存在死亡這一概念去做和解，諧......所以在每幅畫中都有一種潛意識的不安感；然而，他用許多不同的形式創作了藝術作品，從透出醫院般冰冷、因為這些色彩傳遞了那麼多的喜悅，所以很難被感受到，非自然的明亮圓點畫，到他1991年備受爭議的標誌性作品但確實存在。」（達明安·赫斯特，《我想在各地度過餘生，《生者心目中無謂之死亡恐懼》（The Physical Impossibility 與大家一對一，永遠，永遠，現在》，倫敦，1997年， of Death in the Mind of Someone Living），一條用甲醛第246頁）。保存在如博物館藏品形式之玻璃櫃中的虎鯊。赫斯特曾在一些重要的公共機構舉辦個人回顧展，其中赫斯特在準備他嶄露頭角的展覽《冰凍》（Freeze）時開始對包括在倫敦的泰特現代美術館舉辦的《達明安·赫斯特》彩色圓點畫進行實驗，將圓點直接繪在倉庫的牆面上。（2012）和在多哈的卡塔爾博物館管理局舉辦的《文物》之後，他將此逐漸完善，離開多年來對顏料自發性的實驗（Relics）（2013）。赫斯特的作品被包括倫敦的泰特美術館、和拼貼，試圖在他的圓點畫中抹去人手的痕跡。他設計了紐約的大都會藝術博物館和現代藝術博物館，以及愛丁堡一套形式的規則：在一幅畫中不重複出現任何一種顏色，的蘇格蘭國家美術館等諸多美術館收為永久館藏。藝術家保持圓點大小和形狀的一致，以及一個不變的網格系統，目前居住和工作於倫敦、格洛斯特郡和德文郡。從而能夠讓獨立的作品組合成無限的系列。這是與伴隨他成長的代表著「感情化」和「雜亂」的抽象表現主義繪畫風格的分離：「我想找到一種不是表現主義的繪畫色彩使用方法。過去有一些畫家教我，作為一名藝術家，他們相信要去畫出你的感受，而我很長一段時間以來也相信這一點。

達明安．赫斯特在倫敦，高古軒畫廊〈達明安·赫斯特: 點畫大全，1986-2011年〉

25. Antony Gormley

b. 1950

OPEN CLASP 4 mm Corten steel 191.5 x 43 x 29.5 cm. (75 3/8 x 16 7/8 x 11 5/8 in.) Executed in 2014. Provenance Galleria Continua, Beijing Acquired from the above by the present owner Exhibited Beijing, Galleria Continua, HOST, 19 March - 20 August 2016, n.p. (illustrated)

安東尼．葛姆雷《開式卡環》 4毫米耐候鋼 2014年作來源北京，常青畫廊現藏者購自上述來源展覽北京，常青畫廊，〈主體〉，2016年3月19日-8月20日，無頁數（圖版）

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

Music and architecture - one stable and inhabitable, the other mobile and inhabiting the listener - both provide temporal structures experienceable in time. I want to engage the openness of music and the stability of architecture, the interpenetrations of rhythm, volume, timbre and pitch to work directly on the embodied mind of anyone who encounters these Open Blockworks and encourage them to move around the sculpture’s stillness. Mass and space, light and dark, line and volume are all at play. The work is a score to be read by the body. The challenge is to encourage a re-habitation of spacetime, to engage the body in a proprioceptive re-birthing of its own mature being. These sculptures are not idealisations but instruments against which life can register itself. — Antony Gormley, April 2019 Phillips would like to thank Antony Gormley for his contribution to this essay.

音樂和建築 — 一個是穩定的、可居住的，另一個則是移動的、因聽眾而存在—兩者都具有及時體驗的時間維度結構。我想要觸及音樂的開放性和建築的穩定性，讓節奏、音量、音色和音高的相互滲透，直接影響任何邂逅這些開放式砌塊的人之具體認知，並鼓勵他們在雕塑的靜止中自由移動。質量和空間，光明和黑暗，線條和體積都在發揮作用。這件作品是一本由身體來閱讀的曲譜。所面臨的挑戰在於去鼓勵重新居於時空，促使身體在本體重新生出成熟的自我。這些雕塑並非完美的實現，而是讓生命去產生自我感知的工具。 — 安東尼·葛姆雷，2019年4月

富藝斯鳴謝安東尼·葛姆雷提供此專文。

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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, 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.

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. 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.

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.

Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the Important Notices immediately following the Guide for Prospective Buyers and the Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is ofered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company afliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an afliated company may have a legal, benefcial or fnancial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.

(a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(b) Each lot ofered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfed themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identifcation purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our afliated companies shall be liable for any diference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least HK$8,000. Phillips reserves the right to require written confrmation of a successful bid from a telephone

bidder by fax or otherwise immediately afer such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are fnal and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘foor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘foor’ or ‘phone’ bid are identical, the ‘foor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identifed third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal, state or other antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

(h) Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is ofered subject to a reserve, which is the confdential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-ofer a lot for sale (including afer the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in Hong Kong dollars and payment is due in Hong Kong dollars. For the beneft of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will refect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable taxes and charges (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including HK$3,000,000, 20% of the portion of the hammer price above HK$3,000,000 up to and including HK$30,000,000 and 13.5% of the portion of the hammer price above HK$30,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property ofered and sold at auction. (b) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in Hong Kong dollars by wire transfer in accordance with the bank transfer details provided on the invoice for purchased lots. (c) As a courtesy to clients, Phillips will accept American Express, Visa and MasterCard to pay for invoices of HK$800,000 or less. A processing fee will apply. (d) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identifcation has been provided, and any earlier release does not afect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our afliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed all of the foregoing conditions, he or she should contact us at +852 2318 2000 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days

afer the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identifcation prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of HK$80 per day for each uncollected lot. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our afliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notifcation of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our afliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any

applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notifcation by any of our afliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notifcation by any of our afliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an afliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our afliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import And Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from Hong Kong or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12 Personal Data (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com. (b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which

we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues may be subject to CCTV video surveillance and recording and your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded. Where we record such information we will process it in accordance with our Privacy Policy. 13 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our afliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our afliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our afliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our afliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and ftness for purpose, are specifcally excluded by Phillips, our afliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our afliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our afliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

Authorship Warranty 15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specifed at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notifed by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and efect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) If there is any inconsistency or confict between the English text of the Conditions of Sale, Guide for Prospective Buyers and/or Important Notices and their Chinese translations, the English text will prevail. 16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with Hong Kong law. (b) For the beneft of Phillips, all bidders and sellers agree that the courts of Hong Kong are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the courts of Hong Kong. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by Hong Kong law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of fve years from date of sale by Phillips, subject to the exclusions and limitations set forth below and the Important Notices set out in this catalogue immediately following the Guide for Prospective Buyers. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientifc methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the salesroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above.

