20th Century & Contemporary Art Evening Sale Hong Kong, 24 November 2019 二十世紀及當代藝術晚間拍賣
15. Helen Frankenthaler 海倫·弗蘭肯塔爾
13. Chu Teh-Chun 朱德群
23. KAWS
7. Liu Ye 劉野
2. MADSAKI
20th Century & Contemporary Art Evening Sale 二十世紀及當代藝術晚間拍賣 Hong Kong, 24 November 2019, 6pm
20th Century & Contemporary Art Department Head of Department Isaure de Viel Castel +852 2318 2011 idevielcastel@phillips.com Head of Evening Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Head of Day Sale Danielle So +852 2318 2027 dso@phillips.com Head of Online Sales Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Senior Administrator/ Cataloguer Marian Ang +852 2318 2024 mang@phillips.com
Courtesy of MADSAKI
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Auction & Viewing Location JW Marriott Hotel Hong Kong 88 Queensway, Admiralty, Hong Kong
Auction Sunday, 24 November 2019, 6pm
Viewing 22 – 24 November Friday – Sunday 10am–6pm Saturday 10am–7pm
Sale Designation
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拍賣及預展 香港JW萬豪酒店 金鐘道88號 拍賣 2019年11月24日，下午6時 預展 22日 上午10時 – 下午 6 時 23日 上午10時 – 下午 7 時 24日 上午10時 – 下午 6 時 拍賣名稱及編號 在遞交書面和電話競投表格或查詢拍賣 詳情時，請註明拍賣編號為 HK010319 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
27. Yayoi Kusama 草間彌生
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1. Genieve Figis
b. 1972
A Social Portrait signed and dated ‘genieve fggis 2014’ on the reverse acrylic on canvas 58.4 x 99.1 cm. (23 x 39 in.) Painted in 2014. Provenance Almine Rech Gallery, Brussels Acquired from the above by the present owner in 2015
珍尼維·菲吉斯 《社交肖像》 壓克力 畫布 2014年作 款識：genieve fggis 2014 (畫背) 來源 布魯塞爾，阿爾敏·萊希畫廊 現藏者於2015年購自上述來源
Exhibited New York, Half Gallery, Good Morning, Midnight: Genieve Figgis, 15 September - 25 October 2014
展覽 紐約，半畫廊， 〈早安，午夜：珍尼維·菲吉斯〉 ， 2014年9月15日-10月25日
Literature Alison Gingeras, Genieve Figgis, New York, 2017, pp. 98-99 (illustrated)
出版 Alison Gingeras 著， 〈珍尼維·菲吉斯〉 ，紐約，2017年， 第98-99頁 （圖版）
HK$ 120,000-180,000 US$ 15,400-23,100
‘I love looking at ideas of the past in Old Masters. They were made to tell you a story. Some of the portraits have the authority and theatricality... I enjoy looking at people from the past and how they portrayed themselves.’ Genieve Figgis
Painted in 2015, A Social Portrait is nastily entertaining, distinctly representative of the artist’s interest in pursuing and exploring history as a constant starting point for her work. With an interest in Irish-English subjects of the ffeenth century, Genieve Figgis precisely turns to this in A Social Portrait, painting a traditional aristocratic family portrait in an indoor domestic setting, reminiscent of the drawing room in a Georgian country house. Throughout the canon of art history, from the early Renaissance to eighteenth century portraiture, male artists have championed the notion of the home as a way of refecting lineage, as well as to embody the hierarchical system of virtues of how women should behave as in Sir Joshua Reynold’s 4th Duke of Marlborough and Family created in the seventeenth century. Contrary to this and as suggested in the title, A Social Portrait, while taking to history as a source of inspiration, Figgis puts her own contemporary spin on the classical subject, knocking down the ideals of the ‘stif’ domestic setting through the pose, appearance and attire of her fgures. Blatantly refusing to portray three generations of one family or to put emphasis on a maternal pair enthroned in a damask chair, Figgis instead renders all of her historic characters with equal importance, confronting the viewer directly with a haunting yet humorous gaze. From the women on the far lef to the dog in the center and the men on the right, each character is painted with skull-like and animalistic features, bathed in rich colours that bubble, ooze and marbleize into a creamy pool, calling to mind spectral creatures and leering ghouls. Figgis dresses her characters in distinctly Georgian attire yet deliberately picks the dresses and hairstyles that were considered
Sir Joshua Reynolds 4th Duke of Marlborough and Family, circa 1777-78 The Duke of Marlborough Collection in the Blenheim Palace, Oxfordshire, England
約書亞·雷諾茲爵士 《馬爾堡公爵四世家族》 ，約1777-78年作 英國，牛津郡，布倫海姆宮，馬爾伯勒 第四公爵收藏
to be progressive and contemporary of the time – painting the women in 18th century-style chemise gowns, deemed to be immodest and informal, but considered as in fashion by forward-thinking aristocrats; and the men, bewigged and dressed in dark, well-cut and ftted overcoats. A Social Portrait refects a fascinating moment, in which her fgures are masked under the diferent cosmetics of time. In true contemporary fashion, Figgis’ career began on Twitter in which her display of artworks on the platform caught the attention of celebrated American artist Richard Prince, introducing her into the New York art scene. Afer starting a family, Figgis only began studying Fine Arts at the Gorey School of Art in Wexford at the age of 30, mesmerised by the experimental nature of painting and the medium’s long attachment to history and representation to the fgure. “Painting is about pleasure. If it weren’t pleasurable, I wouldn’t do it. For a long time I’ve been pouring paint – the medium’s unpredictability is the addiction for me…” explains Figgis (the artist quoted in Olivia Parkes, “The Irish Artist Attacking the Female Figure with Paint”, Vice, 23 October 2015, online). To Figgis, the painting is her stage and the story she paints happens by chance, allowing her to invent and direct as she goes along, with no idea of how it will end. Infuenced by a wide array of female artists such as Jenny Saville, Marlene Dumas, and Lynette Yiadom-Boakye, Figgis strikes a balance between fguration and abstraction, bringing home her distinct style of a combination of apparent pictorial banality with an underlying otherworldly quality, at once funny and subversive.
「我喜歡回顧過去古典大師們的想法。他們就是為了告訴你 一個故事。有些肖像畫具有權威性和戲劇性...我很享受 去看過去的人們以及他們如何描繪自己。」珍尼維·菲吉斯 作於2015年,《社交肖像》有著鬧劇式的娛樂性，明顯地 代表了藝術家對追溯和探索歷史的興趣，並不斷將其作 為自己創作的出發點。對15世紀的愛爾蘭和英國之主題 極有興趣，珍尼維·菲吉斯正是將《社交肖像》聚焦在此， 繪製了一個傳統的貴族家庭在一個室內場景中的肖像， 讓人聯想到喬治亞風格的鄉間別墅中的客廳。從文藝復興 早期到18世紀的肖像畫，在整個藝術史上，男性藝術家 一直倡導通過「家」這一概念來反映世襲，和象徵等級制度 下女性應以何種舉止來體現美德，正如約書亞·雷諾茲 爵士創作於17世紀的《馬爾堡公爵四世家族》中所見。 與此相反，正如《社交肖像》的標題所示，僅管靈感來自 歷史，菲吉斯對這一古典主題進行了自己的當代改編， 通過人物的姿勢、外貌以及服裝打破了「僵硬」的理想化 家庭場景。菲吉斯公然拒絕去描繪一個家庭的三代人， 或把焦點放置在端坐於錦緞椅子上的一對母系人物身上， 而是賦予了她創作中所有的歷史人物同等重要的地位， 讓他們用虎視眈眈而又幽默的目光直接注視著觀者。 從最左邊的女人到中間的一隻狗，再到右邊的男人，每個 人物都畫成有著骷髏般的獸性特徵，包圍著他們的豐富 的色彩泡泡、滲出並溶成一個凝脂狀的水池，讓人聯想起 幽靈和陰森的死屍。菲吉斯用喬治亞風格裝扮她的人物，
但又特意挑選了在當時被認為是前衛和當代的禮服和 髮型——畫中的女人穿著18世紀風格的查米斯連身裙, 具輕佻和非正式感，但被當時思想進步的貴族認為是時尚 的；而男人們，戴著假髮，穿著深色、剪裁得體、合身 的長大衣。 《社交肖像》影射著一個令人著迷的瞬間， 在那一瞬間裏她的人物都深藏於另一時代的妝容之下。 具有真正的當代特色，菲吉斯的職業生涯始於推特，她在 該平台上展示的作品引起了著名美國藝術家理查德·普林 斯的注意，並將她介紹到紐約藝術圈。到30歲建立家庭 之後，菲吉斯仍對繪畫的實驗性質，該媒介長久以來與 歷史的相關性，以及對人物的再現念念不忘，這時她 才開始進入韋克斯福德的格雷藝術學院學習藝術。 「繪畫是 關於快樂。如果不愉快，我是不會畫的。長期以來， 我一直在澆注著顏料——這一媒介的不可預測性讓我上 癮...」菲吉斯解釋說（藝術家之言，Olivia Parkes， 《愛爾 蘭藝術家用顏料攻擊女性形象》，《Vice》，2015年10月 23日，截自網路）。對費吉斯來說，繪畫是她的舞台， 她畫中故事的發生具有偶然性，允許她在推進的過程中 去創造和導演，卻不知道其結局將會如何。受到珍妮· 薩維爾、瑪琳·杜馬斯和勒内特·亞多姆-博克耶等眾多 女性藝術家的影響，菲吉斯在具像與抽象之間取得平衡， 清晰地帶著結合了明顯繪畫中的平常與其潛在的超凡脫俗 之特質，有趣的同時又具顛覆性。
2. MADSAKI
b. 1974
Untitled signed and dated ‘Madsaki 2017’ on the overlap acrylic and aerosol on canvas 150 x 150 cm. (59 x 59 in.) Executed in 2017. Provenance Galerie Perrotin, Seoul Private Collection, Asia Acquired from the above by the present owner Exhibited Seoul, Galerie Perrotin, MADSAKI: BADA BING, BADA BOOM, 15 November 2017 – 13 January 2018
MADSAKI 《無題》 壓克力 噴漆 畫布 2017年作 款識：Madsaki 2017 (畫布邊緣) 來源 首爾，貝浩登畫廊 亞洲私人收藏 現藏者購自上述來源 展覽 首爾，貝浩登畫廊，〈MADSAKI: BADA BING, BADA BOOM〉, 2017年11月15日 - 2018年1月13日
Courtesy of MADSAKI
HK$ 1,000,000-2,000,000 US$ 128,000-256,000
MADSAKI, a Japan-born visual artist known only by a pseudonym, is one of the rising stars of the contemporary art world. Known for his signature use of spray paint, his works cast a critical eye upon mass culture and art historical tropes – both examining the cultural value systems inherent to making art, and re-interpreting them in his inimitable style.
“I was hesitant, but I came out eventually because I had nothing else to do. It blew my mind! There were rollers and spray cans. I had never seen art like this and the untraditional ways of painting. This felt right. This made me realise that I wanted to do art.” (Madsaki, quoted in Kim Bui Kollar, “Quirky Japanese artist Madsaki”, Hashtag Legend, 4 June 2018, online).
MADSAKI’s journey as an artist is no less unconventional than his work. Moving to the States as a 6-year old boy, his early encounters with New York’s graftied streets lef a deep impression. But afer graduating from the prestigious Parsons School of Design, he decided to become a New York bike messenger ‘to get away from art’. An unexpected turn of events in quick succession put an end to his hiatus from the art world: frst a road accident which crushed his bike but lef him unscathed, which consequently caused him to miss his shif at the World Trade Center on the morning of 9/11. A few days later came an unexpected invitation from an old friend to paint with The Barnstormers, a collective of experimental artists who were working on a project in the city. The encounter was to prove signifcant, changing his perspective on art, and life, entirely:
Resuming his art practice afer a ten-year break, he experimented until he settled upon his trademark technique of utilising spray paint – a medium more commonly associated with street art and grafti - to create ‘fne art’. Using stencil caps attached to the spray can to produce a refned spray of paint, he explained: “I prefer dripping or grimy lines to clean lines. I really do not try and paint fnely at all. There are way too many people who are good at painting beautifully. I’m happy to leave that up to them. […] I am painting with spray, not with a brush.” (MADSAKI, quoted in Takuya Nakao, “MADSAKI: BADA BING, BADA BOOM”, Perrotin, November 2017, online)
The artist working on Untitled. Courtesy of MADSAKI
藝術家在創作《無題》 。
‘I’m not interested in painting nice and beautiful.’ MADSAKI
Untitled, one of the works from MADSAKI’s Character Series, was created afer MADSAKI’s return to Japan and speaks to the disorienting experiences between two cultures that formed his aesthetics and personality. Mixing cultural traditions and storytelling with an eclectic ensemble of instantly-recognisable American cartoons and Japanese manga characters, Untitled brings together Sesame Street’s Big Bird, Beavis and Butthead, Star Wars’ R2-D2 and C-3PO, Homer and Bart Simpson, Stimpy from Nickelodeon’s Ren and Stimpy Show, as well as Gatchan and King Nikochan from Dr. Slump and Dragon Ball Z. MADSAKI explained his emotional connection to these characters: “I grew up watching all those American and Japanese cartoons. I just wanted to mash up all the things that have a special meaning to me from that time. […] To me, [Big Bird] represents English language and would never swear. But I can make them do what they would never do. It’s a weird kind of self-portrait.” (MADSAKI, quoted in Laurel Tuohy, “MADSAKI: Interview with street-meets-fne art Japanese painter ahead of Bangkok show”, Coconuts Bangkok, 8 May 2018, online) Satirical, yet sentimental, MADSAKI employs slogans to drive home his subversive brand of art-making. ‘Who’s buying peace?’, the sign held up by Big Bird in Untitled, is a reconfgured phrase taken from Peace Sells… But Who’s Buying?, an iconic album by American thrash metal band Megadeth.
The title track’s lyrics express disillusionment with the American way of life and yearning for a new social structure – a parallel sentiment arguably echoed in postwar Japan. Aggressive, cryptic and vulnerable all at once, Untitled opens up a crucial dialogue concerning the value of art and the role of the artist within mass culture. MADSAKI captures the zeitgeist of our times, like other artists who rebelled against conventions and eventually came to defne the spirit of their era. Unafraid to speak to power structures and cultural divisions like Basquiat, unafraid to use appropriation as a tool for social commentary like Warhol, and unafraid to embrace popular culture like KAWS, MADSAKI is the embodiment of a new art world order. MADSAKI’s uncompromising approach to art has won him many fans, including fellow Japanese icon Takashi Murakami, who hails the younger artist’s “bottomless talent” and has bought dozens of pieces for his personal “Superfat” collection. Today MADSAKI is represented by several prominent international art galleries, including Galerie Perrotin (where MADSAKI frst unveiled Untitled at his solo show BADA BING, BADA BOOM in 2017) and Kaikai Kiki Gallery in Tokyo.
出生於日本，僅以其藝名而為人所熟知的視覺藝術家 MADSAKI，是當代藝術界一名冉冉昇起的新星。以其 標誌性的噴漆創作而聞名，其作品對大眾文化和藝術史的 主題投以批判性的視角——對藝術創作中固有的文化價值 體系做出審視，同時也以他的獨特風格来進行新的詮釋。 MADSAKI的藝術旅程與其作品一樣非同尋常。6歲移居 美國，早年於塗鴉遍佈的紐約街道之接觸給他留下了深刻 的印象。但從著名的帕森斯設計學院畢業之後，他決定 要成為紐約的一名自行車信差，藉此「擺脫藝術」。然而 一連串連續發生的意外事件將他帶回了藝術世界：首先 是一次車禍撞毀了他的自行車，而他則毫髮無損，並因此 在9/11當天上午沒能趕得上去世界貿易中心上班。幾天 之後，他的一位老朋友意外地邀請他參與實驗藝術家團體 The Barnstormers正在紐約市進行的項目中一起創作。 這次的偶遇事後證明意義非凡，並且完全改變了他對 藝術，以及人生的看法：
將文化傳統和那些具有高辨識度的敍事文本美國卡通 以及日本漫畫人物的廣泛組合融為一體， 《無題》把 《芝麻街》裡的大鳥、癟四與大頭蛋、 《星球大戰》中的 R2-D2和 C-3PO、霍默和巴特·辛普森、尼克兒童頻道 的《萊恩和史丁比》中的史丁比，以及《阿拉蕾》和《龍珠Z》 中的阿卡和尼古拉大王都聚集到了一起。關於自己對這些 人物的感情，MADSAKI解釋說： 「我從小看著這些美國和日本的卡通片長大。我只想把所有 這些當時對我有著特殊意義的東西混合在一起。[…] 對我 來說， （大鳥）代表了英語，而且絕不會講粗話。但我可以 讓他們做他們永遠不會做的事。這是一種奇怪的自畫像。」 (MADSAKI，引自Laurel Tuohy， 《MADSAKI：與日本 街頭遇見藝術的畫家在曼谷展覽前的訪問》 ，Coconuts Bangkok，2018年5月8日，截自網路）
具有諷刺性，卻又不乏善感，MADSAKI運用口號來強調 他顛覆性的藝術創作。在《無題》中，大鳥舉著的標誌 「Who’ s buying peace?」改編自美國的鞭擊金属樂隊 「我當時很猶豫，但最終還是去了，因為我也沒什麼別的 「麥加帝斯」的標誌性唱片《Peace Sells… But Who’s 事可做。但卻讓我大開眼界！滾筒、噴漆罐到處都是。 Buying?》中的一個短語。標題曲目的歌詞表達了對美國式 我從未見過那樣的藝術和如此非傳統的繪畫方式。那種 生活的幻想破滅和對新的社會結構之渴望——一種可以 感覺很對。這讓我意識到我要做藝術。」 （Madsaki，引自 Kim Bui Kollar， 《古怪的日本藝術家Madsaki》，Hashtag 說在戰後日本有著相似共鳴的情緒。同時具有激烈性、 神秘性，和脆弱感， 《無題》開啟了一場關於藝術的價值和 Legend，2018年6月4日，截自網路）。 藝術家在大眾文化中所扮演角色的關鍵性對話。就像 其他反叛傳統，並最終定義了他們所處時代精神的藝術家 在停止創作十年之後重拾藝術，他不斷進行實驗，直到 一樣，MADSAKI代表的捕捉到了我們這個時代的精神。 形成了自己標誌性的;利用噴漆進行繪畫的技巧——一種 在街頭藝術和塗鴉中更為常見的媒介——來創作「藝術」。 就像巴斯奇亞毫不畏懼地批評權利結構和文化分歧，就像 沃荷毫不畏懼地以挪用作為社會評論的工具，就像KAWS 將擋噴器連結到噴漆罐上之後，能讓噴漆的效果更為 毫不畏懼地接受流行文化，MADSAKI正是新的藝術世界 精細，他解釋說： 秩序之體現。 「相比清晰的線條，我更偏愛自然流下或不刻意的線條。 我真的完全不想嘗試畫得精美。有很多人擅長繪畫而且 可以畫得很美。那些精美的繪畫就交給他們來做好了 […] 我是用噴漆來畫的，而不是用畫筆。」 （MADSAKI，引自 Takuya Nakao,《BADA BING, BADA BOOM》, 貝浩登 畫廊，2017年11月，截自網路）
Courtesy of MADSAKI
《無題》 ，出自MADSAKI卡通系列中的一件作品，創作 於MADSAKI回到日本後，表達了他在處於兩種文化之間 充滿迷失感的體驗中所形成的美學與個性。
MADSAKI對藝術毫不妥協的態度為他贏得了許多粉絲， 其中包括日本偶像級藝術家村上隆，對這位年輕藝術家 的「無限才能」稱讚不已，並購入了他的數十件作品， 作為自己個人的「超扁平」藝術收藏。如今，MADSAKI 由數家著名的國際藝術畫廊代理，其中包括貝浩登畫廊 （ MADSAKI於2017年在畫廊的個展《BADA BING, BADA BOOM》上首次展示《無題》） ，以及東京的Kaikai Kiki 畫廊。
3. Henry Taylor
b. 1958
Her Name is Elle M signed, titled and dated ‘“Her name is Elle M” NY Henry Taylor 2012’ on the reverse acrylic on canvas 246.4 x 165 cm. (97 x 64 7/8 in.) Painted in 2012. Provenance UNT/TLED, New York Acquired from the above by the present owner
亨利·泰勒 《她的名字是埃莉·M》 壓克力 畫布 2012年作 款識： 《Her name is Elle M》NY Henry Taylor 2012 (畫背) 來源 紐約，UNT/TLED 畫廊 現藏者購自上述來源
HK$ 1,200,000-1,600,000 US$ 154,000-205,000
‘Being honest and real is the most important thing because it's hard to be honest.’ Henry Taylor
At the heart of Henry Taylor’s oeuvre is the artist’s innate ability to relay narratives: drawing from a wide web of social, political, and cultural issues, his subjects form a cross-section of America, capturing topics as challenging as classism, poverty, and racism, to the intricacies of familial relations and kinship. It is with this attention to the quotidian and the everyman that the veritable storyteller has risen to international renown: Taylor has most recently exhibited within the Venice Biennale in 2019 and also at the Whitney Biennial in 2017, solidifying his position within the canon of American art history. Painted in the same year as the artist’s solo museum exhibition at the MoMA PS1 (Museum of Modern Art, New York) in 2012, Her Name is Elle M is a potent expansion on Taylor’s lexicon of American portraiture and painting, one that is rooted in his immediate surroundings. In the present work, a blonde woman reclines on a vermillion arm chair, her red jacket casually draped loose across her shoulders to reveal her bare chest as she looks unwaveringly onwards. As if frenetically rendered, the feathery hand with which the artist has depicted Elle M injects a lightness to her characterisation, and the expressionistic use of line and colour furthermore intensifes the mystery surrounding the anonymous fgure. Her Name is Elle M immediately calls to mind Picasso’s sleeping Marie-Thérèse, sensually executed with Cubist fare in the 1932 Le Rêve, in which the visage and resting hands of the artist’s mistress have been taken as cues in connoting the artist’s licentious relations with his muse. The sensuous Her Name is Elle M—though perhaps not betraying any underlying clandestine encounters, sexual or otherwise—equally presents a singular person captured during a particular encounter, an intimate collaboration in which the sitter has unveiled herself to Taylor. In this way, the present work aptly echoes paintings by the late American artist Alice Neel, whose own oeuvre was also far from esoteric and which had a confessional quality: ‘Alice Neel knew the diference between self-presentation—the self one showed to the world, or the self the world saw frst and inevitably judged, based on skin colour, sex, whatever—and what the soul looked like to itself’ (quoted in Hilton Als, ‘Alice Neel, Uptown’ exh. cat. published on occasion of the exhibition bearing the same title, David Zwirner, New York, 23 February — 22 April 2017).
It is perhaps due to his many years as a psychiatric technician that Henry Taylor possesses a unique ability to navigate through the porous notions of truth and self-characterisation in order to imbue his pieces with a confrontational starkness that is both gripping and disarming. Insisting on remaining ‘real’, he explains, ‘Being honest and real is the most important thing because it’s hard to be honest’ (quoted in Dorothée Perret, ‘Interview with Henry Taylor’, Purple Magazine no. 30, September 2018, pp. 212-217). His portraits reveal his interpersonal acumen and a genuine fascination with all his sitters, thus breaking down the physical and psychological implications of public and private: even in his most private scenes such as in the present work, Taylor is able to beckon his viewer into the tight spaces he creates in order to shed a sentimental light on ofen nuanced moments. Her Name is Elle M also demonstrates the depth of Taylor’s infuences—one which sees the artist drawing from a rich tapestry of nude portraiture stretching from Titian, Manet, Modigliani, all the way to contemporary counterparts such as Elizabeth Peyton and Eric Fischl. Reinvigorating the classical mode of the nude by way of disarming his viewer, Taylor presents to his audience pithy vignettes of his storybook characters with the astuteness of a biographer, but with the familiarity of a close friend. Such as in the present lot, Elle M has been reproduced with a renewed fervour for the traditional nude: Taylor has shifed her away from glorifed Hellenistic perfection, and has instead transformed her into an accessible fgure. It is this democratisation of all his characters that has lent the artist monikers such as documentarian, storyteller, biographer, and the reason behind his success as a painter of the people. A major retrospective will be presented by the Gefen Contemporary art at the Museum of Contemporary Art in Los Angeles in the Winter of 2020 surveying 25 years of Henry Taylor’s oeuvre.
The present lot in the artist’s studio, photographed in 2012. Courtesy of Dennis Hollingsworth
此拍品於藝術家工作室之影像， 攝於2012年。
亨利·泰勒作品的核心，是他與生俱來的傳遞敘事之能力： 廣泛的從社會、政治和文化問題等去汲取靈感，他作品的 主題形成一個美國之橫斷面，去探索如階級主義、貧困和 種族主義，以及復雜的家庭關係和親屬關係等具有挑戰性 之題目。正是通過這種對日常生活和平凡人的關注， 使這位名副其實的說故事的人獲得國際上的聲譽：泰勒 最近參與2019年的威尼斯雙年展和2017年惠特尼雙年展 之展出，鞏固了他在美國藝術史上的經典地位。 創作於藝術家在2012年紐約現代藝術博物館PS1個展的 同一年，《她的名字是埃莉·M》是泰勒對美國肖像畫和 繪畫詞典的有力擴展，並植根於他自身的周圍環境中。 作品中，一名金髮女子倚坐在一張朱紅色的扶手椅上， 她的紅色外套隨意地垂在肩上，隨著她向前方投出堅定的 目光，露出敞開的胸膛，流露輕狂渲染的氛圍，藝術家所 描繪的埃莉·M柔軟的雙手為其特徵注入了明快的色彩， 對線條和色彩的表現主義使用，進一步加劇了這個匿名 人物身上所帶的神秘感。 《她的名字是埃莉·M》立即讓人 想起畢卡索之沈睡的瑪麗-德雷莎，作於1932年，畫得 極具感官性的《夢》，帶著立體派的特質，畫中藝術家的 情婦面容和安放的手可以看作是暗示藝術家與他的繆思 之間的肉體關係的線索。性感的《她的名字是埃莉·M》 ——僅管未知是否洩露任何潛在的秘密關係——同樣展現 了對一個在某個特定相遇中的獨特人物之捕捉，在一種 親密合作中模特兒向泰勒展露了自己。這種型式，本件 作品恰當地呼應了已故的美國藝術家愛麗絲·尼爾的畫作， 她的作品也完全不做作深奧，並且具有一種告解的特質安 「愛麗絲·尼爾懂得自我表現——向世界展示自己，或那個 世界已先看到，並且不可避免地根據其膚色、性別、或 隨便什麼去做評判的那個自己——是與靈魂所看到的自我 之間的差異。 」 （引自希爾頓·艾爾， 《愛麗絲·尼爾，上城》， 展覽畫冊，卓納畫廊，紐約，2017年2月23日至4月22日） 。
也許是他曾經多年來從事精神病學技術專家一職的緣故， 亨利·泰勒擁有穿過即使有露洞的印象去察覺真相，以及 建立自我表徵的獨特能力，來為他的作品注入一種赤裸裸 的對抗性，同時攝人心魂又讓人放鬆警惕。堅持要保持 「真實」，他解釋說安 「保持誠實和真相是最重要的，因為 誠實很難」 （引自Dorothée Perret， 《亨利·泰勒訪談》， 《Purple》雜誌第30期，2018年9月，第212-217頁）。他的 肖像揭示了他在人際關係上的敏銳性以及對所有模特真實 的迷戀，從而打破了公共和私人在生理和心理上的可能 後果安即使在他最私密的場景中，例如本作，泰勒也能夠 將觀眾吸引到他所創造的狹小空間中，以期在微妙的瞬間 散發出感性的光芒。 《她的名字是埃莉·M》，還展示了泰勒在藝術上所受的 深刻影響——可以看出畫家的靈感來源從提香、馬奈， 莫迪利亞尼的豐富的裸體肖像畫，一直延伸到伊麗莎白· 佩頓和埃里克·菲施爾，等當代藝術家。通過讓觀者放鬆 警惕來為裸體肖像這一古典形式重新注入活力，泰勒以 傳記作者的精明，以及親近的朋友之熟悉感，向觀眾 展示了他的故事書角色們的生動小插曲。就像本拍品 一樣，埃莉·M是給傳統裸體畫注入新生的激情後的 再現安泰勒將她從光輝的希臘化完美中移開，取而代之的 是將她轉變成一個易於接近的人物。正是對他所有畫中 人物的民主化，賦予了藝術家諸如紀錄片作者、講故事 的人、傳記作家等名稱，以及他作為人民畫家的成功背後 之原因。 洛杉磯的格芬當代在MOCA美術館將於2020年冬季舉辦 他的大型回顧展，來審視亨利·泰勒25年來的創作。
4. Alex Katz
b. 1927
Leigh signed and dated ‘Alex Katz 05’ on the reverse oil on canvas 213.4 x 154.4 cm. (84 x 60 3/4 in.) Painted in 2005. Provenance Galleria Monica De Cardenas, Milan Private Collection, Seoul Jason Haam Gallery, Seoul Acquired from the above by the present owner Exhibited Milan, Monica de Cardenas Galleria, Alex Katz, 25 November 2005 - 14 February 2006, pp. 14-15 (illustrated, p. 15)
阿歷克斯·卡茨 《蓮兒》 油彩 畫布 2005年作 款識：Alex Katz 05 (畫背) 來源 米蘭，Monica De Cardenas 畫廊 首爾私人收藏 首爾，Jason Haam 畫廊 現藏者購自上述來源 展覽 米蘭，Monica de Cardenas 畫廊， 〈阿歷克斯·卡茨〉， 2005年11月25日 - 2006年2月14日，第14-15頁 (圖版 第15頁)
HK$ 3,000,000-5,000,000 US$ 385,000-641,000
Deceptively simple in their execution, the New York School painter Alex Katz’s famed portraits and landscapes feature immaculate fat planes and clean lines, a technique frst developed by the artist in the Fifies. Katz’s minimalistic and defantly fgurative approach arose as a response to Abstract Expressionism and Colour Field Abstraction. From these movements he derives the size and scale of his works, as well as the sense of abstract fatness. His clean, vibrant and graphic visual language is infuenced in part by the aesthetics of post-war American billboard advertising and the later Pop Art movement. However, over seven decades of artistic creation, Alex Katz has developed a distinctive visual language inspired by a wide range of sources including cinema, photography, advertising and pop culture in general. He has always remained distinct in his own version of fguration and portraiture that he dubbed ‘totally American’ and therefore holds a unique position between formalism and representation within American art history. The present work was unveiled as part of a larger group of pieces that radiated a new sense of energy displayed by the artist in the mid-2000s, painted in bold colours such as pinks and blues, and in particular the lime green of Leigh. In this work, the titular blonde character dons a trench coat with her hands in her pockets, and faces the viewer in the middle of the canvas with a relaxed half-smile so typical of Katz. Against this luminous green feld, the subject of the painting becomes the focal point of the work: an intense form of fguration as imagined by the artist. Having previously named Goya amongst key painters infuential to his mode of painting, it is perhaps possible to detect in Katz’s work a contemporary rendition of the portraiture for which the 19th century artist was famous. In its minimalist and luminous execution, Leigh is devoid of sentimental attachment and yet capable of communicating a potent and profound psychological connection with its audience. Similar to Goya then perhaps is Katz’s attention not only to the inner monologue conveyed by their models, but utilising cropping and confnement of canvas in order to evoke certain sentiments. In Leigh, the protagonist is featured in an almost ‘wide angle’ portrait, with the cropping showing the space just above Leigh’s head, ending our view of her just below her coat. Calling to mind Katz’s signature cut-outs in the sharpness of Leigh’s rendering, a technique he created at the beginning of his career, the present work exudes a sense of starkness in which it is possible to insert oneself into the painting. Furthermore, in aligning his subject parallel to the picture plane, the character takes on an almost confrontational aspect, forcing the audience into acute awareness of her.
紐約畫派藝術家阿歷克斯·卡茨著名的肖像和風景畫， 手法貌似簡單，但其完美的平面和簡潔的線條是藝術家 早在五十年代便開創的技巧。卡茨的簡約畫風和蓄意 的具象手法是對抽象表現主義和色域抽象所做出的回應。 他從這些運動中發展出自己作品的大小和尺幅，以及抽象 平面感。他簡潔、鮮麗和圖像化的視覺語言在一定程度上 是受到戰後美國的廣告牌和之後的波普藝術運動的美學 所影響。然而，在超過七十年的藝術創作中，卡茨建立了 一種靈感來自包括電影、攝影、廣告和流行文化等廣泛 來源的獨特視覺語言。他一直保持了自己「完全美國式」的、 鮮明的寫實和肖像畫風格，因此他在美國藝術史上有著在 形式主義和表現主義之間另闢蹊徑的獨特地位。 本件作品為最早於2000年代中期所展示的較大一批散發 新能量的作品之一，這批作品運用了許多大膽的色彩， 例如粉紅色和藍色，更尤其是《蓮兒》中的檸檬綠。在這件 拍品中，金髮女子身穿一件風衣，雙手插在口袋中，臉上 是典型的卡茨式的半露微笑表情，在畫面中央輕鬆地面 對觀者。在翠綠色田野的背景前，畫中人物成為作品的 焦點：一種藝術家想像出的強烈具象形式。曾經提到 戈雅是影響他繪畫方式的主要藝術家之一，在卡茨的作品 中或許可以發現他對這位19世紀的藝術家著名肖像畫的 當代演繹。通過極簡和鮮麗的呈現， 《蓮兒》雖然不帶任何 情感上的依戀，但仍能夠與觀者建立一種強烈而深刻 的心理連結。與戈雅相似，也許卡茨的用意不僅在於傳達 畫中人的內心獨白，而且在利用對畫面的切割和限定來 喚起某些情緒。 在《蓮兒》中，主人公出現在近乎「廣角」的直立肖像畫 型式中，通過切割僅僅展示了頭部上方的空間，而我們的 視線也止於她的風衣以下。對此作利落的處理，讓人想到 卡茨標誌性的畫面裁剪，這是在其職業生涯初期所開創 的技巧。本作滲透著一種荒蕪感，讓人彷彿可以將自己 置身畫面之中。此外，通過將人物與畫的平面平行對齊， 主人公帶著直視的角度，迫使觀眾明顯地意識到她的存在。
Property of an Important Private Collector
5. Tomoo Gokita
b. 1969
Saucy Girl signed, titled and dated ‘“SAUCY GIRL” Tomoo Gokita 2015’ on the reverse acrylic gouache on canvas 162.6 x 129.5 cm. (64 x 51 in.) Executed in 2015. Provenance Bill Brady Gallery, Miami Acquired from the above by the present owner Exhibited Miami, Bill Brady Gallery, Tomoo Gokita: DAMAGE CONTROL, 30 November 2015 - 9 January 2016
重要私人收藏
五木田智央 《俏皮的女郎》 壓克力 水粉 畫布 2015年作 款識： 《SAUCY GIRL》Tomoo Gokita 2015（畫背） 來源 邁阿密，Bill Brady 畫廊 現藏者購自上述來源 展覽 邁阿密，Bill Brady 畫廊， 〈五木田智央:損害控制〉 ， 2015年11月30日 - 2016年1月9日
HK$ 2,000,000-3,000,000 US$ 256,000-385,000
‘I don’t know why, but I have a tendency to be strongly attracted by photographs and images of women appearing 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 monochrome paintings typically draw upon an assortment of distinctive, kitschy popculture motifs ranging from pin-up girls to cowboys and Mexican wrestlers. Images appropriated from a variety of sources, including television, advertising and pornography, are deconstructed with a series of defly-applied smudges, distortions and gestures that render the faces and forms of Gokita’s subjects unrecognisable yet uncannily familiar. Once considered an outsider by the Japanese art establishment, who struggled to accept his cryptic use of low-brow cultural imagery and background as a commercial illustrator, Gokita’s breakthrough came in 2005 when a curator’s chance encounter with Gokita’s book Lingerie Wrestling (2000) in a museum shop led to his inclusion in the New York group show “Stranger Town”. The renowned American critic Roberta Smith profled the then-unknown Japanese artist: “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-and-white feel like living color” (‘Invading Genres Breach the Art World’s Porous Borders’, The New York Times, 9 March 2005, online). Saucy Girl was unveiled at the artist’s solo show “DAMAGE CONTROL” in 2015, his second show at New York’s Bill Brady Gallery. The femme fatale is a familiar archetype of art and literature – seductive, mysterious, morally ambiguous – and perhaps the most famous actress of the Hollywood flm noir age was Veronica Lake, whose cascading ‘peekaboo blonde’ hairstyle became a visual shorthand for the actress herself as well as the character of the femme fatale. This image carries the same enduring symbolic potency today, an ironic contrast to the actress herself, whose career ground to a halt just a few years afer its peak. Fascinated particularly by images found in 1960s and 1970s erotica, and encouraged by his open-minded father, a designer working on advertising layouts for Playboy magazine, Gokita explained: I don’t know why, but I have a tendency to be strongly attracted by photographs and images of women appearing 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. (the artist, quoted in Steven Cox, ‘Tomoo Gokita Interview’, Hunted Projects, 2013, online) Saucy Girl showcases a mastery of texture, contrast and tone honed in Gokita’s early works on paper and various commercial projects. The immediacy of Gokita’s bold, evocative drafsmanship is tempered by voluptuous monochrome gradations that sufuse the surface of the canvas with a startlingly luminous, velvety quality.
Gokita is described as “a polymath of drawing mediums and styles” by Roberta Smith, whose “undeniably rich” paintings “pack an unsettling visual punch” (‘Tomoo Gokita: “Out of Sight”’, The New York Times, 20 October 2016, online). Gokita’s work echoes that of British Pop artist Richard Hamilton, whose My Marilyn (1966) featured a contact sheet of publicity stills of Hollywood pin-up Marilyn Monroe, which the star had herself marked up to indicate where her body needed to be retouched. Hamilton carried out a series of modifcations, in one shot painting over her body altogether, her whited-out bikini-clad silhouette becoming a poignant visual symbol for the actress and the larger-than-life ‘blonde bombshell’ role she played throughout her life. In both these works we fnd the female protagonists mutely alluring, yet their faceless denial of the male gaze injects a surreal and alarming tension to the works. Gokita adroitly walks the line between indulging the comfort of the familiar and slyly inficting the sharp shock of the unexpected. As a result, Saucy Girl is at once contemporary, nostalgic 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) 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.