(d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our afliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our afliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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 to bid as an individual or on behalf of a company.

In-person Absentee Bidding Telephone Bidding

Paddle Number

As a private individual On behalf of a company Sale Number First Name

Sale Date

Surname

Address

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. • If we receive identical bids, the first bid received will take precedence.

Phone number to call at the time of sale (for Phone Bidding only) 1.

• 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.

Language to be used (for Phone Bidding only) Please complete the following section for telephone and absentee bids only Lot number In Consecutive Order

Brief description

• 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$3,000,000, 20% of the portion of the hammer price above HK$3,000,000 up to and including HK$30,000,000 and 13.5% 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.

Account Number

Company (if applicable)

• 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. • If you cannot attend the sale, we can execute bids confidentially on your behalf.

Please indicate in what capacity you will be bidding (please select one):

Title

• PRIVATE PURCHASES Proof of identity in the form of governmentissued identification and proof of address will be required. • 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 government-issued identification (such as the certificate of incorporation) to verify the status of the company.

Please select the type of bid you wish to make with this form (please select one):

Sale Title

14/F St. George’s Buidling, 2 Ice House Street, Central, Hong Kong

Maximum bid price in HK$* Absentee Bids Only

• 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 and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* 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 this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.

準買家指引拍賣現場購買以下指引有助閣下了解如何在富藝斯拍賣會上購買拍品，本公司職員將竭誠為您服務。

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。

業務規定拍賣會乃根據圖錄末段所載之業務規定及著作保證而運作。競投者請務必細閱業務規定及著作保證以了解本公司與賣家及買家之間的法律關係；以及於拍賣會上購買之條款。富藝斯在一般情況下為賣家之代理人。競投者亦應細閱列印於本準買家指引後的重要通告。

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。

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 3,000,000 元之25%，加逾港幣3,000,000 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13.5%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。

保證金如欲競投標有*記號之拍賣品 (高額拍賣品)，富藝斯或要求閣下交付港幣2,000,000元或其他由富藝斯決定之更大金額的保證金及任何財務狀況證明，擔保及/或其他由富藝斯可全權酌情決定要求的抵押作為參加富藝斯競投的保障。富藝斯亦會要求閣下於該高額拍賣品拍賣日前完成高額拍賣品預先登記。當我們確認收到保證金及已填妥之預先登記表格後，閣下將獲發高額拍賣品競投牌以資識別。拍賣官一般只接受以高額拍賣品競投牌或其登记競投人士作出之競投。此亦適用於拍賣現場、電話及書面競投。閣下可以電匯或富藝斯可接受之信用卡繳付保證金。如閣下未有成功競投高額拍賣品，於富藝斯或我們任何附屬公司亦無任何欠款，保證金將以電匯(與閣下繳付保證金時相同之貨幣)或信用卡退還，視乎個別情形，本公司將安排於拍賣日期後7天內安排退還保證金。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符號代表已獲承擔保證最低出售價。在此情況下，不論拍賣結果如何，該賣家都可收取一筆由富藝斯保證的最低金額款項。該保證可由富藝斯獨自提供或與第三方共同提供。 ♦ 第三方保證在富藝斯同意提供最低出售價保證時，便承擔拍賣品不被賣出或以低於最低出售價保證的價格賣出所涉及的財政風險。由於可涉及龐大金額，富藝斯可選擇與第三方分擔有關的財政風險。第三方會在拍賣進行前承諾分擔有關風險，通常是以書面形式競投，列明不論有否其他競投都會以一個協議金額買入拍賣品。若出現其他競投，第三方擔保人仍可以高於任何書面出價競投。在此情況下，第三方擔保人須承擔競投未能達到最低出售價保證的風險。為換取第三方承保或分擔有關風險，富藝斯通常會向第三方支付補償金。該補償金可為一固定費用或拍賣品成交價的一定比例。若該第三方擔保人競投成功，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。第三方財政權益的披露富藝斯規定第三方擔保人向接受其建議的任何人士披露其對拍賣品的財政權益。若您考慮競投涉及第三方保證的拍賣品及正在接受他人的建議，或若您已要求他人代表您競投，您必須要求他們確定其是否對拍賣品有財政權益。

•

無底價除非標有•符號，否則所有本圖錄內所載之拍賣品均有底價。底價是由富藝斯和賣家共同訂立且機密之價格。拍賣品不會以低於該價售出。每件拍賣品的底價一般以低估價之一定比例來定，並且不會高於拍賣前低估價。