Richard Hamilton My Marilyn, 1965 © R. Hamilton. All Rights Reserved, DACS and ARS 2019
理查德·漢密爾頓 《我的瑪麗蓮 》 ，1965年作
五木田智央的標誌性黑白繪畫選材通常來自各種鮮明、 豔俗的流行文化中之圖案，從海報女郎，到牛仔，以及 墨西哥摔角手等。通過對包括電視、廣告，以及色情 內容等各種來源的圖像進行提取，再熟練地以模糊化、 變形，以及動態素描等一系列方式進行解構，使畫中人物 的臉部和身形變得難以辨識，卻又讓人覺得不可思議的 似曾相識。 日本藝術界曾將他視為局外人，不願接受他對通俗文化 圖像的神秘使用，以及他曾經作為商業插畫師的背景， 五木田藝術生涯上的突破性時刻發生在2005年，一位 策展人於一家美術館商店中偶然發現他的書籍《內衣 摔角》 （2000年），於是將其列安紐約的群展《陌生人 之城》。著名的美國評論家Roberta Smith在對這位當時 不為人知的日本藝術家之介紹中寫道： 「展示五木田智央的 炭筆、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彚涵蓋了插畫、色情、 抽象、兒童畫、書法及標誌繪畫，通過完美的控制力、 天鵝絨般光滑柔軟的表面；以及色調層次，讓黑白充滿了 彩色般的鮮活感」 （《安侵的題材打破了藝術世界的疏漏 邊界》， 《紐約時報》，2005年3月9日，截自網路）。
The American actress, Veronica Lake 美國女演員維若妮卡·蕾克 (Photo by Silver Screen Collection/Getty Images)
《俏皮的女郎》在藝術家2015年個展《損軎控制》中首次 亮相，這是他在紐約Bill Brady畫廊的第二個展覽。人們 在藝術和文學中所熟悉的蛇蠍美人這一原型——撩人、 神秘、意味不明——也許好萊塢黑色電影時代最著名 的女演員維若妮卡·蕾克，其如瀑布般傾瀉在額前的「金髮 瀏海」既成為她本人的醒目標誌，也成為蛇蠍美人這一 角色的代名詞。這個形象至今仍擁有歷久不衰的象徵性， 諷刺的是，這位女演員的職業生涯卻在數年短暫的巔峰後 邁向了停滯。五木田對1960和1970年代的色情圖像尤為 迷戀，並受到開明的父親影響。(曾任職《花花公子》雜誌 的廣告排版設計師)，藝術家解釋說： 我也不明所以，過往印刷技術還不進步時，所出版的書籍 和雜誌中出現的女性照片及圖像總是很吸引我。那些圖像 激發了我創作的動力。 （藝術家，引自Steven Cox， 《五木 田智央採訪》， 《Hunted Projects》, 2013年，截自網路） 《俏皮的女郎》展現了五木田在早期紙上作品以及各類 商業項目中所達到的;對質地、對比度和色調的精通。 五木田大膽、令人驚艷之繪圖技巧中所蘊含的即時性， 在其眩惑的多變單色下變得柔和，這種單色漸層以一種 驚人的明亮、天鵝絨般的質感充滿了畫布表面。五木田 被Roberta Smith稱為「繪畫媒介和風格上的博學家」， 其繪畫作品「無可否認的豐富性」「充滿了讓人不安的視 覺衝擊力」 （ 《五木田智央：眼不見》， 《紐約時報》，2016年 10月20日，截自網路）。 五木田的作品呼應了英國波普藝術家理查德·漢密爾頓的 作品《我的瑪麗蓮》 （1966年） ，該作品中展現了好萊塢名人 瑪麗蓮·夢露於劇照的底片印樣中，親自對自己身體需要 修圖的部分做了標記。漢密爾頓進行了一系列的修飾， 於其中一張照片裡將她全身塗滿，她那被塗成全白的、 身穿比基尼的輪廓，讓這位一生都在扮演叫人印象深刻的 「金髮女郎」形象之女演員成為一個動人的視覺符號。 在兩件作品中我們都可以發現女主人沈著的誘惑力，然而 她們面部的缺失體現出對男性凝視的否決，為作品注安了 超現實和讓人無法忽略的張力。五木田巧妙地遊走於: 由熟悉所產生的舒適感之放任，並狡黠地製造由意外 所導致的強烈震驚之間。由此， 《俏皮的女郎》既是當代的， 又是懷舊和永恆的，是藝術家不斷與當今之藝術創作的 慣例進行抗衡的證明。 五木田的作品在不斷獲得評論與藝術性上的讚譽。 如今，他由幾家著名的國際藝術畫廊代理，其中包括紐約 Blum & Poe畫廊，以及東京Taka Ishii 畫廊。他的作品 在過去的五年中得到藝術機構的進一步認可，其中 包括2014年在DIC川村紀念美術館 （ 〈偉大的馬戲團〉個展） 和2018年在東京歌劇城美術館（ “PEEKABOO” ）都舉辦了 的重要的美物館個展。
Property from an Important Hong Kong Collection *Ж
6. Zeng Fanzhi
b. 1964
Mask Series No. 1 signed and dated ‘Zeng Fanzhi [in Pinyin] 96’ lower right oil on canvas 200 x 180 cm. (78 3/4 x 70 7/8 in.) Painted in 1996. Provenance Private Collection Sotheby’s, Hong Kong, 31 October 2004, lot 314 Acquired at the above sale by the present owner Literature Pi Li, ed., Zeng Fanzhi 1993-1998, Beijing, 1998, p. 43 (illustrated) He Lijun and Pi Li, ed., I/We: The Paintings of Zeng Fanzhi 1991-2003, Wuhan, 2003, p. 88 (illustrated) Jean-Marc Decrop and Christine Buci-Glucksmann, Modernités Chinoises, Paris, 2003, p. 110 (illustrated)
重要香港私人收藏
曾梵志 《面具系列1號》 油彩 畫布 1996年作 款識：Zeng Fanzhi 96（右下） 來源 私人收藏 香港，蘇富比，2004年10月31日，拍品編號314 現藏者購自上述拍賣 出版 皮力編， 〈曾梵志1993 - 1998〉，北京，1998年，第43頁 (圖版) 何麗君與皮力編， 〈我·我們：曾梵志的繪畫 1991-2003〉， 武漢，2003年，第88頁 (圖版) Jean-Marc Decrop 與 Christine Buci-Glucksmann 著， 〈現代中國〉 ，巴黎，2003年，第110頁 (圖版)
HK$ 14,000,000-24,000,000 US$ 1,790,000-3,080,000
‘Creation is a tool of mine, it is the way I connect with the world. As an artist under the infuences of diferent cultures, my hope is that my art refects the social and aesthetic experience of an individual in the present time.’ Zeng Fanzhi
Mask Series No.1 is an exceptional work, one of the early paintings from the Mask Series by Zeng Fanzhi - one of China’s most celebrated contemporary artists who has deservedly established his position within the lexicon of the global art-historical canon for his astoundingly rich and varied body of work. As indicated by the work’s title, Mask Series No.1 was the frst painting executed in 1996. Impressive in both its scale and graphically rendered composition, the viewer is presented with a curious scene: a pair of fgures, both donning masks, set against a nebulous ochre background that is typical of Zeng’s Mask early works from the mid-90s - and is exceedingly rare. Adorned in vibrantly-coloured clothes that nod to European haute couture, and articulated with clean, black brushstrokes, the subjects of the present work appear to pop of the hazy canvas with an almost three-dimensional quality. Imbued with metaphors that are a testament to the richness of Zeng’s art-historical sensitivity and distinctiveness, whilst undeniably based on the artist’s own personal memories, the present work exudes a unique blend which has paved the way for the Mask Series to become one of Zeng’s most recognisable and iconic works. 1996 is a year considered to be a mature apex in the artist’s mastery of his most famous masked subjects. A rumination on the culture shock Zeng experienced having moved from relatively provincial Wuhan to metropolitan Beijing in early 1993, the Mask Series works portray a stark societal shif to which the young artist was unaccustomed: “In the mid-1990s, China was transforming fast”, Zeng perceived, “Chinese ofcials started wearing suits and ties… Everybody wanted to look good, but there was an air of fraudulence in it” (the artist quoted in Sonia Kolesnikov-Jessop, ‘Zeng Fanzhi: Amid change, the art of isolation’, The New York Times, New York, 3 May 2007, online). Whether an act of silent retaliation or a coping mechanism, Zeng explored the plight of the modern city dweller in his work, serving a valid portrayal of the difculties and anxieties of the Chinese adapting to rapid urbanisation at that time. The fashionable couple in Mask Series No.1 is a far cry from the fgures populating the artist’s earlier Meat and Hospital pieces, though they still recall these previous works in their sinewy and sanguineous limbs. Although the pair are clearly comfortable in each other’s presence their body language friendly as the woman drapes her arm over the man’s shoulders - Zeng’s employment of the mask as a powerful symbol of concealment evokes a strange sense of superfciality.
With both masks caught in a ‘poker-face’ expression simultaneously poised between a grimace and a mocking smile, the couple’s genuine feelings are cloaked away. In spite of this, however, turmoil and anxiety nevertheless seep through, via the pairs’ exaggeratedly engorged, veiny hands that are a telltale sign of honesty. As critic Li Xianting summarises Zeng’s masterful rendering of the feshy hands, composed of crimson hues that derive directly from Zeng’s earlier Meat series: “the overall efect is of people who are trying to suppress their emotions in order to present an air of calm – yet they are betrayed by their hands; they are unable to conceal their hands”. Showcasing an extraordinarily mature and refned technique through his expressive brushwork, the emotion that is concentrated in the faces and hands of Zeng’s subjects command contemplation and internal refection from the viewer, as opposed to astonishment alone. Directly contrasting the ability of masks to conceal, paintings can be examined for what they reveal, as traces of mark-making ofer the viewer an insight into a work’s compositional history. In scraping the surface of Mask Series No.1 smooth with a palette knife, Zeng has eradicated any trace of his brushwork in the background of the piece, cleverly extending his exploration of the theme of concealment into the formation of the painting itself. In doing so, the viewer’s eyes are automatically drawn to the more gestural brushstrokes employed to compose the subject of the painting, of which an immense depth of historical references are evoked. With its air of splendour, the present work is a prime example of how Zeng stylistically situates Western Expressionism within a heavily Chinese realm. Drawing on multifaceted allusions that range from the essences of British artists Francis Bacon and Lucian Freud; yet steeped in distinct Chinese symbols including Chinese opera masks and Northern Song scrolls (in Zeng’s deliberate choice of the background’s brown hue) - the artist has achieved his desire to “fnd an artistic voice that belonged solely to [him]”. With a practice that is unparalleled in the world of Chinese contemporary art, Zeng has earned critical acclaim and the attention of prominent museums and collectors worldwide for his now-iconic Mask Series that challenges the traditions of fgurative painting. Alongside international gallery Hauser & Wirth who announced its worldwide representation of Zeng in March 2018, the artist has presented solo shows at key galleries and institutions around the world - indicating that confdence in the artist’s oeuvre continues to grow.
Guo Xi Old Trees, Level Distance Collection of the Metropolitan Museum of Art, New York 郭熙 《樹色平遠圖》 紐約，大都會藝術博物館收藏
「創作是我的工具，是我與世界連接的途徑。作為一名 受各種文化影響的藝術家，我希望我的藝術反映出一個人 當下的社會和美學體驗。」——曾梵志 《面具系列1號》是曾梵志早期《面具系列》的傑作。 曾梵志是中國最知名的當代藝術家之一，其藝術創作豐富 多元，在國際藝術歷史中也建立了屬於自己的地位。如此 作題目所示， 《面具系列1號》是藝術家1996 年創作的 第一幅作品，尺寸碩大，構圖生動，畫面場景頗為古怪： 兩個人物都戴著面具，背景是一片朦朧含糊的赭色，常見 於其1990 年代中的早期《面具》作品，如今極為罕見。 人物衣服顏色艷麗，向歐洲「高級定制」服裝表示認同， 再以乾淨利索的黑色線條加重效果，人物幾乎被賦予立體 特質，要從模糊的畫布上跳出來一般。作品蘊藏著隱喻， 突顯曾梵志對藝術史的敏感度和獨特眼光。畫面建基於 藝術家自己的私人記憶，散發出獨有的混合特質，奠定 《面具系列》成為曾梵志最具辨識度和標誌性的作品之一。 藝術家最為人所知的面具人物題材在1996年達至成熟 巔峰。曾梵志於1993 年初從地方城市武漢搬到首都北京， 《面具系列》反思了他當年所感受到的文化衝擊，和明顯 的社會轉變，對年輕的藝術家來說當時並不大能適應： 「在1990 年代中期，中國正在迅速的改革」，曾梵志 講道， 「中國官員開始穿西裝打領帶… 所有人都想要好看， 但有種虛假的感覺。」 （藝術家錄於 Sonia KolesnikovJessop， 〈曾梵志: 變化之中, 孤立的藝術〉， 《紐約時報》， 2007年5月3日，截自網路）不論這是沉默的報復； 還是應對手法，曾梵志在作品中探討現代城市人的苦境， 是中國在適應迅速都市化時所遇到的困難和焦慮。
《面具系列1號》中，時尚的二位主角與藝術家更早期的 《肉聯》與《協和醫院》中人物大相徑庭，不過他們健壯的 手臂仍有早期作品的影子。畫中兩人在對方面前都表現得 很自在，身體語言友好，女子把胳膊搭在男人的肩膀上。 曾梵志筆下的面具是一個強大的隱匿符號，產生奇怪的 表像性。兩人的面具都處於隱匿真情的狀態，介乎鬼臉 和嘲笑之間，掩蓋住他們的真實情感。雖然如此，還是 有騷動和焦慮滲透了進來，那兩雙誇大且佈滿紋路的手就 揭露了事實。如藝評家栗憲庭總結曾梵志筆下《肉聯》 系列般深紅色飽滿大手： 「整體感覺是那些人想壓制情感， 從而表現得很平靜，但他們被自己的雙手出賣了。他們 沒辦法隱藏雙手。」曾梵志通過意味深長的筆觸表現出 成熟精妙的技法，其人物的情感總是集中在臉部和手部， 帶給觀者的除了驚愕，還有反思和內省。 藝術家直接對比面具作為隱蔽的作用，畫作所透露的是 完全可以檢驗的，畫面不乏創作時的痕跡，觀者得以一窺 作品的構圖過程。藝術家以調色刀平整《面具系列1號》 的表面，消除了背景中的筆觸痕跡，把「隱蔽」主題延伸 至繪畫過程中，如此一來，觀者的目光自然被畫面富有 動態的筆觸而吸引，而所畫主題又是充滿歷史借鑒的。 在光輝的氣氛中，曾梵志把西方表現主義藝術放在中國 國情之內，多元的靈感來源包括英國藝術家弗朗西斯· 培根和盧西安·弗洛伊德，但也滲透出獨特的中國元素， 像是京劇臉譜和北宋卷軸（曾梵志刻意選用棕色調的 背景） ，曾梵志成功「找到一把只屬於他的藝術聲音」。 曾梵志的作品在中國當代藝術界是無可比擬的，不僅獲得 藝評的讚賞，也因《面具》系列大膽挑戰人像畫傳統而引起 全球重要博物館和藏家的關注，豪瑟沃斯畫廊於2018年 3月宣佈在全球代理曾梵志，而藝術家至今已在多個國際 上的重要畫廊和機構舉辦個人展覽，見證其依然不斷增長 的作品。
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7. Liu Ye
b. 1964
She Isn’t Afraid of Mondrian signed and dated ‘liu ye ye [in Chinese] 95’ lower right acrylic and oil on canvas 200 x 170 cm. (78 3/4 x 66 7/8 in.) Executed in 1995. Provenance Galerie Serieuze Zaken, Amsterdam Acquired from the above by the present owner in 1998 Exhibited Beijing Art Gallery of International Palace, New Anecdotes of Social Talk, 8-11 December 1995, p. 25 (illustrated) Beijing, Mingjingdi Gallery, Liu Ye, 1997, pp. 7, 25 (illustrated on p. 25) Art Gallery of Beijing International Art Palace; Shanghai Library; Guangdong Museum of Art, Mondrian in China: A Documentary Exhibition with Chinese Originals, 15 March - 24 May 1998, p. 43 (illustrated) Reykjavik Art Museum, Chinese Contemporary Art, 2002 Austria, Kunstraum Innsbruck; Kuopio Art Museum; Salo Art Museum; Tonsberg, Haugar Vestfold Kunstmuseum; Ystad Konstmuseum; Singer Laren Museum; Kunsthalle Recklinghausen, Facing China:Works of Art from The Fu Ruide Collection, 17 May 2008 - 24 June 2012, pp. 54-55 (illustrated)
Literature Oriental Art, April 1996 (illustrated on cover) Leng Lin, It's Me! , Beijing, 2000, p. 272 (illustrated) London, Chinese Contemporary, Liu Ye: Fellini, A Guardsman, Mondrian, The Pope and My Girlfriend, April 2001, p.8 (illustrated) Christoph Noe ed., Liu Ye: Catalogue Raisonné 1991-2015, Berlin, 2015, no. 95-06, pp. 74, 263 (illustrated) Marianne Brouwer, Samuel Saelemakers, eds., Hans van Dijk/ Dai Hanzhi: A Life with Art China 1986 - 2002, Rotterdam, 2018, p.199 (illustrated)
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劉野 《她不怯對蒙德里安》 壓克力 油彩 畫布 1995年作 款識：liu ye 野 95 (右下) 來源 阿姆斯特丹，Serieuze Zaken 畫廊 現藏者於1998年購自上述來源 展覽 北京國際藝苑畫廊， 〈世說新語展〉，1995年12月8-11日，第25頁 (圖版) 北京，明經第畫廊， 〈劉野〉，1997年，第7、25頁 (圖版第25頁) 北京國際藝苑畫廊；上海圖書館；廣東美術館， 〈蒙德里安在中國： 蒙德里安文獻與中國藝術家的作品〉，1998年3月15日-5月24日， 第43頁 (圖版) 雷克雅未克美術館， 〈中國當代藝術〉，2002年 奧地利，因斯布魯克藝術空間；庫奧皮奧藝術博物館； 薩羅藝術博物館；滕斯貝格，Haugar Vestfold 藝術博物館; Ystad 藝術博物館；Singer Laren 博物館；雷克林豪森藝術館， 〈面對中國：福瑞德收藏〉，2008年5月17日 - 2012年6月24日， 第54-55頁 (圖版) 出版 〈東方藝術〉 ，1996年4月 (封面) 冷林著， 〈是我！ 〉 ，北京，2000年，第272頁 (圖版) 倫敦，中國當代藝術畫廊， 〈劉野：費里尼、衛兵、蒙德里安、 教皇和我的女友〉，2001年4月，第8頁 (圖版) Christoph Noe 編， 〈劉野：作品全集 1991-2015年〉 ，柏林， 2015年，圖版編號95-06，第 74、263頁 (圖版) Marianne Brouwer 與 Samuel Saelemakers 編， 〈戴漢志:中國的藝術生活，1986 - 2002 年〉，鹿特丹，2018年， 第199頁 (圖版)
HK$ 18,000,000-28,000,000
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US$ 2,310,000-3,590,000 The artist photographed with She Isn’t Afraid of Mondrian. Photographed by Wang Wei, 1995 藝術家與《她不怯對蒙德里安》 ，攝影：王昱，1995年
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LEFT: Edward Hopper Conference at Night, circa 1949 © 2019 Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY
左: 愛德華·霍普 《夜間會議》 ，約1949年作 RIGHT: Max Ernst The Virgin Spanking the Christ Child before Three Witnesses: Andre Breton, Paul Eluard, and the Painter, 1926 Collection of Museum Ludwig, Cologne © 2019 Artists Rights Society (ARS), New York / ADAGP, Paris
右: 馬克斯·恩斯特 《聖母於安德烈·布勒東、保爾·艾呂雅 及藝術家見證下教訓聖嬰》 ，1926年作 科隆，路德維希博物館收藏
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Painted in 1995 upon Liu Ye’s return to Beijing from his studies in Berlin, She Isn’t Afraid of Mondrian is an exquisite painting that radiates a quiet and sensual brilliance, combining many elements of Liu’s earliest and most discernible hallmarks. Executed generously on the largest canvas format that the artist used in the Nineties, this thought-provoking work is primarily autobiographical, and is a piece ripe for interpretation and investigation. She Isn’t Afraid of Mondrian is steeped in iconography and hidden meaning: ruminating on the work, the artist revealed that an artistic debate arose between his thenpartner and himself, and the scene which unfurls is a direct allusion to this particular memory. The metaphorical result of this debate can be identifed in the characters in the painting: the female fgure’s face remains half-concealed in shadow, and the autobiographical cherubs stomp resolutely forward with Mondrian’s Broadway Boogie Woogie in tow, as if trying to drag it away from the group. The four fgures are illuminated by a diagonal projection of light, as if to highlight these contradictory movements held in delicate tension. The spotlight projected upon this motley crew potently evokes the same sense of conspiratorial disquietude as the light illuminating the coterie of three in Edward Hopper’s Conference at Night, captured discussing some unknown plan in the fading evening glow. It also directly mirrors the large slab of light that unveils the unsuspecting sleeper in Balthus’ The Room, thanks to a mischievous character thrusting open a set of curtains. In this sense, the dazzling amber light in She Isn’t Afraid of Mondrian is layered in its connotations, calling to mind motifs of secrecy and mischievousness.
Further, one detects Classical infuences in Liu’s use of luminous yellow, such as Rembrandt’s Dinner at Emmaus, and the mystery which cloaks the scene. In the Dutch master’s version, the resurrected Jesus reveals himself to his disciples in a dimly lit dinner chamber, injecting the piece with awe and reverence: a new journey is underway. Much in the same way, the radiance spotlighting She Isn’t Afraid of Mondrian elicits a sense of wonder and anticipation of new beginnings. A worthy metaphor for Liu’s homecoming to Beijing but moreover, resolution at the end of a long debate, the light in this work literally ‘shines a light’ onto his new path ahead, or, conversely, mimics the way a lit corridor spills light through a door lef ajar. In both senses, the present work provides us with a strong sense of journey and expedition, underscored by the marching cherubs in the painting no less. She Isn’t Afraid of Mondrian is also exceedingly well balanced: the attention paid to geometry and equilibrium within the painting owes its origins to Liu’s penchant for the Flemish School and later on, De Stijl. In this work, not only is the canvas’s composition diagonally separated by the rhombus of light, the work’s depth is also perpendicularly delineated by the ground and wall, and the trajectory of the marching fgures perfectly aligned. The centrepiece of the artist’s fascination is Piet Mondrian’s Broadway Boogie Woogie, now in the collection of the Museum of Modern Art in New York. Drawing from the push-pull of the melodious boogie-woogie that forms the titular concern of his pieces, Mondrian’s deceptively simple paintings are carefully crafed abstractions of the New York landscape in which he found himself.
She Isn’t Afraid of Mondrian also pays tribute to an Abstract Expressionist whose meticulously painted works infuenced Liu Ye. By the artist’s own admission, She Isn’t Afraid of Mondrian is a direct response to Barnett Newman’s Who’s Afraid of Red, Yellow and Blue, a connection that lends a provocative backstory to the work. Recalling the sensationalist coverage surrounding the vandalism of the series (and its later repair) during the early to late Eighties, the present work evokes the themes of confict but more importantly, subsequent reconciliation and repair.
Phillips would like to thank Liu Ye for his assistance with this essay. ABOVE: Rembrandt The Supper at Emmaus, circa 1628 上: 林布蘭特 《以馬忤斯的晚餐》 ，約1628年作
BELOW: Stefan Lochner Madonna of the Rose Bower, circa 1440-42 Collection of Wallraf-Richartz Museum, Cologne 下 : 史蒂芬·洛克納 《玫瑰叢中的聖母》 ，約1440-42年作 科隆，Wallraf-Richartz博物館收藏
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Above all else, this work presents the inherent (im)balance of life: where states of unresolved tensions can co-exist. In its balance, dynamism, harmonious use of colour, and the artist’s def control of light, chromatics and composition, the otherworldly She Isn’t Afraid of Mondrian is a stunning piece. We are caught up in a story utterly Liu Ye’s own: the poetic mood of the work draws us in, manifesting into a compelling narrative of exposition, climax and resolution.
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Most importantly, She Isn’t Afraid of Mondrian is a piece that represents Liu’s ability to not only draw from a rich background of sources, but his prowess as a gifed painter. Though the context behind the work may have been a contentious one, the artist’s devotion to the female character is apparent. Her rosy-cheeked face bears resemblance to varying versions of the Virgin Mary: disciplinary and angular-faced in the works of Max Ernst which a young Liu had seen in Cologne; or perhaps a traditional, nurturing and loving Madonna, her serenity captured across the Christian artistic canon. In this painting, the winged female fgure thus takes on the role of both protector and disciplinarian, an apt allusion to the delicate situation of the couple’s disagreement. In the draped folds of her bright crimson dress, one also detects the beginnings of Liu’s curtain and stage series, one which began in the same year as this work. In its evocation of the stage — heightened also by the large central foodlight, as well as the Chinese operatic spear brandished by the small angel, and the dramatic prop of a pair of scissors wielded by his female companion — one gets a sense of theatrical unveiling, a gentle downplaying of the argument, perhaps.
繪於1995年，正值劉野結束柏林的學習返回北京後， 《她不 怯對蒙德里安》是一幅精美的作品，散發著寧靜和感性的 光芒，結合了許多來自劉野最早期和最具辨識性的藝術 特徵中之元素。大方地運用藝術家在90年代所使用過的 最大尺幅畫布來創作，這件發人深省的畫作極大程度上是 自傳式的，且是一件值得解讀和探究的成熟作品。 《她不怯對蒙德里安》充滿了肖像學和隱藏的含義：對作品 進行反覆思考後，藝術家透露，一場藝術辯論在其當時的 同儕和他本人之間展開，這一場景直接暗示了特定的記憶。 這場辯論的隱喻性結果可以在這幅創作中的人物身上對號 入座：畫中女性人物的臉有一半隱藏在陰影中，自傳性的 智天使堅定地踏步向前，蒙德里安的《百老匯爵士樂》 一作緊隨其後，好像試圖要將其拖離組群。四個人物被 對角的光線照亮，彷彿要突出微妙的緊張情緒下充滿矛盾 之動態。照在這一眾人等身上的聚光燈，有力地喚起與 愛德華·霍普的作品《夜間會議》，其中光線照向三人 小團體時所具有的同樣的陰謀詭譎感，後者捕捉到了在 餘暉中討論某些神秘計劃的一幕。它也直接指涉在巴爾 蒂斯的《房間》一作中，由於一個頑皮的人物將窗簾拉開， 大片的光線照亮了那個毫無戒心的熟睡者。從這個意義上 來看， 《她不怯對蒙德里安》中令人眼花撩亂的琥珀色燈光 蘊含著層層含義，讓人聯想到秘密和調皮等玩味主題。
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重要歐洲私人收藏
此外，可以發現劉野所使用的鮮黃色是來自古典繪畫之 影響，例如林布蘭特的《以馬忤斯的晚餐》 ，以及包圍著 那個場景的神秘感。在這位荷蘭大師的版本中，復活的 耶穌在昏暗的晚餐室內現身於門徒們面前，為這件作品 注入敬畏和尊崇之情：新的旅程正在啟航。同樣地， 《她不 怯對蒙德里安》中照耀的光芒，也影射出一種神奇感和 對全新開始的期待感。對於劉野回歸故鄉北京，這是一個 恰當的比喻，是一個長期辯論最終的結論，這件作品中的 光芒從字面上「照亮了」他前方的新道路，或者相反地， 它像是光線透過半開的門從明亮的走廊灑進來。從兩種 意義上來說，本件作品提供了一種強烈的踏上旅程和遠征 之感，畫中的智天使也同樣突出了這一點。 《她不怯對蒙德里安》同時也也極其具有平衡感：畫中 對幾何和平衡的關注源於劉野對弗拉芒畫派，以及後來的 風格派之偏愛。在這件作品中，不僅畫面的構圖被菱形的 光源對角地隔開，而且作品的深度也由地面和牆壁垂直地 勾勒出來，並且人物行進的軌跡也完美地對齊。最讓 藝術家所著迷的，皮特·蒙德里安之《百老匯爵士樂》 ， (現在已被紐約現代藝術博物館所收藏)。這件作品從曲調 悠揚之布基烏基的推拉中汲取靈感，蒙德里安的同名繪畫 作品看似簡單，實則是他苦心繪製的，以抽象描繪自己 身處的紐約場景。 《她不怯對蒙德里安》也是向一位抽象 表現主義藝術家致敬，他精心繪製的作品曾經影響過劉野。 藝術家自己承認， 《她不怯對蒙德里安》是對巴內特·紐曼 的《是誰在害怕紅黃色藍》之直接回應，這一聯繫為作品 提供了引入入勝的背景故事。回顧八十年代初期至後期， 圍繞《是誰在害怕紅黃色藍》的被破壞事件（及其後期修復） 所引起的轟動性報導，喚起了衝突這一主題，但更重要 的是，後來對其的和解與修復。
最重要的是， 《她不怯對蒙德里安》代表了劉野不僅能夠 從豐富的背景中汲取創作來源，而且具有作為畫家的高超 技巧。儘管作品的背景可能具有爭議，但藝術家對女性 角色的熱愛是顯而易見的。她紅潤的臉龐與不同版本的 聖母瑪利亞有著相似之處：年輕時的劉野在科隆看過的 馬克斯·恩斯特作品中，嚴守戒律和棱角分明的版本； 或許是傳統、母性和充滿愛心的聖母，她在整個基督教 藝術經典中所被描繪的寧靜祥和。在劉野的這幅畫中， 長翅膀的女性形象扮演著既是保護者又是嚴師的角色， 這恰好暗示了角色所處的微妙分歧。在她鮮豔的深紅色 連衣裙垂下之褶皺中，還可以看出劉野的布幕和舞台系列 的開端，那個系列與本件作品開始於同一年。它對舞台的 影射——同樣由大型中央探照燈強化氛圍，小天使手中 揮舞中國戲曲中的長矛，以及他的女伴揮動著的剪刀， 這些戲劇化道具——使人感到戲劇正拉開帷幕，這也許是 對他們之間爭論的一種輕描淡寫。 這件作品展現了生活固有的（失衡） 平衡：懸而未決的緊張 狀態可以共存。在其平衡、動力、對顏色的和諧運用， 以及藝術家對光線、色彩和構圖的巧妙控制，超凡脫俗的 《她不怯對蒙德里安》是一件令人驚艷的作品。我們陷入 了完全是屬於劉野自己的故事：作品詩意的情緒吸引著 我們步入其中，並展開一出引人入勝的故事的開端、高潮 和結局。 富藝斯特別鳴謝劉野協助指導此專文。
Piet Mondrian Broadway Boogie Woogie, 1942-43 Collection of the Museum of Modern Art, New York 皮特·蒙德里安 《百老匯爵士樂》 ，1942-43年作 紐約，現代藝術博物館收藏
Property from an Important Private European Collection
重要歐洲私人收藏
Property from an Important Private European Collector O♦ *
8. Jean-Michel Basquiat
1960-1988
Thermopolae signed with the artist’s initials, titled and dated ‘“THERMOPOLAE” JMB 1985’ on the reverse enamel, acrylic, wax crayon on wood 218.5 x 134.5 cm. (86 x 52 7/8 in.) Executed in 1985. Provenance Galerie Bruno Bischofsberger, Zurich Rupert J. Smith, New York Leo Malca Collection, New York Acquired from the above by the present owner Exhibited Tokyo, Galerie Sho, Jean-Michel Basquiat: Paintings and Drawings, 1993, cat. no. 2 (illustrated) Santander, Fundacion Marcelino Botin, Jean-Michel Basquiat. Ahuyentando fantasmas, 15 June - 14 September 2008, p. 135 (illustrated) Rome, Fondazione Memmo, Jean-Michel Basquiat: Fantasmi da sccaciare, 2 October 2008 - 1 February 2009, pp. 120-121 (illustrated, p. 121) Luxembourg, Zidoun-Bossuyt Gallery, Jean-Michel Basquiat Now!, 4 May - 4 June 2016 Literature Jean-Louis Prat and Richard D. Marshall, Jean-Michel Basquiat, Paris, 1996, vol. 1, pp. 371, 399 (illustrated, p. 371) Nathalie Pratt-Couteau and Enrico Navarra eds., Jean-Michel Basquiat, Paris, 1996, vol. 1, p. 320-21,401 (illustrated, p. 321) Nathalie Pratt-Couteau and Enrico Navarra eds., Jean-Michel Basquiat , Paris, 2000, p. 307 (illustrated) Nathalie Pratt-Couteau and Enrico Navarra eds., Jean-Michel Basquiat , Paris, 2000, p. 230-31 (illustrated, p. 230)
HK$ 26,000,000-38,000,000 US$ 3,330,000-4,870,000
重要歐洲私人收藏
尚．米榭．巴斯奇亞 《熾熱的門》 瓷漆 壓克力 油畫棒 木板 1985年作 款識： 《THERMOPOLAE》JMB 1985 (作品背面) 來源 蘇黎世，Bruno Bischofsberger 畫廊 紐約，Rupert J. Smith 收藏 紐約，Leo Malca 收藏 現藏者購自上述來源 展覽 東京，Galerie Sho， 〈尚·米榭·巴斯奇亞：油畫及素描〉 ，1993年， 圖錄編號2 (圖版) 桑坦德，Marcelino Botin 基金會， 〈尚·米榭·巴斯奇亞：驅魂〉， 2008年6月15-9月14日，第135頁 (圖版) 羅馬，Memmo 基金會， 〈尚·米榭·巴斯奇亞: 鬼魂們〉， 2008年10月2日 - 2009年2月1日， 第120-21頁 (圖版 第121頁） 盧森堡，Zidoun-Bossuyt 畫廊， 〈尚·米榭·巴斯奇亞：現在！ 〉， 2016年5月4日-6月4日 出版 Jean-Louis Prat 與 Richard D. Marshall著， 〈尚·米榭·巴斯奇亞〉，巴黎，1996年，第1集，第371、399頁 (圖版 第371頁) Nathalie Prat-Couadau與Enrico Navarra編， 〈尚·米榭·巴斯奇亞〉，巴黎，1996年，第320-21、401頁 (圖版 第321頁) Nathalie Prat-Couadau與Enrico Navarra編， 〈尚·米榭·巴斯奇亞〉，巴黎，2000年，第307頁 (圖版) Nathalie Prat-Couadau與Enrico Navarra編， 〈尚·米榭·巴斯奇亞〉，巴黎，2000年，第230-31頁 (圖版 第230頁)
The Radiant Child Jean-Michel Basquiat, dubbed “the radiant child” by the American art critic Rene Ricard, was an extraordinarily gifed neo-expressionist painter with an ability to shock, inspire and get under the skin of his viewers past and present (Rene Ricard, ‘The Radiant Child’, Artforum, December 1981). Self-taught, with a restless and prolifc mind, he developed a unique visual vocabulary drawn from his Haitian and Puerto Rican heritage, pop culture, history, poetry and his enduring fascination for Abstract Expressionist art. His intellectual curiosity led to a defant insistence on portraying challenging themes, relying on layers of meaning enfolded within a complexity of symbols to convey incisive social commentary and speak to dichotomies such as wealth and poverty, integration and segregation, and the inner versus outer experience.
and elaborately feathered helmet, the Spartan King Leonidas epitomises the classical ideals of male virtue, beauty and heroic self-sacrifcial courage. The phallic scabbard barely hiding his modesty, Leonidas wields a gleaming sword in one hand and a long dark spear in the other. In the same vein, the famous Greek Eurymedon vase depicts a terrifed Persian archer submitting to sexual humiliation at the hands of his virile Greek captor. But in Thermopolae Basquiat’s protagonist is the undisputed aggressor, and the subversive masculinity of this so-called barbarian repudiates classical iconography with a compelling and savage force. Basquiat follows in the footsteps of artists such as Picasso who with his painting Les Demoiselles d’Avignon (1907) “replaced the benign ideal of the Classical nude with a new race of sexually armed and dangerous beings” (Holland Cotter, ‘When Picasso Changed His Tune’, The New York Times, 10 February 2011).
The Battle of Thermopolae The artist-warrior Thermopolae, created in the later years of Basquiat’s brief but intense artistic career, is in many ways an anti-painting, a subversive allegorical masterpiece that draws on the same narratives and Classical mythological roots of the elevated Western historical genre, but upturns accepted moral, spiritual, political meanings to speak passionately about life, death, love, virtue, and justice in postwar America, particularly amongst the Afro-American community and other marginalised bodies. Through Thermopolae and his protagonist the anti-warrior, Basquiat gleefully dismantles the cultural tropes and iconography of “the Other”, a fundamentally reductive narrative of weakness and defciency concerning non-Western peoples, which emerged predominantly from Western colonial thinking as a means of supporting established hegemonies and hierarchies of domination. Thermopolae is a reference to the Battle of Thermopylae in 480 BC, fought between the doomed Greeks and invading Persians at the narrow coastal pass of Thermopylae (in Latin, “the hot gates”). In the hands of Basquiat’s wordplay (a precocious child, Basquiat was fuent in English, French and Spanish by the age of 11), the title of the battle becomes bastardised - “a little heat”, rather than the most famous military last stand of Western civilisation. Basquiat was fascinated by the power and vulnerability of marginalised bodies. Obsessed with anatomy since being gifed a copy of the famous medical and artistic treatise Gray’s Anatomy as a young child by his mother as he lay recovering in hospital afer being hit by a car, Basquiat’s anti-hero, a naked, shitting, overly-endowed, darkskinned savage-warrior waving a spear, manifests a visible skull, ribcage, sinew and spilling guts. He is the physical antithesis of his counterpart in Jacques-Louis David’s neoclassical (and notoriously homoerotic) masterpiece Leonidas at Thermopylae (1814). Sitting erect, with marble-like alabaster skin bathed in light and his eyes turned towards heaven, nude but for an embroidered cloak
Thermopolae’s anti-hero sports dreadlocks remarkably similar to Basquiat’s own hairstyle, and on the adjoining panel can be seen the Greek letters “IDYSOΣIN”, a syncopated version of ‘idiosyncrasy’, or outsider. Basquiat’s paintings became a tool for introspection and for identifying with his experiences in the African American community of his time, whilst inserting himself into the role of his subjects became a way of honouring and acknowledging their experiences. When read as a self-portrait, the burning bush and fames behind the protagonist’s back suddenly take on urgent meaning as well. The story of the burning bush, afame but not consumed by the fre, is the story told in the Book of Exodus about the moment God charged Moses with freeing his people from slavery under the Egyptians. The bush is an acutely political rallying cry: a criticism of colonialism and support for class struggle. Basquiat took this duty seriously, and Thermopolae revisits Basquiat’s Untitled (History of the Black People) (1983), which juxtaposes images of the Atlantic slave trade alongside images of the Egyptian slave trade centuries before. The Thermopolae warrior’s stark profle and frontal position of the torso allude to Egyptian fgural representation, and consequently reclaiming Egyptian culture as fundamentally African “subverts the concept of ancient Egypt as the cradle of Western Civilisation” (Andrea Frohne, ‘Representing Jean-Michel Basquiat’ in Isidore Okpewho et al (eds.), The African Diaspora: African Origins and New World Identities, Indiana, 1999, pp. 439–451). Using his paintings to also attack power structures and systems of institutionalised racism, the Irony of Negro Policeman (1981) depicts how African-Americans under the control of a predominantly Caucasian society become complicit with “institutionalised forms of whiteness and corrupt white regimes of power” (Andrea Frohne, ‘Representing Jean-Michel Basquiat’, pp. 439–451).