∑ 瀕危物種標有此符號的拍賣品表示在編列圖錄時該拍賣品已確定含有瀕危或其他受保護野生動物物種並可能受到就有關出口或入口之限制及可能需要出口及入口許可證。詳情請參閱準買家指引第4段及業務規定第11段。 * 高額拍賣品標有此符號的拍賣品其拍賣前低估價為港幣8百萬或以上均被富藝斯列為高額拍賣品。如欲競投高額拍賣品，準買家必須填妥預先登記表格及繳付高額拍賣品保證金，詳情請參閱準買家指引第1段。 ▼ 限制進口標有此符號的拍賣品或受美國入口限制。詳情請參閱列印於此準買家指引後的重要通告。 2 拍賣競投於拍賣會上競投競投可於拍賣會上由個人親臨舉競投牌進行，亦可透過電話、網上進行競投或在拍賣前以書面形式參加。請提供政府發出的身份證明文件及原有簽名。我們或需要閣下提供銀行證明。親身競投親身競投之人士須於拍賣會開始前登記及領取競投牌。我們建議新客戶於拍賣舉行前至少48小時辦理登記，以便有充足時間處理閣下之資料。所有售出之拍賣品發票抬頭人均為登記競投牌之人士及其地址，並不得轉讓至他人及其他地址。請勿遺失競投牌，如有遺失請立即通知富藝斯職員。拍賣完結時，請將競投牌交回登記處。電話競投如閣下未能出席拍賣會，您可透過電話與本公司通曉多國語言之職員進行實時競投。此服務須於拍賣會開始前至少24小時安排，及只適用於拍賣前低估價為港幣8,000元以上之拍品。電話競投將可被錄音。以電話競投即代表閣下同意其對話將被錄音。我們建議閣下表明最高競投價(不包括買家支付之酬金)以便我們在無法以電話聯絡閣下時代您競投。如欲安排電話競投，請致電香港投標部+852 2318 2029。網上競投如閣下未能親自出席拍賣會，您可透過我們於網站www. phillips.com內的實時競投平台進行網上競投。我們建議使用 Google Chrome、Firefox、Opera及Internet Explorer執行網上拍賣。閣下如欲以Safari運行網上拍賣需先行安裝Adobe Flash Player。於網站內按「拍賣」、「實時拍賣」然後「實時競投登記」以作預先登記。第一次登記時需先建立帳戶，此後只需登記個別拍賣即可。閣下須於拍賣前至少24小時作網上預先登記以便投標部確認。請注意網上競投者或會因企業防火牆而未能競投。書面競投如閣下未能出席拍賣會及參與電話競投，富藝斯樂意代表閣下進行書面競投。本圖錄末附有競投表格。此服務乃免費並且保密。投標價必須是以拍賣會當地的貨幣為單位。本公司之職員將參考底價及其他競投價，盡力以最低價進行競投。請標明最高競投價(不包括買家支付之酬金) 。無限價競投標將不獲接納。所有書面競投須於拍賣24小時前收到。倘本公司就同一項拍賣品收到相同之競價，則最先收到之競價會獲優先辦理。

重要通告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 4,200, 4,500, 4,800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 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。 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。 4 拍賣後付款除非與富藝斯於拍賣前已達成書面安排,否則買家須於拍賣後即時以港元付款。閣下可依照業務規定第6段所述以電匯方式付款。現金及支票恕不接納。

信用卡為方便客戶, 富藝斯可接受以信用卡支付不多於港幣80萬元的付款。使用信用卡將會被收取附加費。如欲了解更多以信用卡付款詳情, 請聯絡客戶服務部+852 2318 2000。提取提取拍賣品時請出示身份證明。富藝斯收到全數結清之貨款及確認買家在本公司及其附屬公司沒有欠款後，會將拍賣品交予買家或買家授權之代表。拍賣後所有拍品會被儲存在外。如欲提取拍品，煩請與我們運輸部聯絡，電話：+852 2318 2000。未能提取的拍品均會被收取有關轉移，利息，儲存等相關費用。損失或損壞買家請注意富藝斯對拍賣品損失或損壞之責任期限最多為拍賣後七天。運輸及付運作為一項予買家的免費服務，富藝斯只可包裝拍品作手提用。我們並不會直接提供包裝、處理及付運服務。但我們可依據閣下之指示與付運代理協調以促成閣下於本公司購買貨物之包裝、處理及付運。詳情請參閱業務規定第7段。出口及入口許可證在競投任何拍賣品前，我們建議準買家對拍賣品先作獨立調查以確定是否需要以許可證出口香港或進入其他國家。買家須遵守所有入口及出口之法律及應取得有關的出口或入口許可證。不獲發任何所需之許可證或執照並不構成取消買賣或延遲繳付全數貨款之充分理由。瀕危物種由植物或動物材料如珊瑚、鱷魚、象牙、鯨骨、巴西玫瑰木、犀牛角或玳瑁殼，不論其年份、百分比率或價值，均可能須申領許可證或證書方可入口至美國或其他歐盟以內或外的國家。請注意能取得出口許可證或證書並不能確保可在另一國家取得進口許可證或證書，反之亦然。我們建議準買家在競投前向相關政府查核有關野生動植物進口之規定後再參與競投。買家須負上所有責任取得任何所需出口或進口許可證或證書，以及任何其他所需文件。請注意美國禁止入口任何含有非洲象牙的產品。亞洲象的象牙可被進口到美國，而該進口必須附有獨立科學分析報告以證明有關物品的起源地及確認物品的年期已超過一百年。我們在銷售任何藏品前，均無對藏品進行科學分析，所以無法確認相關藏品的象牙是來自亞洲及非洲。買家凡購買有關藏品並計畫將有關藏品進口美國，必須承擔風險並負責支付任何科學分析報告或其他報告的費用。有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明文件鑑定物種及藏品之年期以顯示該藏品為古董。買家須進行獨立評估以認證藏品上之瀕危物種物料及認證藏品之年期為不少於一百年。如欲計劃入口藏品到美國的準買家不應依靠富藝斯編列於圖錄內藏品上的瀕危物種物料或藏品之年期及必須諮詢具有專業資格的獨立鑑定者後再參與競投。請注意我們為方便客戶而在含有可能受管制植物或動物物料的拍賣品上附加標記，但附加標記時如有任何錯誤或遺漏，富藝斯恕不承擔任何責任。

高額拍賣品所有準買家如欲競投任何高額拍賣品(標有*記號之拍賣品)必須完成高額拍賣品預先登記及交付港幣2,000,000元或其他由富藝斯決定之更大金額的保證金。詳情請聯絡客戶服務部 +852 2318 2000。

業務規定準競投者與買家以及富藝斯與賣家的關係受下面闡述之業務規定及著作保證所規限。所有準買家須於參與競投前小心細閱業務規定, 於準買家指引後的重要通告及著作保證。 1 序言圖錄內所列拍賣品之銷售及售出均根據(a)業務規定及著作保證;(b)圖錄其他地方所載之任何附加通知條款, 包括準買家指引及重要通告及(c)補充本圖錄或其他富藝斯張貼於拍賣廳內之書面資料, 或由拍賣官於拍賣前作出公佈之方式進行修改。透過於拍賣中競投, 不論以親身,經代理人,以書面競投, 以電話或其他方式競投, 競投者和買家均同意接受並遵守經改變或補充的業務規定及著作保證。該些經改變或補充的業務規定及著作保證包括富藝斯及賣家與買家合約成立之條款。 2 富藝斯作為代理人除非於本圖錄中或於拍賣時另有說明, 否則富藝斯作為賣家的代理人。在個別情況下富藝斯可能擁有拍賣品, 在該情況下以委託人之身份作為賣家行事; 或富藝斯其附屬公司可能擁有拍賣品, 在該情況下則作為該公司的代理人, 或富藝斯或其附屬公司可能以抵押債權人或其他身份擁有拍賣品之法律、實益或財務利益。 3 圖錄說明及拍賣品狀況拍賣品均受著作保證所限制出售, 如圖錄所述(除非該說明如上面第1段所述被修改或補充) 及依據以下基礎陳述拍賣品於拍賣時的狀況。

(a) 富藝斯對各拍賣品之認識部份依賴賣家向其提供之資料, 且富藝斯無法及不會就各拍賣品進行全面盡職審查。準買家知悉此事, 並承擔進行檢查及檢驗之責任, 以使滿意彼等可能感興趣之拍賣品。儘管如前所述, 富藝斯在圖錄描述或品狀報告作出之明示聲明, 應以有關拍賣中有關拍賣品之拍賣官身份相符之合理審慎態度作出; 以及基於(I)賣家向其提供之資料; (II)學術及技術知識; 及(III)相關專家普遍接納之意見作出之明示聲明, 在各情況下應以合理審慎態度作出明示。 (b) 富藝斯提呈拍賣時出售之各拍賣品於拍賣前可供準買家檢查。在競投人(鑑於有關拍賣品之性質及價值及競投人之專業知識而屬合適者,以及代表彼等之獨立專家)已當作在投標前全面檢驗拍賣品, 並滿意拍賣品之狀況及其描述之準確性, 富藝斯會接受競投人對拍賣品之投標。 (c)準買家確認眾多拍賣品年代久遠及種類特殊, 意味拍賣品並非完好無缺。為方便準買家, 富藝斯或會準備及提供品狀報告以方便準買家檢查拍賣品用。圖錄描述及品狀報告在若干情況下可用作拍賣品某些瑕疵之參考, 但競投人應注意, 拍賣品可能存在其他在圖錄或品狀報告內並無明確呈視出之瑕疵。所有量度皆為約數。解說只供鑑定用途, 將不能當作為拍賣品尺寸之精確量度或真實狀況之全部資料。

(d) 提供予準買家有關任何拍賣品之資料包括任何拍賣前預測 (無論為書面或口述)及包括任何圖錄所載之資料、規則及其他報告、評論或估值, 該等資料並非事實之陳述, 而是富藝斯所持有之意見之聲明, 故不應依賴任何拍賣前預測作為拍賣品售價或價值之預測, 且該等資料可由富藝斯不時全權酌情決定修改。富藝斯及並附屬公司皆不會為任何拍品拍賣前估價與於拍賣或轉售所達之實際價錢之間的差距負上任何責任。 4 拍賣會上競投出價 (a) 富藝斯可全權酌情決定拒絕進入拍賣場地或參與拍賣。所有競投者需於競投前登記競投牌, 並提供富藝斯所需資料及參考。

(b) 為方便未能親身出席拍賣的競投者, 富藝斯或根據競投者之指示代其進行書面競投。書面競投者須遞交”書面競投表格”, 此表格列印於圖錄末部或可向富藝斯索取。投標價必須是以拍賣會當地的貨幣為單位。競投者需清楚標明最高之投標價 (不包括買家支付之酬金)。拍賣官將不會接受任何沒有標明最高投標價之書面競投。本公司之人員將參考底價及其他競投價，盡力以最低價進行競投。所有書面競投須於拍賣前24小時收到。倘本公司就同一項拍賣品收到相同之競價，則最先收到之競價會獲優先辦理。 (c)電話競投者須遞交”電話競投表格”, 此表格列印於圖錄末部或可向富藝斯索取。電話競投只適用於拍賣前低估價最少達港幣8000元之拍品。富藝斯保留要求電話競投者以傳真或其他方式儘快於拍賣官接受其競投後以書面確認成功競投之權利。電話競投將可被錄音。以電話競投即代表閣下同意其對話將被錄音。 (d) 競投者可透過富藝斯於網站內www.phillips.com的實時競投平台進行網上競投。競投者須於拍賣前至少24小時作網上預先登記。網上競投須得富藝斯投標部許可及投標部有酌情權。如上述第3段, 富藝斯建議網上競投者於拍賣前檢視有興趣競投之拍賣品, 及可要求索取品狀報告。拍賣中競投速度或會很迅速。為確保網上競投者與現場或電話競投者競投時不處於劣勢, 透過富藝斯網上競投平台競投為單一步驟過程。透過按下電腦屏幕上的競投鍵, 競投者即遞交一投標價。網上競投者確認及同意遞交之投標價為已確實及任何情況下或不能修改或退回。於拍賣進行中時, 當有非網上投標出現時, 該些投標會於網上競投者的電腦屏幕上顯示為 “現場”投標。 “現場”投標包括拍賣官為保障底價的投標。倘就同一項拍賣品收到網上競投者及一“現場” 或 “ 電話” 競投者相同之競價，則拍賣官有權自行決定“現場” 投標會獲優先辦理。為方便網上競投者競投, 下一喊價顯示於投標鍵上, 網上競投者之競投價遞增幅度或會與拍賣官實際上下一喊價有所不同。因拍賣官在任何時候可自行決定或會偏離富藝斯之標準遞增幅度, 但網上競投者或只可以完整之下一喊價投標。富藝斯之標準競投價遞增幅度載於準買家指引。 (e) 不論以親身、書面競投、電話競投或網上方式競投, 當競投時即代表競投者接受承擔繳付購買價及所有其他適用費用之責任, 詳情如以下第6(a)段所述, 除非於拍賣開始前已與富藝斯以書面明確約定該競投者為一代理人, 而代表富藝斯接受該已知的第三方及只會向該方收取付款。 (f) 不論以親身、書面競投、電話競投或網上方式參與競投, 即代表各準買家代表及保證其或其代理人之投標均不是任何串通或其他反競爭協議的產生及與聯邦反信任法例一致。 (g) 書面及電話競投是本公司提供予準買家之免費服務，本公司將盡合理努力代其競投。除了故意瀆職的情況外，本公司不會對因未能執行書面或電話競投，或在當中出現之任何失誤或遺漏負任何責任。 (h) 僱員競投富藝斯及其附屬公司之僱員，包括拍賣官, 只可在不知底價及全面遵守本公司的僱員競投內部規例之情況下進行書面競投。 5 拍賣規定 (a) 除非標有•符號, 否則所有拍賣品均有底價限制, 底價是一富藝斯與賣家達成協議的保密最低出售價。該底價不會高於拍賣前低估價。