Jacques-Louis David Leonidas at Thermopylae, 1814 Collection of the Louvre Museum, Paris Photo © RMN-Grand Palais (musée du Louvre) / Thierry Ollivier
雅克·路易·大衛 《列奧尼達斯在溫泉關》 ，1814年作 巴黎，羅浮宮博物館收藏
‘I don’t think about art when I’m working. I try to think about life.’ Jean-Michel Basquiat
Basquiat’s paintings were a ‘calculated improvisation’; like beat poets who composed their writing from shredded scraps, he remixed his materials and themes compulsively and instinctively, working on multiple projects at once in his studio using found materials, oilstick, crayons, spray paint, pencil and acrylic paints at the same time. When he couldn’t aford canvases, he fashioned them out of discarded wood found on the street, and consequently Thermopolae is an ironic ‘diptych’ fashioned from a repurposed door and fence. Fascinated by the power of the written word since the beginning of his career (from his grafti days as SAMO, tagging a mixture of strange symbols and social commentary in the streets of Manhattan, to his experimental 1983 hip hop record ‘Beat Pop’, now referred to as the ‘Holy Grail’ of hip hop artists), Basquiat frequently encoded his paintings with slang and cryptic codes, spontaneously pulling together quotes and images from books kept open on his studio foor. The letters “FRSH” are overwritten on the third line and repeated at the end of the fourth line of the panel on the right. Taken from the line “we’re fresh out of the pack” in a 1982 rap by Grand Wizard Theodore & The Fantastic 5, it has become a word that epitomises the epic life and work of Basquiat, the original artist.
Vase depicting Greek hoplite and Persian warrior fghting each other, 5th century B.C. Collection of the National Archaeological Museum of Athens 花瓶描繪著希臘重裝步兵和波斯戰士 互相搏鬥，公元前5世紀 雅典，國家考古博物館收藏
光芒四射的孩子 尚·米榭·巴斯奇亞，被美國藝術評論家雷内·里卡德 稱為「光芒四射的孩子」，是一位天賦異稟的新表現主義 畫家，他擁有震撼、啟發，並讓觀者念念不忘的能力， 不管是過去還是現在（雷内·里卡德， 《光芒四射的孩子》 ， 《藝術論壇》 ，1981年12月） 。他自學成才，憑藉一個 躁動、精怪豐盈的頭腦，從自身的海地和波多黎各血源 文化背景、流行文化、歷史、詩歌以及對抽象表現主義 藝術長期以來的癡迷中汲取靈感，發展出了一種獨特的 視覺語彙。他對知識的好奇心將他引向對具有挑戰性主題 之描繪的反叛性堅持，依靠複雜的符號中所包含之層層 含義來傳遞尖銳的社會評論，和去審視財富與貧窮、融合 與隔離以及內在與外在體驗等之間的對立。
巴斯奇亞著迷於邊緣化群體所具有的力量和脆弱性。 當他幼年時，有一次被車撞傷後躺在醫院進行康復時， 母親送了他一本著名的醫學和藝術著作《格雷氏解剖学》， 自那之後他癡迷於解剖學。巴斯奇亞的反英雄人物，一個 赤裸著身體、正在排糞的、有著巨大陽具的、深色皮膚的 野人戰士揮動著長矛，展現出外露的頭骨、胸腔、肌腱和 溢出的內臟。他是雅克·路易·大衛的新古典主義（同時也是 眾所週知的同性情色的）傑作《雷奧尼達在溫泉關》 （1814年） 的對立面人物。大衛創作中坐得直挺的主人公，如大理石 般的皮膚沐浴在光線之中，目光轉向天堂，赤裸的身體 披著繡花斗篷，戴著精緻羽毛的頭盔，斯巴達國王雷奧 尼達代表理想化的古典男性美德、美和英雄主義的自我 犧牲之勇氣。堅挺的劍鞘絲毫掩飾不住他的謙遜，雷奧尼達 温泉關之役 一隻手揮舞著發光的劍，另一隻手持長長的黑矛。同樣， 著名的希臘尤瑞米頓河花瓶，則描繪了一個驚恐的波斯 創作於巴斯奇亞短暫而激烈的藝術生涯後期， 《熾熱的門》 弓箭手屈服於他那強勢之俘獲者的性侮辱之下。但是在 一作從許多方面來說都是一件反繪畫的、顛覆性的寓言式 《熾熱的門》中，巴斯奇亞的主人公為一個無可爭議的 傑作，借鑒了來自西方重要之歷史題材中近似的敘事和 侵略者，而這個所謂的野蠻人的顛覆性男子氣概，以一種 古典神話根源，但翻轉被人們所接受的道德、精神、政治 迷人的野蠻力量推翻了經典的肖像畫。巴斯奇亞緊隨 意義去滿腔熱情地討論關於戰後美國的生、死、愛、 畢卡索等畫家的腳步，後者的畫作《亞維農的少女》 道德，以及公正，尤其是在美國黑人社群和其他邊緣化 （1907年） 「以一種新的、用性武裝自己的，且危險的種族 群體中。通過《熾熱的門》以及畫中的反戰主角，巴斯奇亞 存在取代了古典裸體畫中之理想溫順形象」(霍蘭·科特， 欣喜地將「他者」的文化取向和標誌卸除， 「他者」作為 《當畢加索改變了他的調調》 ， 《紐約時報》 ，2011年2月10日）。 對非西方人種的軟弱和缺陷從根本上還原其敘事，主要 來自西方殖民主義為主導性的，霸權統治和階級制度。
《熾熱的門》是對公元前480年的溫泉關之役之指涉， 該戰役發生在註定將會戰敗的希臘人和入侵的波斯人之間 於狹窄的沿海通道Thermopylae（拉丁文中，字意為 「熱的入口、熾熱的門」）。在巴斯奇亞的文字遊戲中 （作為一個早熟的孩子，巴斯奇亞在11歲時便精通英語、 法語和西班牙語），這場戰役的標題被「變種」為—— 「一點點熱」，而非西方文明中最著名的軍事關守。
藝術家-戰士 《熾熱的門》作品中的反英雄人物梳著與巴斯奇亞本人 相似的雷鬼頭，並且在旁邊的畫板上可以看到希臘字母 「IDYSOΣIN」，即「idiosyncrasy」或作局外人的簡寫 版本。巴斯奇亞的畫作成為他內省的工具，以及在當時的 非裔美國人社群中對與自己相似經歷的尋找，同時將自身 置身於作品中的人物身上，成為一種尊敬和認可他們經歷 的方式。 當被視為自畫像時，主角身後燃燒的灌木叢和火焰也突然 具有迫切的意義。燃燒著卻未被大火吞噬的灌木叢故事， 來自《出埃及記》，講述的是上帝指控摩西將他的人民， 從埃及人的奴役中解脫出來的那一刻。叢林是強烈的政治 集會呼籲：對殖民主義的批評和對階級鬥爭的支持。
藝術家還利用他的繪畫來攻擊權力結構和製度化種族主義 系統， 《黑人警察的諷刺》 （1981年）描繪了在白人占主導地 位的社會中非裔美國人如何與「制度化形式的白人和腐敗 的白人政權」共謀（Andrea Frohne， 《代表尚·米榭·巴斯 奇亞》，第439–451頁）。 「創作時我不去考慮藝術。我嘗試思考人生。」 巴斯奇亞的繪畫是一種「有編排的即興」；就像被擊敗之 一代的詩人用碎紙屑寫作，他既強迫性又本能性地對 他的材料和主題進行混合，在他的工作室中使用現成品、 油畫棒、蠟筆、噴漆、鉛筆和壓克力顏料同時進行多個 項目的創作。當他買不起畫布時，他用街上撿來的廢棄 木頭來創作，因此， 《熾熱的門》是一幅具有諷刺意味的 「雙聯畫」，由重新架構的門板和圍欄組合而成。
巴斯奇亞認真履行了這一職責，而《熾熱的門》重新審視了 他的《無題》 （《黑人歷史》 （ ）1983年），該作品將大西洋奴 自其職業生涯開始起就對文字的力量著迷（從他在SAMO 隸貿易圖像與幾個世紀前的埃及奴隸貿易圖像並列在 塗鴉時期開始，在曼哈頓的街道中貼上奇怪的符號和 一起。《熾熱的門》中的戰士赤裸的身體和軀幹正面的 社會評論的混合體，再到1983年實驗性的嘻哈唱片 位置暗示著對埃及文物中人像的再現，因此將埃及文化 《Beat Pop》，現在這張唱片被稱為嘻哈創作者的 從根本上重申為非洲文化。從而「顛覆了古埃及作為 「聖杯」），巴斯奇亞經常用俚語和隱秘的代碼對他的 西方文明發源地的概念」 （Andrea Frohne， 《代表尚· 繪畫加上編碼，不時從他工作室地上打開的書本中抓取 米榭·巴斯奇亞》，摘自伊西多爾·俄卡皮豪等人 （編輯）， 引句和圖像。字母「FRSH」在第三行被覆蓋，並在右側 《非洲流散人口：非洲起源和新世界身份》，印第安納州， 畫板的第四行的末尾重複。 取自1982年由Grand Wizard 1999年，第439-451頁）。 Theodore和The Fantastic 5製作的饒舌曲目中的「我們 從束縛中掙脫了」，這句歌詞已成為對巴斯奇亞這位具有 原創性的藝術家的傳奇人生和作品的縮影。
Jean-Michel Basquiat pictured in his studio with 'Flexible' © The estate of Jean-Michel Basquiat / ADAGP, Paris - SACK, Seoul, 2019
尚．米榭．巴斯奇亞與《靈活》 ，1986年 攝於工作室
邁爾斯及雪莉·菲特曼夫妻藝術收藏 Roy Lichtenstein, Alexander Calder, Joan Miró, Jean Dubufet, Willem de Kooning, Andy Warhol – the list of 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 postwar history. 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. The Fiterman 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 friendships 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. As arbiters of taste and champions of groundbreaking artists, Miles and Shirley Fiterman defned what it meant to be a collector in the 20th Century.
Andy Warhol, Miles Fiterman, 1975 Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York
Andy Warhol, Shirley Fiterman, 1976 Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York
，1975年作 安迪·沃荷《 邁爾斯·菲特曼 》 ，1976年作 安迪·沃荷《 雪莉·菲特曼 》
羅伊·李奇登斯坦, 亞歷山大·考爾德、胡安·米羅、 尚·杜布菲、威廉·德·庫寧、安迪·沃荷－這些重量級 的名字組成了邁爾斯與雪莉·菲特曼珍藏，且讓這一 珍藏彷彿是對二十世紀最具影響力的藝術家，一次跨越 地理藩籬與文化區隔的回顧。誕生安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，等同安去理解收藏家 在戰後歷史中這一關鍵時刻所扮演的重要角色。 常駐明尼阿波里斯州，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和明尼阿波里斯藝術學院的終生 支持上。 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·沃荷和克萊斯·歐登柏格；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。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·菲特曼夫妻藝術收藏
O
9. Roy Lichtenstein
1923-1997
Mobile I incised with the artist’s signature, number and date ‘rf Lichtenstein 5/6 ‘89’ and stamped with the Tallix foundry mark on the base painted bronze 76.8 x 89.5 x 21.6 cm. (30 1/4 x 35 1/4 x 8 1/ 2 in.) Executed in 1989, this work is number 5 from an edition of 6. Provenance Leo Castelli Gallery, New York Akira Ikeda Gallery, New York Thomas Segal Gallery, Boston Acquired from the above by the present owner in 1991 Exhibited Miami, Museum of Contemporary Art, Roy Lichtenstein: Inside/Outside, December 2001 - February 2002, p. 41 (another example exhibited and illustrated)
羅伊·李奇登斯坦 《動態雕塑1》 上色銅 1989年作，共有6版，此為第5版。 款識：rf Lichtenstein 5/6‘89; Tallix (製造廠商標記，印於底部) 來源 紐約，Leo Castelli 畫廊 紐約，Akira Ikeda 畫廊 波士頓，Thomas Segal 畫廊 現藏者於1991年購自上述來源 展覽 邁阿密，當代藝術博物館， 〈羅伊·李奇登斯坦: 內/外〉 ， 2001年12月-2002年2月，第41頁（展品及圖版為他版作品）
HK$ 4,000,000-6,000,000 US$ 513,000-769,000
邁爾斯及雪莉·菲特曼夫妻藝術收藏
Alexander Calder Ordinary, 1969 © 2019 Calder Foundation, New York / Artists Rights Society (ARS), New York
亞歷山大·考爾德 《平凡》 ，1969年作
Pop Art was an era-defning movement which emerged in postwar America, and Roy Lichtenstein one of its central players. With his instantly recognisable, tongue-in-cheek artworks based on comics and “low” pop and mass culture imagery, Lichtenstein triumphantly challenged the traditions of fne art and succeeded in the inclusion of a new form of ‘anti-art’ in the canon of art history – “anticontemplative, anti-nuance, anti-getting-away-from-thetyranny-of-the-rectangle, anti-movement-and-light, antimystery, anti-paint-quality, anti-Zen, and anti all of those brilliant ideas of preceding movements which everyone understands so thoroughly.” (Roy Lichtenstein, quoted in G. R. Swenson, ‘What is Pop Art? Interviews with eight painters’, Art News 67, November 1963, pp. 25-27) Early in his career, buoyed by the ideas of the radical anti-commercial and anti-art 1960s Fluxus movement, Lichtenstein abandoned his experiments in Cubism and Abstract Expressionism and began dabbling in protoPop imagery which utilised ‘as found’ cultural objects. He developed an iconic style that appropriated cartoons and advertising imagery to comment on mass culture and consumerism. Lichtenstein and his fellow Pop artists struggled at frst to be taken seriously, and were commonly assumed to be an empty, comical counterpoint to the introspective, psychological angst of post-war Abstract Expressionism. But the playful humour of the Pop Art movement belied a sharp art-historical selfconsciousness, which utilised irony and parody to ofer a critique on the nature of art itself and to break down barriers between art and reality. Lichtenstein explained:
“Pop Art looks out into the world. […] It doesn’t look like a painting of something, it looks like the thing itself. […] Pop Art seems to be the actual thing. It is an intensifcation, a stylistic intensifcation of the excitement which the subject matter has for me; but the style is, as you said, cool.” (Lichtenstein quoted in G. R. Swenson, ‘What is Pop Art? Interviews with eight painters’, Art News 67, November 1963, pp. 25-27) Throughout his career Lichtenstein played with reinterpreting masterpieces by artists as diverse as Picasso and van Gogh in his signature style, transforming them with same simplifed schematic forms, bright colours, bold black outlines and Ben Day dots common to newspaper and magazine printing. In his mature years as an artist he began working on a series of sculptures paying homage to fellow American artist and sculptor Alexander Calder the frst of which was Mobile I. Calder’s distinctive kinetic abstract sculptures were christened ‘mobiles’ by Marcel Duchamp, and Lichtenstein referenced the enduring legacy of Calder’s mobiles in his trademark domestic interior paintings: in one, a Calder mobile stands proudly displayed upon a tabletop (Interior with Mobile, 1992) whilst in another a Calder mobile appears in a painting hung on the wall (Interior With Mobile Painting, 1992). ike Lichtenstein, Calder’s works were avidly collected by the cultural philanthropists Miles and Shirley Fiterman.
Both artists shared a profoundly unconventional and freespirited streak, enhanced by a preference for the same perennially bold colour palette. In contrast to Calder’s mobiles, which move gracefully with the slightest touch or breeze, Lichtenstein created a ‘mobile’ cast in bronze which remains stubbornly immobile in spite of its threedimensional form. Lichtenstein, who began creating his distinctively-styled sculptures early in his career afer being inspired by New York’s enameled metal subway signs, explained that the essence of sculpture was simply a matter of perspective: “There is really not that much diference aesthetically between two and three dimensions to me. I believe sculpture can be seen as a two-dimensional problem... As you turn the sculpture, or move your position, you continually perceive it diferently. It’s the relationship of contrast to contrast, rather than volume to volume, which makes it work. So, even though I realise it is threedimensional, it is always a two-dimensional relationship to me – or as two-dimensional as a drawing is.” (Roy Lichtenstein, quoted in G. Celant, Roy Lichtenstein: Sculptor, exh. cat., Fondazione Emilio e Annabianca Vedova, Venice, 2013, p. 54)
Roy Lichtenstein Interior With Mobile Painting, 1992 © Estate of Roy Lichtenstein
羅伊·李奇登斯坦 《有動態雕塑繪畫的室內》 ，1992年作
Lichtenstein’s ideas and transformative use of appropriation and simplifcation paved the way for Postmodernism. Today his sculptures and paintings are regarded as generational icons. Throughout his career he was honoured with major institutional retrospectives including ones at the Tate Gallery, London (becoming the frst American to exhibit there), the Solomon R. Guggenheim Museum, New York, The Museum of Modern Art, New York, and afer his passing at the Art Institute of Chicago, the Centre Pompidou, Paris and the National Gallery, Washington, D.C., amongst others. His works are held in prominent public collections including the National Gallery and the Art Institute of Chicago and are highly sought afer by collectors.
Alternate View 另一角度
邁爾斯及雪莉·菲特曼夫妻藝術收藏
波普藝術是在戰後美國興起的、代表並定義該時代的一場 這兩位藝術家同樣具有極度異想天開、充滿童趣的特質， 藝術風格運動，而羅伊·李奇登斯坦則是其中一名關鍵性 而他們對明亮、原色調所共有的不變的偏好更是讓這一 的參與者。憑藉他那以漫畫與「低俗」流行和大眾文化中的 特質越發明顯。與考爾德那輕輕觸碰或者風一吹便優雅地 圖像為基礎而創作的、極具辨識性的反諷的作品，李奇 動起來的動態雕塑相反的是，李奇登斯坦所創造的 登斯坦成功地挑戰了藝術的傳統，並實現了將一種新的 「動態」鑄銅雕塑僅管是三維形式，卻永遠頑固地保持 「反藝術」形式納入正統藝術史之中——「反沈思、反細微 不動。李奇登斯坦在受到紐約地鐵裡的瓷漆金屬標識的 差別、反擺脫矩形專制、反動態與光線、反神秘、反繪畫 啟發之後，在他的職業生涯早期就開始創作他風格獨特 品質、反禪宗，以及反對所有被人們所透徹理解的、先前 的雕塑作品，對於雕塑的本質僅僅是關於視角，他這樣解釋： 運動中所產生的傑出思想。」 （羅伊G·R·李奇登斯坦，摘自 G·R·斯文森， 《什麼是波普藝術？與八位畫家的訪談》， 「對我來說，二維和三維之間其實並沒有很大的美學差異。 藝術新聞67，1963年11月，第25-27頁） 我認為雕塑可以看作是一個二維問題...隨著你去擺弄 雕塑，或者轉移你的位置，你對它的認知總是有所不同。 在他職業生涯早期，受到1960年代的激浪派運動中激進 這是一種對比與對比的關係，而不是體積與體積的關係， 的反商業和反藝術思潮的鼓舞，李奇登斯坦放棄了他對 也正是因此它才有這樣的作用。所以，僅管我意識到 立體主義和抽象表現主義的實驗，並開始涉足使用文化 它是三維的，它對我來說始終都是一種二維的關係—— 「現成」品的波普圖像為原型進行創作。他建立了一種借用 或者說就像素描是二維的一樣。」 （羅伊·李奇登斯坦， 卡通和廣告圖像來對大眾文化和消費主義加以評論的標誌 摘自G·賽蘭特，《羅伊·李奇登斯坦：雕塑家》，展覽畫 性風格。李奇登斯坦和其他波普藝術家一開始並沒有 冊，Fondazione Emilio e Annabianca Vedova基金會， 被人們當作一回事，並且被普遍視為對戰後的抽象表現 威尼斯，2013年，第54頁） 主義內省之心理焦慮的一個空洞、滑稽的對立面。然而 波普藝術運動在富有俏皮幽默感的外衣下，實際懷揣著對 李奇登斯坦對挪用和簡化的想法和變革性的使用為後現代 藝術史清晰的自我意識，這種自我意識利用諷刺和模擬 主義鋪平了道路。今天，他的雕塑和繪畫被視為具有時代 來對藝術的本質自身做出批評，並打破藝術與現實之間的 性的標誌。在他整個職業生涯中，他曾多次在重要的公共 壁壘。李奇登斯坦解釋道： 機構舉辦過回顧展，包括在倫敦泰特美術館（成為第一位 在那裡做展覽的美國人），紐約所羅門·R·古根漢美術館 「波普藝術朝外看向世界。[…] 它看起來不像是畫了什麼 及現代藝術博物館，並且包括在他去世後在芝加哥藝術 東西，它看起來像是這樣東西本身。[…]波普藝術看似 博物館，巴黎的蓬皮杜藝術中心，以及華盛頓特區的國家 一件實物。它是一種強化，是題材對我所產生的刺激； 藝廊等等。他的作品被許多重要的公共機構所收藏， 一種風格化的強化作用；但這種風格，正如你所說， 其中包括國家藝廊和芝加哥藝術博物館，並備受收藏家們 是很酷的。 」 （羅伊·李奇登斯坦，摘自G·R·斯文森， 《什麼 的追捧。 是波普藝術？與八位畫家的訪談》 ，藝術新聞67，1963年 11月，第25-27頁） 在他整個職業生涯中，李奇登斯坦都在以其標誌性風格 來重新演繹包括畢卡索和梵谷等不同類型的大師傑作， 用同樣簡化的佈局形式、鮮豔的色彩、粗線條的黑色輪 廓，以及在報紙和雜誌印刷中常見的班戴點，來將它們 進行改變。在他藝術的成熟時期，他開始創作一個向美國 藝術家和雕塑家亞歷山大·考爾德致敬的雕塑系列—— 其中第一件作品就是《動態雕塑1》。考爾德獨特的動態 抽象雕塑的命名源自馬塞爾·杜尚，而李奇登斯坦在他 標誌性的家庭室內繪畫中亦指涉了考爾德經久不衰的動態 雕塑：其中一幅中，一件考爾德的動態雕塑傲然擺立在 桌面（《有動態雕塑的室內》，1992年），而另一幅中， 考爾德的動態雕塑則出現在一幅掛在牆面的畫中（《有動態 雕塑繪畫的室內》，1992年）。像李奇登斯坦的作品一樣， 考爾德的作品也被文化慈善家邁爾斯與雪莉·菲特曼夫婦 熱衷地收藏。
10. Stanley Whitney
b. 1946
Winter Rap signed, titled and dated ‘2005 Stanley Whitney “Winter Rap”’ on the reverse oil on linen 135.8 x 152.6 cm. (53 1/ 2 x 60 1/8 in.) Painted in 2005. Provenance Esso Gallery, New York Private Collection, Europe Private Collection, Asia Acquired from the above by the present owner
斯坦利·惠特尼 《冬季細語》 油彩 畫布 2005年作 款識：2005 Stanley Whitney《Winter Rap》(畫背) 來源 紐約，Esso 畫廊 歐洲私人收藏 亞洲私人收藏 現藏者購自上述來源
HK$ 1,000,000-2,000,000 US$ 128,000-256,000
Composed of an enthralling pictorial balance between hue and expression, Winter Rap is an exemplary work of Stanley Whitney’s unique oeuvre, one that has become central to the current discourse of abstract painting in the contemporary era. Celebrated for the mesmerising efects caused by the internal conficts and resolutions present in his seemingly simple compositions, this paradigmatic work from 2005 encapsulates Whitney’s profound relationship with colour and its spatial efects. The composition of the present lot is simple: rectangles of irregular sizes are stacked in four rows, delineated by fve horizontal strips running the length of the canvas. Each band contains fve to six blocks of colour, applied in a considered palette of lavender, midnight blue, lemon yellow, and various shades of red and of-white, with a sparing amount of intense black thrown into the mix. What initially appears as an abstract grid gives way to a more controlled process upon closer inspection, as Whitney’s freehand brushwork fuctuates between freedom and constraint. While some of the blocks have clear edges that are defned by a distinct brushstroke to keep them from exceeding their boundaries, others mix and overlap. Some rectangles have patches that expose an entirely diferent colour underneath, such as the pastel purple block in Winter Rap that reveals hints of a previous coat of lime-green. The contrast between fat sections and those that are more gestural and transparent contributes to a layered surface that is both luxurious and matte. The total efect is comforting yet also arresting, as the vibrantly lyrical composition pulsates, sending the eye on a rotating journey as the colours appear to animate and dance around the viewer. Whitney has greatly contributed to colour feld painting since his move from Philadelphia to New York at the age of 22. Alongside contemporaries such as Frank Stella and Kenneth Noland, Whitney explored the boundaries of pure abstraction with large areas of fat single colours (see for example Frank Stella’s Hyena Stomp, 1962). In the mid-1990s, excursions to the Mediterranean and Egypt convinced Whitney that ancient architecture presented a way to combine structural unity with visual splendor. It was here that Whitney found his “piece of the puzzle” (Aruna D’Souza, “The Colour Makes the Structure: Stanley Whitney Paints a Picture”, ARTNews, 30 May 2017, online). Seeking to fnd a balance between colour and space on his canvases, the artist began emptying the air and space out of his compositions to bring the planes of colour closer together. The result, colourful stacked rectangles, soon became Whitney’s signature format.
The present lot, Winter Rap, encapsulates not only this sense of equilibrium, but also the defning themes that have contributed to the artist’s career since the 1970s. Drawing from a wide range of infuences including Renaissance painting, early Minimalism and vibrant African-American colour-blocked quilts, the lively placement of colour in the present work also conveys a sense of rhythm and harmony reminiscent of the calland-response traditions of jazz music. As a self-described ‘process-painter’, the methodological approach Whitney follows is that “colour dictates the structure, not the other way around” (Stanley Whitney, quoted in Stan Mir, “A Painter With a Purpose”, HyperAllergic, 23 March 2019, online). Starting at the top lef of a canvas and working his way across and down to the bottom right corner, Whitney’s unique compositional mastery derives from allowing one colour to beckon the next. Following his successful seminal solo exhibition Dance the Orange at the Studio Museum in Harlem, New York in 2015, the artist has experienced a deserving ascent to international acclaim and success, confrming the historical signifcance of his practice. As Lauren Haynes, curator of Whitney’s solo show at the Studio Museum in 2015, explained: “Whitney’s work interrogates the connections among colours, how they lead to and away from one another, what memories they are associated with…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) Tightened and honed over many years, Whitney’s maturely defned practice has found its place in public collections globally, including the Nelson-Atkins Museum of Art, Kansas, USA; the Philadelphia Museum of Art, USA; the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum, both in New York. Furthermore, the artist joined the Simon Guggenheim Fellowship in 1996, before additionally being awarded a Pollock-Frasner Foundation Fellowship in 2002, an American Academy of Arts and Letters Art Award in 2010 and the Robert De Niro Sr. Prize in Painting in 2011. The artist continues to work in New York City and Parma, Italy.
Frank Stella Hyena Stomp, 1962 Collection of the Tate Modern, London © 2019 Frank Stella / Artists Rights Society (ARS), New York
弗蘭克·史特拉 《鬣狗疾步》 ，1962年作 倫敦，泰特現代美術館收藏
《冬季細語》展現色彩與表現力之間迷人的造型平衡， 是斯坦利·惠特尼獨特作品的典範，亦成為當代語境中的 抽象繪畫範疇內，極其重要的一件作品。在看似簡單的 構圖中，呈現內在衝突和應對，製造出一種令人著迷的 效果，這件出自2005年之具代表性的作品囊括了惠特尼 與色彩、以及空間效果之間的深刻關係。 此件拍品的構圖簡潔：不規則的長方形疊成四行，由五個 涵蓋畫布長度的水平條狀進行勾勒。每一條由五至六個 色塊組成，精心調配薰衣草色、午夜藍、檸檬黃，以及 各種深淺的紅色和米白色等一系列色彩，並在這些混合 色彩中注入少量厚重的黑色。仔細觀察，可以看到最初看 似抽象的方塊隨著惠特尼徒手繪畫的筆法在自由與約束之 間波動著，呈現出更有控制力的過程。有的色塊帶著藉 由明顯的筆觸來做限定的清晰邊緣，以防止色彩溢出其 界限，而有的色塊則交互混合重疊。透過些許長方形上的 色塊可以看到其下方完全不同的著色，例如《冬季細語》 中的粉紫色色塊，暴露出此前灰綠色塗層的痕跡。扁平的 局部與那些更為動態透明的部分之間的對比，讓具有層次 感的畫面同時呈現鮮麗和消光的效果。隨著充滿活力的 抒情構圖之顫動，色彩紛紛躍身起舞，為觀者的視界展開 一場畫面變幻的旅程，總體的效果既舒暢又引人入勝。 惠特尼自22歲那年從費城移居紐約起，就在色域繪畫的 領域做出巨大的貢獻。與同時代的藝術家弗蘭克·斯特拉 和肯尼思·諾蘭德等人齊驅，惠特尼以大面積的平面單色 來探索純抽象的界限（見弗蘭克·斯特拉的《鬣狗爵士舞》 為例，1962年）。1990年代中期於地中海及埃及的遊覽讓 惠特尼堅信古代建築擁有一種將結構上的統一與視覺上的 壯麗相結合的方法。正是在此，惠特尼找到了他的 「答案」 （Aruna D’Souza， 《色彩成就結構：斯坦利·惠特 尼繪畫》，ARTNews，2017年5月30日，截自網路） 。 在他的畫布上尋找色彩與空間之間的平衡，藝術家開始 清空他在構圖中的空氣和空間，以使色彩平面更為緊密。 其結果，彩色的長方形疊塊，很快成為了惠特尼的標誌 形式。
此次拍品， 《冬季細語》 ，不僅囊括了這種均衡感，還承 接自1970年代以來對藝術家的職業生涯起著定義性作用 的主題。受到包括文藝復興時期的繪畫、早期極簡主義 以及生動的非裔美國人的色塊拼布手藝等廣泛影響，這件 作品對色彩的生動運用，傳遞了一種節奏感以及類似 爵士樂中的對唱傳統的和諧感。自稱是一名「過程畫家」， 惠特尼所遵循的方法是「色彩決定著結構，而不是反過來 的順序」 （斯坦利·惠特尼，引自Stan Mir， 《有目的 的畫家》 ， 《HyperAllergic》 ，2019年3月23日，截自網路）。 從畫布的左上角開始朝著右下角進行創作，惠特尼的獨特 構圖在於讓一種顏色來喚起下一種顏色。在他2015年於 紐約哈林區的畫室博物館成功舉辦之開創性的個展《橘色 舞動》之後，藝術家迎來了他當之無愧的國際性讚譽和 成功，證明了他藝術創作的歷史意義。 正如惠特尼2015年在畫室博物館個展的策展人Lauren Haynes所說： 「惠特尼的作品審視了色彩之間的聯繫， 它們如何互相導向與分離，它們與何種記憶有所關聯... 惠特尼的色彩自成一體。它們喚起記憶與懷舊之情。這種 橙色將你帶回童年時代最喜歡的T恤；那種藍色讓你回想起 祖母的廚房。惠特尼的繪畫讓我們普遍地記起，色彩所具 有的觸發情感和感官的能力。」 （Lauren Haynes， 《橘染 藍》， 《斯坦利·惠特尼：橘色舞動》，哈林區畫室博物館， 紐約，2015年，第28頁） 經過多年的努力和歷練，惠特尼成熟的藝術展現受到 全球諸多公共收藏機構的認可，其中包括堪薩斯市尼 爾森·艾金斯美術館，費城美術館；紐約大都會藝術博物 館和所羅門·R·古根漢美術館。此外，藝術家還於1996年 獲得西蒙·古根漢獎，並在此之前於2002年獲得了 Pollock-Frasner基金會獎，2010年獲得美國藝術暨 文學學會獎，以及在2011年獲得羅伯特·德尼羅繪畫獎。 藝術家仍持續在紐約市和義大利帕爾馬進行創作。
Property from a Distinguished Hong Kong Collection
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11. Gerhard Richter
b. 1932
Abstraktes Bild (715-6) signed, titled and dated ‘“715-6” Richter 1990’ on the reverse oil on canvas 84 x 69 cm. (33 1/8 x 27 1/8 in.) Painted in 1990, this work is listed in the Richter Catalogue Raisonné under number 715-6. Provenance Galerie Fred Jahn, Munich Private Collection, Germany Private Collection (acquired from the above in 1994) Acquired privately via Christie’s Private Sales by the present owner in 2017 Exhibited Bonn, Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Gerhard Richter: Malerei 1962–1993, 10 December 1993 – 13 February 1994, vol. 3, p. 188, no. 715-6 (illustrated) Musée d’art moderne de la Ville de Paris, Gerhard Richter: Peinture, 23 September - 21 November 1993 Madrid, Museo Nacional Centro de Arte Reina Sofía, Gerhard Richter, 7 June - 22 August 1994 Nimes, Carré d’Art Musée d’art contemporain, Gerhard Richter 100 Bilder, 15 June – 15 September 1996, no. 715-6 (illustrated) Literature Dietmar Elger, Gerhard Richter Catalogue Raisonné 1988-1994, Ostfldern, 2015, vol. 4, p. 293, no. 715-6 (illustrated)
HK$ 20,000,000-25,000,000 US$ 2,560,000-3,210,000
重要香港私人收藏
格哈特·里希特 《抽象畫 (715-6 號)》 油彩 畫布 1990年作，此作品以編號715-6收錄於格哈特·里希特作品全集。 款識： 《715-6》Richter 1990 (畫背) 來源 慕尼黑，Fred Jahn 畫廊 德國私人收藏 私人收藏 (於1994年購自上述來源) 現藏者於2017年通過佳士得私洽購自上述來源 展覽 波恩，德意志聯邦共和國藝術展覽館， 〈格哈特·里希特：Malerei 1962-1993年 繪畫〉，1993年12月10日-1994年2月13日，第3集， 第188頁，編號715-6 (圖版) 巴黎現代藝術博物館， 〈格哈特·里希特：繪畫〉， 1993年9月23日-11月21日 馬德里，蘇菲亞王后國家藝術館， 〈格哈特·里希特〉， 1994年6月7日-8月22日 尼姆，藝術立方當代藝術博物館， 〈格哈特·里希特：100件作品〉， 1996年6月15日 - 9月15日，編號715-6 (圖版) 出版 Dietmar Elger 著， 〈格哈特·里希特：作品全集 1988-1994 年〉， 奧斯特菲爾登，2015年，第4集，第293集，編號 715-6 (圖版)
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 (see for example Jackson Pollock’s Convergence (1952)) 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) Escaping to West Germany two months before the construction of the Berlin Wall, Richter was admitted to the Kunstakademie Düsseldorf, the centre of a new European avant-garde. Together with fellow students including the German painter Sigmar Polke, Richter established the “capitalist realism” movement, an ironic counter-movement to his socialist realist past, with critical overtones of modern society and politics. However, afer these experimental years, Richter frmly rejected any attempt to label his work or to associate it with any political or artistic ideologies: “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) 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.” (Richter, quoted in Michael Kimmelman, ‘An Artist Beyond Isms’, The New York Times Magazine, 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 plexiglas 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. Rendered in a deep shades of purple and red in vertical and horizontal striations, Abstraktes Bild (715-6) is a particularly beautiful example of how Richter’s abstract paintings began to lean toward the more structured and minimalist end of abstraction, with visible stripes and grids. Streaked with undulating monochrome streaks and fery elements of golden yellow periodically exposed through the disfgured paint layers, Richter revisited a favourite personal challenge of unifying bright colours with his more usually muted, melancholy palette, a theme he began working on with his Red-Blue-Yellow works in 1972. 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.” (Richter, quoted in Michael Kimmelman, ‘An Artist Beyond Isms’, The New York Times Magazine, 27 January 2002, online) Abstraktes Bild (715-6) has been included as part of major institutional retrospectives of Richter’s oeuvre, including at the Museo Nacional Centro de Arte Reina Sofía, Madrid; the Moderna Museet, Stockholm; and the Musée d’art moderne de la Ville de Paris, Paris, France and the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (1993-1994). In 2012, one of Richter’s abstract paintings set a record auction price for a painting sold by a living artist - Abstraktes Bild (809-4) (1994). He broke this record twice more, most recently in 2015 with the sale of another abstract work - Abstraktes Bild (1986). His works are held in pre-eminent 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.