(b) 拍賣官可隨時酌情決定拒絕或接受任何競投, 撒回任何拍賣品, 重新出售拍賣品(包括在落槌後), 以及如遇出錯或爭議時採取其認為是合適之其他行動。富藝斯不會為拍賣官之行動承擔任何責任。如在拍賣後有任何爭議, 將會以本公司的拍賣紀錄為確鑿。拍賣官或會接受富藝斯附屬公司競投者在不知道該拍賣品之底價的情況下之競投。 (c) 拍賣官會以其認為合適之喊價開始及繼續拍賣。為保障所有拍賣品的底價, 拍賣官在不一定表示的情況下, 可代表賣家以接連投標或競投之方式就拍賣品作出競投直至達到底價。就不設底價的拍賣品,除非已有競投,否則拍賣官一般會以拍賣品的拍賣前低估價的50%開始拍賣。若在此價格下並無投標,拍賣官會自行斟酌將價格下降繼續拍賣,直至有客戶開始競投,然後再由該投標價向上繼續拍賣。在沒有更高叫價的情況下, 以書面投標競投無底價拍賣品會以拍賣前低估價大約50%成交。但若該投標價低於拍賣前低估價的 50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫價, 拍賣官會自行決定該拍賣品為流拍。 (d) 本拍賣會以港元進行拍賣及須以港元繳款。為方便海外客人, 圖錄內之拍賣前估價或會用美元及或歐元, 及會反映大概兌換率。因此, 美元或歐元的估價只供參考用。為方便競投者, 本公司於拍賣會上或使用貨幣兌換顯示板, 富藝斯不會為任何貨幣兌換計算出現錯誤承擔任何責任。 (e) 在拍賣官之酌情下, 其出價最高且被拍賣官接受的競投者將為買家, 下槌則顯示最高競投價之被接受, 亦表示賣家與買家之間的拍賣合約之訂立。拍賣品之風險及責任將如載於以下第7段轉移到買家。 (f) 如拍賣品沒有售出, 拍賣官會宣佈該拍賣品為”流拍”, “ 撤回”, “送回賣家”。 (g) 任何於拍賣會後的拍品買賣均受業務規定及著作保證所限制, 如同拍品於拍賣會中出售。 6 購買價及付款 (a) 買家同意支付本公司每件拍賣品之成交價，買家應支付本公司酬金及所有適用稅項及費用。買家應支付酬金費率為：拍賣品成交價首港幣3,000,000元之25%，加逾港幣 3,000,000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13.5%計算。 (b) 除非另有協議, 否則買家須於拍賣後立即繳款, 與有任何意圖獲得該拍賣出口或進口許可證或其他執照無關。付款須由發票抬頭人,以港元及按照發票上之詳細銀行資料以電匯方式支付。 (c) 為方便客戶, 富藝斯將接受以美國運通卡, Visa及萬事達卡繳付最多港幣80萬元之發票。使用信用卡將被收取附加費。 (d) 所購拍賣品之擁有權將於富藝斯全數收取後方可轉移。富藝斯概無責任將拍賣品交給買家直至拍賣品之擁有權已轉移, 且已獲提供適當確認而提早交付不會影響擁有權之轉移或買家支付買入價之無條件責任。 7 提取拍賣品 (a) 富藝斯直至確認全數收取及買家於富藝斯或其附屬公司沒有欠款, 包括任何根據以下第8(a)段所述需繳之任何費用; 及我們滿意買家所需其他條款(包括完成反洗黑錢或反恐怖主義之財務審查後, 會將拍賣品交予買家。

(b) 買家須於拍賣後7天內安排提取拍賣品。拍賣後所有拍品會被儲存在外。如欲提取拍品，煩請與我們運輸部聯絡，電話：+852 2318 2000。未能提取的拍品均會被收取有關轉移，利息，儲存等相關費用。已買之拍賣品之風險,包括投保責任由買家承擔, 由(I) 領取; 或(II) 拍賣會後7天, 以較早日期為準。直到風險轉移, 富藝斯將就拍賣品之任何損失或損毀向買家支付賠償, 惟以所付之買入價為最高限額,並受我們一般損失或損毀拍賣品安排所限制。 (c) 為方便客戶，富藝斯可在不另收費下, 包裝拍賣品作手提用。我們並不會提供包裝、處理、保險及付運服務。我們可依據買家之指示與付運代理(不論是否由富藝斯所建議)協調及促成閣下於本公司購買貨物之包裝、處理、保險及付運於富藝斯所購的拍賣品。買家須承擔所有任何指示之風險及責任, 本公司將不會負責或承擔其他的包裝員或運送員之行為及遺漏引致的任何責任。 (d) 富藝斯在將拍賣品交予買家或買家之授權於代表前, 要求出示政府發出之身份證明。 8 未提取拍品 (a)倘買家支付全數但未有於拍賣會後30天內提取拍賣品, 買家將會被收取逾期提取費用。每年未提取的拍品費用為每天港幣80元。我們在全數收到該些費用後方會將拍賣品交予買家。 (b) 倘已繳付拍品, 但未於拍賣會後6個月內提取該拍品, 則買家授權富藝斯(經通知後) 安排以拍賣或私人出售以重售該物品, 而估價及底價將由富藝斯酌情決定。除非買家在該拍賣會後兩年內收取該出售之所得款項扣除存倉費及任何其他買家欠富藝斯或其附屬公司之所有費用, 否則該筆款項將被沒收。 9 欠繳款之補償方法 (a) 在不影響賣家可能擁有之任何權利之情況下, 倘買家在未預先協定之情況下未能在拍賣會後7天內悉數繳付拍賣品購入價, 富藝斯可全權決定行使以下一項或多項補救方法: (i) 將拍賣品貯存在其處所或其他地方, 風險及費用完全由買家承擔; (ii) 取消該拍賣品之銷售, 保留購入價任何部分繳款作為違約金; (iii) 拒絕買家未來作出之競投或使其就未來之競投須支付保證金; (iv) 收取由到期日至悉數收取買入價當日期間按每年12%之利率計算之利息; (v) 對買家由富藝斯所管有之任何物品行使留置權及指示富藝斯附屬公司對其管有買家之任何物品行使留置權。在知會買家後, 並在發出該通知之30 天後可安排出售該物品, 以及將所得款項用以支付結欠富藝斯或其附屬公司扣除本公司標準賣家佣金, 所有其他有關費用及任何適用稅項; (vi) 以拍賣或私人出售重售該拍賣品, 而估價及底價將由富藝斯合理地酌情決定。倘該重售之價格低於該拍賣品之成交價及買家應支持之酬金, 買家將仍須承擔該差額, 連同該重售產生之所有費用。 (vii) 展開法律訴訟, 以收回該拍賣品之成交價及買家應支持之酬金, 連同利息及該訴訟之費用; (viii) 以富藝斯或其附屬公司結欠買家之任何金額抵消買家就拍賣品結欠富藝斯之任何金額; (ix) 向賣家透露買家之名稱及地址, 使賣家可展開法律訴訟, 以收回欠款及申索法律費用; 或(x)採取本公司認為適當及需要之任何行動。 (b) 在收到富藝斯附屬公司通知買家未能付款後, 即買家不可撤銷授權富藝斯對買家所管有之任何物品行使留置權。富藝斯會通知買家有關行使留置權。在收到富藝斯附屬公司通知買家未能付款後,買家亦不可撤銷授權富藝斯抵押買家被管有的物品以支持任何欠款。如買家之物品被送往有關公司進行抵押, 富藝斯將會告知買家。

(c) 如買家未能繳付款項, 買家不可撤銷已授權富藝斯指示其附屬公司將買家被管有的物品以買家代理人之身份交予富藝斯指定的第三方作購入價及任何其他欠款之典當或抵押。此項安排將於以書面通知買家後不少於30天進行, 出售物品以所獲得的出售金額(扣除出售之標準賣家佣金及其他有關費用及任何適用稅項)支付富藝斯或其附屬公司。 10 決定撤銷富藝斯有權撤銷拍賣及沒有義務通知買家, 如本公司有理由相信賣家與著作保證之間涉及違約或有第三方欲以不良意圖索償。當富藝斯決定撤銷拍賣及通知買家後, 買家應儘快將拍賣品退回富藝斯, 而本公司會退還我們所收的購入價。如以下第13段所述, 退還款項應為買家唯一的補償及向富藝斯與賣家對手段撤銷拍賣的追索。 11 出口,入口及瀕危物種許可證及執照在競投任何拍賣品前，準買家應對拍賣品先作獨立調查以確定是否需要以許可證出口香港或進入其他國家。準買家應注意某些國家禁止入口含有由植物或動物材料如珊瑚、鱷魚、象牙、鯨骨、巴西玫瑰木、犀牛角或玳瑁殼的物品，不論其年份、百分比率或價值。同樣, 在競投任何拍賣品前, 準買家如欲將購得之拍賣品出口亦應查核並了解有關國家之出口及入口限制。請注意美國禁止入口任何含有非洲象牙的產品。亞洲象的象牙可被進口到美國，而該進口必須附有獨立科學分析報告以證明有關物品的起源地及確認物品的年期已超過一百年。有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明文件鑑定物種及藏品之年期以顯示該藏品為古董。買家須進行獨立評估以認證藏品上之瀕危物種物料及認證藏品之年期為不少於一百年。如欲計畫入口藏品到美國的準買家不應依靠富藝斯編列於圖錄內藏品上的瀕危物種物料或藏品之年期及必須諮詢具有專業資格的獨立鑑定者後再參與競投。買家須承擔責任及遵守所有入口及出口之法例及應取得所需的的出口,入口及瀕危物種的許可證及執照。不獲發或延遲獲發任何所需之許可證或執照並非取消銷售或延遲繳付全數貨款之充分理由。請注意我們為方便客戶而在含有可能受管制植物或動物物料的拍賣品上附加標記，但附加標記時如有任何錯誤或遺漏，富藝斯恕不承擔任何責任。 12 資料保障 (a) 閣下同意並了解，我們可能會根據公司的私隱條例隨時處理你的個人資料（包括可能被歸納為敏感性個人資料）。我們的私隱條例刊載於www.phillips.com，或可電郵至 dataprotection@phillips.com 索取副本。 (b) 我們的私隱條例闡述：(i) 本公司將會或可能收集及處理的個人資料類別；(ii) 本公司將會或可能收集及處理閣下個人資料的目的；(iii) 本公司處理閣下個人資料的法律依據；(iv) 閣下對本公司處理你個人資料的權利；及(v) 適用法律要求的各項其他資訊。 (c) 富藝斯可能會對其物業、銷售及展覽範圍內進行錄影監控，閣下與富藝斯之間的溝通包括電話和網上對話（如電話和網上競投）亦會被記錄。本公司將根據私隱條例記錄和處理此等資料。 13 法律責任限制 (a) 根據以下(e)段, 富藝斯, 其附屬公司之所有法律責任及賣家與買家在拍賣品銷售關係乃受買家實際所付的購入價限制。