格哈特·里希特是被廣泛視作“最偉大的現代畫家”之當 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 和評論家們常將低調的里希特與維梅爾和畢卡索等藝術家 來做廣泛的比較。 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，里希特的職業 生涯始於繪製社會寫實主義壁畫。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，則成為了里希特的一個轉折點。 傑克遜 ·波洛克等藝術家創作的抽像作品中所體現的自 由、繪畫的自發性，對里希特來說是「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， 〈格哈特 ·里希特：繪畫的日常實踐〉，1962年－1993年的 寫作, 第132-3頁) 里希特在柏林牆築起前兩個月逃往西德，被送往杜塞爾 多夫藝術博物館，這是歐洲前衛藝術的中心。 里希特與 包括德國畫家西格瑪·波克在內的同學一起創立了 “資本現 實主義”運動，這是針對他的社會現實主義過往的諷刺性 反動，帶有現代社會性和政治性的重要色彩。 然而， 經過這些實驗性的歲月，里希特堅決拒絕任何將他的 作品貼上標籤或將其與任何政治或藝術意識形態聯繫 起來的嘗試： 「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）」 (葛哈特·里希特，漢斯·烏爾里希·奧布里斯特, 文本： 寫作、訪談及書信，倫敦2019年) 首先是一名畫家的里希特，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， 並對藝術中的表現性與抽象之間，二者的關係進行探索。 當里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， 直到你發現你要前往何方。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, 截自網路) 大約在1978年的時候，里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，里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，里希特 塗上薄薄的顏料層，使薄膜中的小裂縫在下面的層次中 自發產生空隙，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線。
«抽象畫（715-6號）» 在垂直和水平條紋中以深紫色和 紅色陰影呈現，是里希特的抽像畫作中，如何開始朝著 結構化和極簡主義的抽象之方向前進。畫中帶有可見的 條紋和網格，是一個美麗的藝術傑作，細看畫面上散佈著 起伏的單色條紋和金黃色的炙熱元素，這些顏色節奏般地 從被破解的油漆層中顯露。他重新審視了最鍾愛的個人 挑戰，即用其通常更為柔和，低沈的調色板來統一明亮 的色彩，這個主題呼應他自1972年便開始的紅-藍-黃色調 作品。 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, 截自網路) « 抽象畫（715-6號）» 被納入里希特作品的主要回顧展之中， 其中包括馬德里國立藝術博物館、斯德哥爾摩現代 美術館；巴黎現代藝術博物館和波昂德國聯邦藝術及 展覽館 （1993-1994年） 2012年，里希特的一幅1994年創作之抽像畫作品 《抽象畫(809-4號)》創下了在世的藝術家於拍賣上的紀錄。 他繼而又兩次打破這一紀錄，最近一次是在2015年 售出的另一件抽象創作《抽象畫》 （1986年作） 。里希特 在過去十年裡曾多次舉辦個人作品回顧展，包括在倫敦 泰特現代美術館，巴黎蓬皮杜中心和柏林新國家美術館。 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、紐約現代藝術博物館和倫敦泰特 美術館。藝術家目前生活和創作在德國科隆。 Gerhard Richter Abstraktes Bild (809-4), 1994 © Gerhard Richter 2019 (0254)
格哈特·里希特 《抽象畫(809-4)》 ，1994年作
Property from a Distinguished Hong Kong Collection
*
12. Zao Wou-Ki
1920-2013
29.05-31.10.68 signed ‘Wou-Ki [in Chinese] ZAO.’ lower right; further signed, titled and dated ‘ZAO WOU-KI “29.5.68. 31.10.68” on the reverse oil on canvas 81 x100 cm. (31 7/8 x 39 3/8 in.) Painted in 1968, this work is accompanied by a certifcate of authenticity issued by the Fondation Zao Wou-Ki. Provenance Galerie de France, Paris Private Collection, Paris (acquired from the above in 1969) Cornette de Saint-Cyr, Paris, 4 April 2011, lot 8 Acquired at the above sale by the present owner Exhibited Hong Kong, Kwai Fung Hin Art Gallery, Rue du Moulin Vert, 9 May - 16 June 2018
重要香港私人收藏
趙無極 《29.05-31.10.68》 油彩 畫布 1968年作, 並附趙無極基金會所核發之保證書。 款識：無極 ZAO. (右下); ZAO WOU-KI《 29.05.68 31.10.68》(畫背) 來源 巴黎，法國畫廊 巴黎私人收藏 (於1969年購自上述來源) 巴黎，Cornette de Saint-Cyr 拍賣行，2011月4月4日，拍品編號 8 現藏者購自上述拍賣 展覽 香港，季豐軒畫廊， 〈綠磨坊街〉，2018年5月9日– 6月16日
HK$ 28,000,000-38,000,000 US$ 3,590,000-4,870,000
‘Forests, rocks, sky, waters – landscape is the nudity of the universe itself.’ Dominique de Villepin
Over the course of the 1960s, Zao Wou-Ki’s international fame reached unprecedented levels whilst his painting underwent another transformation, reaching a new pinnacle. In 1964 he fnally obtained French nationality, thanks to the intervention of the Minister of Culture André Malraux himself. Over the course of the decade, his French gallerist—Myriam Prévot at Galerie de France— organised exhibitions in galleries and museums at home and abroad, expanding his recognition. Amongst them was a major retrospective of 64 paintings which took place in 1965 at the Museum Folkwang in Essen. Samuel Kootz, the New York dealer who was one of the frst to champion Abstract Expressionism, exhibited Zao’s works in the USA every year from the start of their collaboration in 1958. Although this ended in 1966 when the gallery closed, it gave Zao valuable exposure to Abstract Expressionist art and resonated with Zao’s art strongly. Together with Chan May-Kam, his second wife, Zao travelled intensively and engaged with the most successful living painters across Europe and the USA, the couple becoming an integral part of the artistic intelligentsia during this decade. During this period, Zao’s style reached a new level of maturity. Balancing the virtues of Western paintings in their use of colours and tones with the essence of traditional Chinese ink landscapes from the Song and the Yuan Dynasties, the result is an image of implicit scenic beauty, evoking the four elements and natural phenomena in magnifcent abstract landscapes:
“Planes rise up, masses as well: sea mountain, sky. Even forms, those craquelure trees. You have the sense of a reconciled landscape, … that brings to the surface both an Italian-style perspective and the drifing mists of Song Landscapes quivering on tissue paper.” (Dominique de Villepin, ‘Into the Labyrinth of Light’, Zao Wou-Ki, 1935-2010, 2017. p.26) The English Romantic painter Joseph Mallord William Turner was also an important source of inspiration for 20th century Chinese artists including Zao Wou-ki, Chu Teh-Chun and T’ang Haywen (Zeng Haiwen). As seen in his most famous series, The Burning of the Houses of Parliament, Turner’s works focused increasingly on the atmospheric qualities of sky, sea wind and fre, paving the way for the Impressionists and ostensibly infuencing Zao’s unique treatment of light and atmosphere, particularly in his works from the late 1960s and the early 1970s: “His progression is the same as J.M.W. Turner’s, the eye and hand returning again and again to the same spot. Subjects become themes, the laboratories in which pure light is distilled, an epiphany of colours following the thread of the world back to creation. (…) What is ofered to view is the apotheosis of light. I fnd a deep afnity between these two artistic pursuits, Turner’s and Zao Wou-ki’s, which took place more than a century apart.” (Dominique de Villepin, ‘Into the Labyrinth of Light’, Zao Wou-Ki, 1935-2010, 2017.) p. 22
Zhang Daqian Alishan in Oblique Sunrise, 1980 張大千 《阿里山曉色》 ，1980年作
In the present work, Zao’s vigorous brushwork illustrates the battle between the four elements: fre, earth, air and water. To balance this epic encounter, the painting is ingenuously divided into three horizontal bands which give a sense of stability to the central swirling composition. The use of monochromatic tones of beiges, browns and white refect nature: peeking through the fre are sweeping blue brushstrokes evocative of tumbling mountainside streams or, if we refer to Turner’s The Burning of the Houses of Parliament, the dark marine sky peeking through the fames. If the 1950s were associated with the Oracle Bones period and the appearance of signs in Zao’s works, in the 1960s Zao starts to pursue his calligraphic experiments in a diferent manner, recreating the atmosphere of ink paintings by adding turpentine to thin out the heavy consistency of his oil paints and ofer him greater freedom to create highly translucent washes or layers with a visual efect akin to the fowing smoothness of ink applied by the Chinese literati masters onto rice paper. As such, the lower part of the work illustrates the traditional ink painter’s textured brushstrokes. The work also displays 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. Also visible in the lower right quadrant, is the use of the cunfa technique (‘crack technique’) whereby a tilted and loaded ink brush layers thick, broad strokes in order to evoke shadows and texture, ofen used to render nature itself.
In the Record of Famous Painters from all the Dynasties, Tang Dynasty art historian Zhang Yanyuan elaborates on the notion of manipulating ink to produce tones that correspond to the fve colours. This pentad of tones includes ‘scorched ink’, ‘concentrated ink’, ‘dense ink’, ‘light ink’ and ‘clear ink’, which could each be further varied in degrees of wetness and concentration. In the present work, Zao has grasped the possibilities of the Chinese ink medium and recast them with a sense of immediacy using a Western medium. Zao Wou-ki’s achievement lies in the fact that he, as a Chinese artist, brought up immersed in Oriental art forms, was able to draw from his own cultural foundation and integrate ink wash painting, Chinese-style landscapes, the xieyi approach (‘the freehand brush’), to create sensitive contrasts of traditional calligraphy with the boldness of Western Modernism. For Westerners, Zao’s paintings fulflled their expectations of the imagined East, but at the same time Zao was celebrated by the Chinese as an ‘Orientalist’ in his approach and his interpretation of Western abstraction. To achieve such bewitching works of art, Zao unites the spirit of both worlds, casting ‘his signs onto the canvas like so many divination sticks; he shows us the cracks in the fery shells of tortoises, his spells, by twists and turns, close in on us in these paintings’. (Dominique de Villepin, ‘Into the Labyrinth of Light’, Zao Wou-Ki, 1935-2010, 2017, pp. 36-37).
Joseph Mallord William Turner The Burning of the Houses of Parliament, circa 1834–5. Collection of the Tate Modern, London © Tate, London 2019
約瑟夫·馬洛德·威廉·特納 《火燒議會大廈》 ，約1834-5年作 倫敦，泰特美術館收藏
「森林、岩石、天空、水 —— 風景是宇宙自身的裸體畫。」 找到一種深刻的相似性，雖兩人的創作相差百餘年。」 （多米尼克·德·維爾潘， 〈進入光之迷宮〉， 《趙無極，1935- （多米尼克·德·維爾潘， 〈進入光之迷宮〉 ， 《趙無極，19352010年》，2017 年，28 頁） 2010年》，2017 年，22 頁） 在1960 年代，趙無極的藝術經歷蛻變，在國際上的 聲譽也達到新的高峰。1964 年，他在法國文化部長安 德烈·馬爾羅的親自協助下，終於獲得法國國籍。在隨後 的十年，趙無極的法國畫廊代理，法國畫廊的Myriam Prévot 在法國和國際的畫廊與博物館為他舉辦展覽，包括 1965 年在德國埃森弗柯望博物館舉辦的大型回顧展， 共展出64 幅畫作。森姆·庫茲是最早推廣抽象表現主義 藝術的紐約畫商之一，他自1958 年起每年都為趙無極在 美國辦展，直到1966 年他的畫廊關閉為止，這讓趙無極 得到接觸抽象表現主義藝術的珍貴機會，對其藝術啟發 不小。趙無極與第二任妻子陳美琴一同旅行，與歐洲和 美國當時最成功的藝術家進行交流，成為那十年間藝術 知識分子圈裡不可或缺的人物。 在此時期，趙無極的藝術風格臻至新的境界，融匯西方 繪畫對顏色和調子的掌控，以及宋元傳統山水的水墨 神韻。作品蘊藏含蓄卻唯美的風景，融合四元素和自然 現象在其壯麗的抽象風景之中。 「地平面升起，連同觀眾的視角：大海、高山、天空。 甚至是形狀，那些龜裂樹木。你能感受到和諧的風景，… 畫面既呈現意大利風格的透視，也有宋代山水的靈氣， 在宣紙上顫動。」 （多米尼克·德·維爾潘， 〈進入光之迷宮〉， 《趙無極，1935-2010年》，2017 年，26 頁） 英國浪漫主義畫家透納對一眾二十世紀中國畫家帶來不少 重要的創作靈感，趙無極、朱德群和曾海文等人都曾受到 啟發。透納最著名的系列《燃燒的國會大廳》便非常著重 天空、海風和火的氛圍特質，奠定隨後印象派畫風和 趙無極對光與氣的獨特處理手法，特別是在他1960 年代 末到1970 年代初的作品： 「他的作畫過程與透納一樣，眼睛和手一次次地回到同 一點。所畫對象成為主題，純粹的光線經提煉，顏色 盡顯，隨著世界的線索回到天地創造之時。 （…）呈現眼前 的是神化的理想光線。我在透納和趙無極兩位藝術家之間
趙無極在此作品中以蒼勁力豐沛的筆觸呈現出火、土、 氣和水四個元素間的纏鬥，為平衡它們間壯盛的會合， 畫面巧妙地分成三個橫向部分，為中央眩目的構圖提供 一絲穩定性。米黃、棕色和白色色調反映出大自然的 顏色：火焰背後，連綿的藍色筆觸猶如山邊翻滾的河流， 觀透納的《燃燒的國會大廳》，熊熊烈火後面也露出一片 深藍的天空。如果說1950 年代是趙無極「甲骨文」系列 和符號的時代，那麼1960 年代的趙無極則開始以一種 不同的方法繼續他的書法實驗，在厚重的油彩中加入 松節油稀釋，重現水墨畫韻味，給予他更大的自由度， 創造透明的渲染和類似於中國文人在宣紙上形成流暢墨跡 的視覺效果。此作品的下半部仿佛傳統水墨質感一般， 畫面更呈現出書法「飛白」技法，筆刷輕輕蘸墨，快速拖過 畫面，形成跳躍感。畫面右下角可見書法皴法，墨汁飽滿 的筆刷傾斜畫出寬厚筆跡，產生陰影和質感，體現大自然 之貌。唐代藝術史學家張彥遠著《歷代名畫記》中，講到 用墨色之深淺代表五色，分別名為焦、濃、重、淡、清， 各色之濃淡深淺又再可細分。趙無極通過此作捕捉到中國 水墨的各種可能性，以西方媒材再現其神采。 趙無極的藝術成就在於，作為一名中國藝術家，他沉浸 在東方藝術形式中，能夠借鑒自己的文化基礎，並結合 水墨、中式山水，寫意筆法，以創造出傳統書法與西方 現代主義的鮮明對比。 對西方人來說，趙無極的繪畫達到 了他們對想像中的東方期望，與此同時，趙無極在其創作 方式和對西方抽象的詮釋中被中國人譽為〈東方主義者〉 。 為了獲得如此超然境界，趙無極結合了兩個世界的精神， 將他的創作標誌，像運用占卜棒一樣投射幻化於畫布之上。 他向我們展示了如龜殼裂縫般的油彩效果，他的咒語璇 轉跳躍在這些畫中，並向我們靠近。 （多米尼克·德·維爾 潘， 〈進入光之迷宮〉 ， 《趙無極，1935-2010年》，2017 年。第36-37頁）。
Property from an Important French Collection
13. Chu Teh-Chun
1920-2014
No. 164 signed ‘CHU TEH-CHUN [in Chinese and Pinyin] lower right; further signed, titled and dated ‘CHU TEH-CHUN [in Chinese and Pinyin] 1963 “No. 164”’ on the reverse oil on canvas 120 x 60 cm. (47 1/4 x 23 5/8 in.) Painted in 1963, this work will be accompanied by a certifcate of authenticity issued by the Fondation Chu Teh-Chun. Provenance Private Collection, France Acquired from the above by the present owner in 2008
重要法國私人收藏
朱德群 《164號》 油彩 畫布 1963年作，並將附朱德群基金會所簽發之保證書。 款識：朱德群 CHU TEH-CHUN (右下） ； CHU TEH-CHUN 朱德群 1963《No. 164》 （畫背） 來源 法國私人收藏 現藏者於2008年購自上述來源
HK$ 6,000,000-8,000,000 US$ 769,000-1,030,000
Speaking about the frst retrospective of Nicolas de Staël’s work at the Musée National d’Art Moderne in 1956, Chu confded: “It was a real revelation of the freedom of expression to me. From now on I freed myself from my twenty years of fgurative work to follow my path in non-fgurative painting. I slowly turned towards the inspiring thinking of traditional Chinese painting. I discovered the poetry in it and its way of observing nature which is close to Western neo-impressionist painting and particularly to abstract art. Working unconsciously on a synthesis of the two cultures, I suppressed emotion as the driving force and prolonged it through pictorial expression” (interview with Gérard Xuriguera, Les Années 50, Arted, 1984). This statement testifes to the intense artistic stimulation which Chu Teh-Chun, an already-accomplished artist at the time, felt when he arrived in France in 1955. Post-war France was the feld to an unprecedented creative era with international artists investigating abstraction in their own personal research, from texture to space, from gesture to geometry, drawing from nature to the cityscape with connections to the American action painting and the Japanese Gutai movement, a multifaceted group of artists under the banner of the “Nouvelle Ecole de Paris”, a term coined by critic Charles Estiennes in 1952. Paris acted as a catalyst for the Chinese artist who suddenly had access to the International Avant-Garde, the Louvre Museum collections, European art history and a welcome distance from his own culture: the perfect context in which to develop his new abstract style as a unique fusion of both Eastern and Western cultures. In No. 164, Chu’s choice of colours captures his control of balance and depth in an intricate game of texture, alternating ink-like washes of deep blue and green with saturated hues of bright red outlined by solid black lines. The artist successfully diluted the oils to create the visual efect of thin ink-like washes whilst containing them to allow negative space. The unusual vertical format, with a predominantly white modulated background, further enhances the reference to scroll-mounted Chinese classical landscape paintings. With canvas as a basis and oil as his medium, Chu perfectly translates a cornerstone of Chinese tradition using the most Western form of expression, advancing a quest for the renewal of Chinese art that characterizes the golden decade of the 1960s.
Hans Hartung T-50 Painting 8, 1950 Collection of Solomon R. Guggenheim Museum, New York © 2019 Artists Rights Society (ARS), New York / ADAGP, Paris
漢斯·哈同 《T-50 繪畫8號》 ，1950年作 紐約，古根漢博物館收藏
1963 marked the crowning year of his collaboration with Galerie Henriette Legendre, and the artist’s third solo show. It was accompanied by a preface by Gérald Gassiot-Talabot, who wrote: “His painting fows naturally, warm and vibrant, impervious to defnitions… it is a lyrical ofering murmured in the secret of a serious life of meditation or bursting out noisily like a hymn, when the artist rediscovers the phrasing of great T’ang layouts.” Chu Teh-Chun had studied calligraphy since his childhood, where his father frst encouraged him to study the kuangcao (wild-cursive script) of Wang Xizhi. He then pursued the practice almost daily throughout his career, which the artist conceived as both a break from and an integral part of his painterly exploration. In No. 164 the forceful calligraphic lines create a strong compositional structure, emphasising the bold colorful brushstrokes and enhancing a feeling of dynamic movement and rhythm. In the 1960s he developed a new pictorial language merging writing, representation and abstraction in a unique painterly style, with a mastery rooted in the tradition of the arts of writing, where the ideograms and images are combined in one entity. Around the same period, German artist Hans Hartung was also investigating the dark line with recourse to calligraphy. While Hartung isolates the line on a plain background, keeping its essence as a sign intact, Chu integrates it as a key element of a complex abstract landscape-like composition in a synthesis of landscape painting and calligraphy. In recognition of the artist’s contribution to 20th century Chinese art history, the National Museum of China in Beijing will hold a major retrospective of Chu Teh-Chun’s work in April 2020 to celebrate the centenary of the artist’s birth, followed by a second exhibition at the end of 2020 in Suzhou, the city of his birth, focusing on his works on paper.