(b) 除非在此第13段所提及, 富藝斯, 其附屬公司或賣家均無須(I)負上任何錯誤或遺漏之責任, 不論是以口述或書面, 富藝斯或其附屬公司提供予準買家之資訊或(II) 富藝斯或其附屬公司在有關於拍賣行為或對任何其他有關拍賣品銷售因處理或遺漏, 不論疏忽或其他原因而對任何競投者承擔。 (c) 除著作保證以外的保證, 明示或暗示, 包括品質滿意和適用性保證, 均被富藝斯, 其附屬公司或賣家在法律允許的最大範圍內所排除。 (d) 根據以下(e)段, 富藝斯, 其附屬公司或賣家均無須對於上段(a)提及買家除退款外之任何損失或損害負責。不論該損失或損害為直接, 間接, 特別, 附帶的或後果, 或在法律允許的最大範圍內用以支持購入價之利息。 (e) 在業務規定沒有規管的應被視為排除或限制富藝斯或其附屬公司對買家負上因我們之疏忽對死亡或受傷所造成的任何欺詐或虛假陳述的責任。 14 版權所有由富藝斯或為富藝斯在圖錄中與拍賣品有關之製作的一切影象, 圖標與書面材料之版權, 無論何時均屬富藝斯財產。未經本公司事先書面同意, 買家或任何人均不得使用。富藝斯及賣家均沒有陳述或保證買家就投得的拍賣品取得任何拍賣品或其他複製的權利。 15 一般資料 (a) 該此業務規定(於上述第1段所改變或補充)及保證造成各方對交易之預期及取代所有之前及當時的書面, 口頭或暗示之理解, 說明和協議。 (b) 給予富藝斯之通知應以書面形式發出, 註明拍賣之負責部門及銷售圖錄開端指定之參考號碼。給予富藝斯客戶之通知應以彼等正式通知富藝斯之最新地址為收件地址。 (c)未經富藝斯書面同意前, 任何買家不得轉讓該等業務規定, 但對買家之繼承人, 承付人及遺產執行人具有約束力。 (d) 倘因任何理由無法執行該等業務規定之任何條文, 則餘下條文應仍然具有十足效力及作用。任何一方行使, 或沒有延遲行使, 在該等業務規定任何權利或補救可作免除或釋放全部或部分。 16 法例及司法權 (a) 該等業務規定及保證之權利及義務,及其有關或適用之所有事宜須受香港法律規管並按其詮釋。 (b) 就富藝斯之利益而言, 所有競投者及賣家同意香港法院擁有專有司法權, 調解所有因與該等業務規定及著作保證有關或適用之所有事宜或交易之各方面而產生之紛爭。各方均同意富藝斯將保留權利在香港法院以外之任何法院提出訴訟。 (c) 所有競投者及賣家不可撤回同意透過傳真, 親身, 郵寄或香港法例, 送達地點之法例或提出訴訟之司法權區之法例允許之其他方式, 將有關任何法院訴訟之法律程序文件或任何其他文件送發至買家或賣家知會富藝斯之最新地址。

著作保證富藝斯保證在拍賣日起的5年期間為圖錄內用粗體或大楷標題之物品保證了著作權。保證受以下及本圖錄所載末準買家指引後的重要通告所排除及限制。 (a) 富藝斯對任何拍賣品只給予原來紀錄之買家(即登記成功拍賣之競投人)保證著作權。此保證著作權並不伸延至(i) 物品其後的擁有人, 包括買家或收件人以禮物形式由原來買家, 後代, 繼承人, 受益人及指定人送出; (ii) 圖錄內對物品的描述與物品著作有意見上的矛盾; (iii) 我們於拍賣日歸納著作與專家, 學者或其他專家普遍接納之意見一致; (iv) 能正確地鑒定拍賣品的科學鑒定方法在圖錄編印之不為一般所接受, 或在圖錄載登時, 此方法過份昂貴或不實際或可能損壞拍賣品的情況;或(v) 若根據拍賣品於圖錄之標題, 該拍賣品並無重大喪失任何價值。 (b) 如欲因著作保證而索償, 富藝斯保留其權利, 作為撤銷拍賣之條件, 及要求買家提供兩名為富藝斯及買家雙方接納之特立及行內認可專家之報告, 費用由買家承擔。富藝斯無須受買家出示之任何報告所規限, 並保留權利尋求額外之專家意見, 費用由富藝斯自行承擔。倘富藝斯決定根據本保證取消買賣 , 富藝斯或會將經雙方審批之獨立專家報告所需之合理費用退還予買家。 (c) 受上述(a)所說明, 買家或可就著作保證在以下情況下提出伸索(I)買家在收到任何導致買家質疑拍賣品之真偽之資料後 3個月內以書面通知富藝斯 , 註明購買該拍賣品的拍賣編號, 圖錄內拍賣品編號及被認為是膺品的理由及(II) 將狀況與銷售予買家當日相同, 並能轉移其妥善所有權且自銷售日期後並無出現任何第三方申索之物品退還予富藝斯。富藝斯有權免去任何以上(c)小段或(b) 小段所說明之要求。 (d) 買家明白及同意對違反著作保證之獨有補償為撤銷銷售及退還原來所付之購入價退還款項應為買家唯一及取代其他法律形式的補償及向富藝斯與賣家對撤銷拍賣的追索。這亦代表富藝斯, 其附屬公司或賣家均無須對此著作保證之補償退款外之任何損失或損害負責。不論該損失或損害為直接, 間接, 特別, 附帶的或後果, 或為原有購入價支付利息。本業務規定及保證, 準買家指引及重要通告, 如有任何詮釋上的問題, 一概以英文版本為準。

Sale Information Auction and Viewing Location JW Marriott Hotel Hong Kong 88 Queensway, Admiralty, Hong Kong

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

Auction 26 May 2019, 6pm (Lots 1–25)

Head of Department Isaure de Viel Castel +852 2318 2011

Viewing 23 May 2019 24 May 2019 25 May 2019

idevielcastel@phillips.com

10am – 6pm 10am – 6pm 10am – 7pm

Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010119 or 20th Century & Contemporary Art Evening Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com

Head of Day Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Specialists Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Meiling Lee +886 908 876 669 mlee@phillips.com Sandy Ma +852 2318 2025 sma@phillips.com Clara Rivollet +33 6 42 09 97 39 crivollet@phillips.com Cataloguers Danielle So +852 2318 2027 dso@phillips.com Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com Senior Business Manager Othniel Jai Prakash +852 2318 2034 othnieljaiprakash@phillips.com

Auctioneer Jonathan Crockett Photographers Jean Bourbon Alex Braun Matt Kroening Kim Sang Tae Etta Kwok Arnold Lee Kent Pell Liu Yu-Shyang Special Thanks Luisa Ku Xing Zhao Rebecca Wu Beatrice Yu Catalogues catalogues@phillips.com HKD400/$50/€35/50CHF +852 2318 2000 Client Accounting clientaccountslondon@phillips.com +852 2318 2000 Client Services 14/F St. George's Building 2 Ice House Street Central Hong Kong +852 2318 2000 Shipping Christine Cheung +852 2318 2017 christinecheung@phillips.com

香港中環雪廠街2號聖佐治大廈14樓 • 以個人名義購買請提供政府發出的身份證明文件及現時住址證明。 • 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(如公司註冊證書)之副本。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。

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。

請選擇此表格之競投方式(選一項)：

• 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競投。

現場競投書面競投電話競投

競投牌號碼

• 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：拍品成交價首港幣3,000,000元之 25%，加逾港幣3,000,000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13.5%計算。

請選擇閣下是次競投名義(選一項)：

•「購買」或無限價競投標將不獲接納。閣下可於拍品編號之間以「或」字作兩者(或若干)中擇一競投。

以個人名義以公司名義

• 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，盡力以最低價進行競投。在

拍賣名稱稱謂

• 業務規定

拍賣編號名字

公司名稱(如適用)

拍賣日期姓氏

沒有更高價的情況下，對不設底價的拍賣品所提交的不在場投標，會以售前低估價大約50%成交，但是若該投標價低於售前低估價的50%，則以該投標價成交。

客戶號碼

• 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。

地址

• 如本公司就同一項拍賣品收到相同競價之委託，則最先收到之委託獲優先辦理。城市

國家

• 書面及電話競投是本公司提供予準買家之免費服務，本公司將盡合理努力代其競投。除了故意瀆職的情況外，本公司不會對因未能執行書面或

郵編電話

手提電話

電郵地址

傳真

電話競投，或在當中出現之任何誤失或遺漏負任何責任。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

於拍賣時聯絡閣下的電話號碼 (只供電話競投用) 1.

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

所用語言 (只供電話競投用)

+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

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，即表示閣下同意本公司依據網站上www.phillips. com所載或可電郵至 dataprotection@phillips.com索取之隱私政策條款使用閣下個人資料，包括「敏感性資料」。我們或會不定期向閣下發送有關於本公司將舉行的拍賣、活動資訊，如閣下不欲接收此等資訊，可電郵至dataprotection@ phillips.com通知我們。 • 在富藝斯範圍內可能進行錄像監控。電話對話如電話競投亦有可能被錄音，本公司會根據隱私政策處理該資料。

* 買家酬金不計在內

簽署

日期

o 請於方格內劃上”✓”號，確認閣下以上登記/競投並同意接受富藝斯載於圖錄及網站內之業務規定。

o 如欲訂閱富藝斯集團成員公司日後舉行的銷售、展覽及特別活動的電郵通訊，請在方格打勾。根據刊載於本集團網站www.phillips.com 的私隱政策，閣下可隨時更改或取消訂閱。

20th Century & Contemporary Art London, 27 & 28 June 2019 Evening Auction 27 June 2019 Day Auction 28 June 2019 Enquiries +44 20 7318 4050 contemporaryartlondon@phillips.com

Roy Lichtenstein The Conductor oil and Magna on canvas 188 x 137.2 cm (74 x 54 in.) Painted in 1975. Â© Estate of Roy Lichtenstein/DACS 2019.

Visit us at phillips.com

Index Banksy 20

班克斯 20

Botero, Fernando 10

費爾南多·博特羅 10

Calder, Alexander 6

亞歷山大·考爾德 6

Condo, George 17

喬治·康多 17

Foujita, Léonard Tsuguharu 11

藤田嗣治 11

Gokita, Tomoo 3

五木田智央 3

Gormley, Antony 25

安東尼·葛姆雷 25

Hirst, Damien 24

達明安·赫斯特 24

KAWS 21, 23

Lee, Ufan 16

李禹煥 16

Lichtenstein, Roy 8, 9

羅伊·李奇登斯坦 8, 9

Liu, Wei 19

劉韡 19

Martinez, Eddie 2

艾迪·瑪汀尼茲 2

Nara, Yoshitomo 4

奈良美智 4

Prince, Richard 22

李察德·佩利斯 22

Richter, Gerhard 14

格哈特·里希特 14

Schutz, Dana 1

達納·舒茨 1

Warhol, Andy 7

安迪·沃荷 7

Whitney, Stanley 5

斯坦利·惠特尼 5

Zao, Wou-Ki 12, 13, 15

趙無極 12, 13, 15

Zhang, Xiaogang 18

張曉剛 18

Front Cover Lot 9, Roy Lichtenstein, Head (detail)

Back Cover Lot 4, Yoshitomo Nara, The Little Pilgrims (Night Walking)

22. Richard Prince 李察德·佩利斯

21. KAWS

20th Century & Contemporary Art Evening Sale New York, 16 May 2019, 5pm Public viewing 3 – 15 May at 432 Park Avenue, New York Roy Lichtenstein Horse and Rider oil and Magna on canvas 54 x 74 in. (137.2 x 188 cm.) Executed in 1976. © Estate of Roy Lichtenstein

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16. Lee Ufan 李禹煥

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17. George Condo 喬治·康多

10. Fernando Botero 費爾南多·博特羅

12. Zao Wou-Ki 趙無極

19. Liu Wei 劉韡

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