在談到尼古拉·德·斯塔埃爾，其1956年在巴黎國立現代 藝術博物館的首個回顧展時，朱德群吐露： 「這對我來說，是對表達的自由之一種真正啟示。從現在 起，我將把自己從我二十年的具象作品中解放，走上 非具象繪畫的道路。我慢慢轉向了中國傳統繪畫的啟發性 思想。我發現了其中所具有的詩意，以及其觀察自然的 方式，這種方式與西方新印象派繪畫，以及特別是抽象 藝術非常相近。在創作中不知不覺地將兩種文化進行融合， 我將情感克制以將其作為驅動力，並通過繪畫表達來將其 延長」 （與熱拉爾·絮利蓋拉的訪談， 《50年代》 ，Arted， 1984年） 。 這一席話證明了當時已經是一位成就斐然的藝術家的 朱德群，在1955年來到巴黎之後，所受到的強烈藝術 刺激。戰後法國經正歷著一個前所未有的藝術時代， 來自世界各地的藝術家們在其中以各自的研究去探索抽象 藝術，從紋理到空間，從動態到幾何形狀，從自然到城市 景觀，都與美國的行動繪畫，以及日本的具體派運動聯繫 在一起。後者是由一批「新巴黎畫派」旗下的從事多元 創作的藝術家所組成的，而「新巴黎畫派」這一術語則由 評論家Charles Estiennes於1952年所創。巴黎成為這位 中國藝術家發展的催化劑，他忽然之間可以接觸到國際 前衛藝術、盧浮宮博物館的藏品，歐洲藝術史以及與自己 的文化可喜的距離：發展自己全新的融合東西方文化的 抽象風格之完美語境。 在《第164號》中，朱德群對色彩的選擇捕捉到了他對紛繁 的肌理在平衡和深度上的控制，交替著水墨式的深藍和 深綠色，與用實心黑線勾勒出的鮮紅色飽和色調。藝術家 成功地稀釋了油畫顏料，創造出像水墨一般的視覺效果， 同時又將其節制，來製造負空間。不尋常的垂直形式，
以白色背景為主，進一步強化了對捲軸式中國古典山水畫 的指涉。以畫布作為基礎，油畫顏料作為介質，朱德群 通過使用最為西方化的表現形式，對中國傳統的基石 做出完美的詮釋，推動了對中國藝術復興的追求，並成為 1960年代黃金十年的特徵。 1963年標誌著他與巴黎勒讓特畫廊合作，以及藝術家的 第三次個展的重要一年。同期吉拉爾德·佳西歐－塔拉波 在展覽前言中寫道： 「他的繪畫自然流暢、溫暖鮮活、不拘 一格...那是認真沈思冥想的人生中，懷揣著秘密之詩意 低吟，或是大聲爆發的讚美詩，當藝術家重新發現了偉大 唐代佈局的語彙。」 朱德群少年時期就開始學習書法，父親首先鼓勵他學習 王羲之的狂草。之後，在他的整個職業生涯中他幾乎每天 都進行練習，他將其視為既是他在繪畫上的探索的一種 抽離，又是其中不可或缺的一部分。在《第164號》中， 有力的書法線條創造了強大的構圖結構，強調了大膽的 彩色筆觸，並增強了一種動感和節奏感。在書寫藝術的 傳統中，意像文字和圖像同為一體，憑藉根治於此傳統的 高超技巧，他在1960年代發展出了一種新的繪畫語言， 以獨特的繪畫風格融合了書法、表現和抽象。大約在同一 時期，德國藝術家漢斯·哈同也正在研究利用書法進行 創作的黑色線條。哈同在素淡背景中將線條獨立出來， 保持其作為標識符號的本質不變，而朱德群則在結合風景 畫和書法的過程中，將其作為關鍵元素融入到了複雜的 抽象風景般之構圖中。 為了表彰藝術家對二十世紀中國藝術史的貢獻，北京的 中國國家博物館，將在2020年4月舉辦朱德群作品大型 回顧展，以慶祝藝術家誕辰一百週年。
Property of a Distinguished French Collector
14. Chu Teh-Chun
1920-2014
Le 30 mars 1982 signed and dated ‘CHU TEH-CHUN. [in Chinese and Pinyin] 82.’ lower right; further signed, titled and dated ‘CHU TEH-CHUN [in Pinyin and Chinese] “le 30. mars 1982”’ on the reverse oil on canvas 146 x 113 cm. (57 1/ 2 x 44 1/ 2 in.) Painted on 30 March 1982, this work is accompanied by a certifcate of authenticity issued by the Fondation Chu Teh-Chun. Provenance Acquired directly from the artist by the present owner Exhibited Paris, Pinacothèque de Paris, Chu Teh-Chun: Les chemins de l’abstraction, 11 October 2013 - 16 March 2014, p. 90 (illustrated)
重要法國私人收藏
朱德群 《1982年3月30日》 油彩 畫布 1982年3月30日作，並附朱德群基金會所簽發之保證書。 款識：CHU TEH-CHUN 朱德群 82 (右下); CHU TEH-CHUN 朱德群《le 30. mars 1982》(畫背) 來源 現藏者直接購自藝術家本人 展覽 巴黎, Pinacothèque畫廊,〈朱德群: 抽象方式〉, 2013年10月11日-2014年3月16日，第90頁（圖版）
HK$ 4,200,000-6,200,000 US$ 538,000-795,000
Chu Teh-Chun was a celebrated Chinese-French modern painter who pioneered a singular style unifying traditional Chinese painting techniques and Western abstract expressionist art. Trained at the National School of Fine Arts in Hangzhou under the tutelage of Wu Dayu and Fang Ganmin, both of whom were considered fathers of Chinese oil painting, Chu became known as one of the ‘Three Musketeers’ of Chinese modernist art alongside friends and former schoolmates Zao Wou-Ki and Wu Guanzhong, whose inventive and infuential practices made them famous throughout the East and West. Eager to learn more about the art of Monet, Cézanne and Renoir, Chu lef his professorship at the National University in Taipei and set sail for France in 1955. An extremely gifed realist painter, he won a silver medal at the French Artists Art Fair for an academic portrait of his wife which was dubbed “the Mona Lisa of the East”. But in 1956 a visit to the retrospective of the abstract painter Nicolas de Staël at the Musée National d’Art Moderne in Paris left Chu strongly shaken, and he made the astonishing decision to reject figurative painting and start anew. Chu later explained: “De Staël was a great revelation for me. Previously, I was an objective painter, but now I am no longer interested in this way of painting, because afer having begun to study abstract painting, I profoundly and obviously felt the freedom of expression which it testifes to.” (translated from Pierre Cabanne, Chu Teh-chun, les Chemins de l’abstraction, Paris, 2013, n.p.) Exploring abstraction led Chu to an unexpected way of bridging the artistic cultures of China and the West, without diminishing the virtues of either. Throughout the 1960s he developed a captivating, dream-like style of abstract landscape painting, with expressive brushwork and an intense palette giving rise to a new dynamic interplay of harmony and energy in his works. Heavily infuenced by his love of Chinese poetry and calligraphy, Chu Teh-Chun believed poetry and painting followed ‘the same rules and rhythms’, and a distinctly lyrical quality pervades all of his abstract works.
The creation of Le 30 mars 1982 marked a crowning moment in Chu’s life and a milestone in his growing critical success: the inauguration of an important retrospective of paintings and drawings made since Chu’s 1955 arrival in Paris, showing at the Musée des Beaux-Arts Andre Malraux at Le Havre. Now at the height of his expressive powers, Le 30 mars 1982 channels a sublime, spiritual energy and a poetic complexity of feeling. The blue oceanic expanse echoes the fateful journey by boat which brought Chu to France, the same journey where he crossed paths with his future wife Ching Chao and encountered for the frst time the exotic lands of Cairo, Djibouti, Sri Lanka, and Vietnam. The quiet, contemplative mood is pierced by a luminous ray of light breaking through the thick, dark clouds – a motif Chu developed throughout the 1970s following his encounter with Rembrandt’s strikingly-lit oil paintings in the Netherlands. Dramatic chiaroscuro and the interplay of light and shadow gave Chu’s 1980 works, in particular Le 30 mars 1982, a stirring gravity and depth unmatched by his artistic peers in the East or West. Chu’s training with the modern ink master Pan Tianshou at the National School of Fine Arts had also taught him the art of caoshu (‘rough script’), a form of cursive calligraphy in which the characters are executed in one controlled yet spontaneous stroke a technique which lends an intensity and vigour to the washed technique of Le 30 mars 1982. The union of abstraction, calligraphy and poetry in Chu’s work points towards China’s unique intellectual heritage, in particular the Song Dynasty artists Su Shi, an acclaimed poet-painter who saw art as an outward expression of the artist’s interior experience, and Mi Fu, who pioneered a technique known as ‘splashed ink’, using moist washes and textured strokes to evoke the misty and rainy landscapes of the region (see for example Tower of Rising Clouds which is attributed to him). Upholding the rigour and spirit of Eastern calligraphy and philosophy in brushwork and composition gave Chu’s deep, richly coloured brushstrokes the ability to transcend the dichotomy of abstraction versus fguration, and to reconfgure the Western mode of abstract expressionism in Le 30 mars 1982. ‘His bold lines are like downpours, while his thin ones are like whispers,’ Wu Guanzhong wrote of Chu’s paintings.
朱德群是一位著名的華裔法國現代畫家，他開創了一種 融貫中國傳統繪畫技巧和西方抽象表現主義的獨特風格。 畢業於杭州國立藝術專科學校，師從被稱為中國油畫之 父的吳大羽和方幹民，朱德群與好友暨校友趙無極、 吳冠中，被稱為中國現代藝術「三劍俠」，三人具有創造力 和影響力的藝術創作使他們在東西方聲名遠播。 渴望進一步學習莫奈，塞尚和雷諾瓦的藝術，朱德群在 1955年離任他在台北國立大學的教授職位，啟程赴法。 作為一名極具天賦的現實主義畫家，他為被稱作「東方的 蒙娜麗莎」的妻子所畫的一幅著名的學術肖像為他贏得了 「巴黎春季藝術沙龍」銀獎。然而在1956年，朱德群在 巴黎國立現代藝術博物看了抽象畫家尼古拉·德·斯塔 埃爾的回顧展後，受到極大的震驚，並作出了一個非比 尋常的决定：放棄具象繪畫，一切從頭開始。朱德群後來 解釋說： 「德·斯塔埃爾對我來說是一個巨大的啟示。在那之前， 我是一個具象畫家，但現在我對這種繪畫已經沒有興趣， 因為在我開始研究抽象繪畫之後，我深刻、清晰地感受到 了它所證明的表達上的自由。」 （譯自皮耶·卡班， 《朱德群， 抽象之路》，巴黎，2013年，無頁碼） 對抽象的探索以一種意想不到的方式將朱德群引向了對 中西方藝術文化的結合，但不削減任何一方的精萃。 在整個1960年代，他發展出了一種動人、夢幻的抽象風景 之風格，具有表現力的筆法和濃烈的用色，為他的作品 帶來了一種全新的、在和諧與能量之間的充滿活力的相 互作用。深受他對中國詩詞和書法的熱愛之影響，朱德群 相信詩詞和繪畫遵循「相同的規則和節奏」，而他的抽象 作品中亦散發著顯著的抒情特質。
《1982年3月30日》此作標誌著朱德群人生最重要的時刻 和他日益增長的學術成功之里程碑：他的重要回顧展於勒 阿弗爾的安德烈·馬爾羅美術館開幕，展出了朱德群 自1955年到了巴黎之後開始所創作的繪畫與素描作品。 此時正值他的表達能量高峰， 《1982年3月30日》呈現了 壯麗的精神力量和詩意的豐富情感。大片的藍色汪洋象徵 著朱德群乘船赴法的命定旅程，亦是同樣的旅程使他與 未來的妻子景昭相遇，以及他首次與開羅、吉布提、 斯里蘭卡和越南的異域疆土邂逅。寧靜、沈思的氛圍被 一束亮光刺破，穿過厚重、黑暗的雲層——這是自朱德 群在荷蘭邂逅林布蘭特的油畫中所塑造的驚人光線之後， 於整個1970年代所發展的主題。 戲劇性的明暗對照和光影的交錯給予朱德群1980年代的 作品，尤其是《1982年3月30日》，一種令人振奮的莊重與 深度，這在他同時代的東西方藝術家中都無人可以比擬。 朱德群在國立藝術專科學校時在現代水墨大師潘天壽門下 的學習，也教會了他草書的藝術，一種潦草的書法形式， 字體有章法可循，卻又筆勢流暢——該技巧給《1982年 3月30日》中所運用的水洗技法增添了勢頭和力度。 朱德群作品中對抽象、書法和詩詞的融貫體現了他對 中國文化傳統的承襲，尤其是宋代的藝術家，著名的詩人 和畫家蘇軾將藝術視為藝術家內在體驗的對外表達， 而米芾開創了「潑墨」的技法，利用水墨點染的方法， 以濃、淡、染的墨法，點出山水煙雨（參考被認為出自 米芾的《雲起樓圖》為例）。在筆法和構圖上秉承東方 書法和哲學的嚴謹和精神，使朱德群色彩濃厚、豐富的 筆觸能夠超越抽象與具象之間的對立，並且在《1982年 3月30日》對西方式的抽象表現主義進行重構。吳冠中評價 他作品中的線條為「大弦嘈嘈如急雨，小弦切切如私語。」
15. Helen Frankenthaler
1928-2011
Scorpio signed ‘Frankenthaler’ lower right; further titled and dated ‘“SCORPIO” 1987’ on the reverse acrylic on canvas 235.5 x 333.5 cm. (92 3/4 x 131 1/4 in.) Painted in 1987. Provenance André Emmerich Gallery, Inc., New York Heland Wetterling Gallery, Stockholm Private Collection, Stockholm Bentley Gallery, Scottsdale Collection of Elizabeth Green Romano Sotheby’s, New York, 14 November 2012, lot 152 The Estate of William Louis-Dreyfus, New York Acquired from the above by the present owner Exhibited Stockholm, Heland Wetterling Gallery, Helen Frankenthaler: Paintings 1978-88, 24 November 1988 - 9 January 1989, no. 5 (illustrated) Williamstown, Clark Art Institute, As in Nature: Helen Frankenthaler Paintings, 1 July - 9 October 2017, p. 54 (illustrated) New York, Yares Art, Helen Frankenthaler: Selected Paintings, 2 March - 18 May 2019
HK$ 7,500,000-9,500,000 US$ 962,000-1,220,000
海倫·弗蘭肯塔爾 《天蠍座》 壓克力 畫布 1987年作 款識: Frankenthaler（左下）;《SCORPIO》1987 (畫背) 來源 紐約，André Emmerich 畫廊 斯德哥爾摩，Heland Wetterling 畫廊 斯德哥爾摩私人收藏 斯科茨代爾，Bentley 畫廊 Elizabeth Green Romano 私人收藏 紐約，蘇富比，2012年11月14日，拍品編號152 紐約，William Louis-Dreyfus 遺產管理會 現藏者購自上述來源 展覽 斯德哥爾摩，Heland Wetterling 畫廊， 〈海倫·弗蘭肯塔爾: 繪畫 1978-1988〉 ， 1988年11月24日-1989年1月9日, 編號5（圖版） 威廉斯敦，Clark 藝術學院， 〈像大自然: 海倫·弗蘭肯塔爾 繪畫〉， 2017年7月1日-10月9日，第54頁（圖版） 紐約，Yares 畫廊， 〈海倫·弗蘭肯塔爾: 繪畫精選〉 ， 2019年3月2日-5月18日
Helen Frankenthaler was an American second-generation Abstract Expressionist painter, whose practice was crucial to the development of the Colour Field movement. Active for over six decades, she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work, gaining particular critical acclaim for her pioneering use of the “soak-staining” technique in oil painting. Graduating from college with a Cubist-derived style, Frankenthaler encountered the work of the iconic Abstract Expressionist Jackson Pollock in 1950. Seeing Pollock’s radical drip paintings Autumn Rhythm, Number 30, 1950 and Number One, 1950 (Lavender Mist) was a coup de foudre for the young artist: “It was all there. I wanted to live in this land. I had to live there, and master the language.” (the artist quoted in Alison Rowley, Helen Frankenthaler: Painting History, Writing Painting, London, 2007, p.1) Frankenthaler began working on and exhibiting largescale Abstract Expressionist paintings in the early 1950s, and was included in the seminal 1964 Post-Painterly Abstraction exhibition curated by the legendary art critic Clement Greenberg. Frankenthaler’s work was introduced as part of a newer, more progressive generation of Abstract Expressionist painting championed by Greenberg that came to be known as Colour Field, characterised by the application of large areas of a single colour to the canvas. Although they shared the same large formats and simplifed compositions as the Action Painters, Colour Field artists (including Barnett Newman and Mark Rothko) were distinguished by their eforts to escape all increasingly imitative, academic qualities, including the inclusion of any emotional, mythic and religious content or gestural qualities.
Pursuing a purer abstract form of Colour Field painting, Frankenthaler’s work is associated with the use of fuid, organic shapes and vast, simplifed abstract compositions created on canvas directly laid down on the foor with the “soak stain” technique which she invented in 1952. With this technique, she allowed the pigment poured onto the canvas to slowly become absorbed into its fbres. Permitting gravity and chance to steer the direction of her painting, Frankenthaler enjoyed the contemplative gratifcation of watching the diluted paint dissolve into thin, almost ethereal, skeins of pigment. It was a startling innovation at the time, with Clement Greenberg inviting fellow artists Morris Louis and Kenneth Noland to visit Frankenthaler’s studio to witness her methods in action. By the early 1980s, Frankenthaler had amplifed her painterly approach and readjusted her pictorial vocabulary: she laid down monochromatic felds of atmospheric colour and superimposed a scatter of dabs, dots, and dashes of more tangible pigment, or foating islands of colour and calligraphic lines, as seen in Madrid (1984). By the latter part of that decade she was consolidating various elements of previous work to create her pictures. Scorpio is a prime example of works from this period. In this painting, we see the artist’s intention to create the illusion of spatial depth via the expanse of a fat surface divided into ribbons of pure colour. To the pouring of liquid on the canvas she also adds elements of dripping and serpentine lines lightly trailed with a brush, like the tail of the titular Scorpio. Within those delimitations, she creates an imaginary landscape in which the sand leads towards a calm sea, set against a beautiful sky streaked with shades of blue and grey.
Jackson Pollock Number One, 1950 (Lavender Mist), 1950 © 2019 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York
傑克·遜波洛克 《編號1（薰衣草之霧）1950年》 ，1950年作
Paul Cézanne Montagne Sainte Victoire, 1905–6 Collection of the Tate Modern, London 保羅·塞尚 《聖維克多山》 ，1905-6年作 倫敦，泰特現代美術館收藏
Clouds emerge from the parts of the canvas untouched by the poured pigment. A few bubbles rise like balloons into the sky, adding splashes of colour to the composition. Her technique, although extraordinarily refned, renders an inner vision onto canvas with perfect spontaneity and improvisation. “A really good picture looks as if it’s happened at once. It’s an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that— there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very ofen it takes ten of those over-labored eforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.” (the artist quoted in Barbara Rose, Frankenthaler, New York, 1975, p. 85) Scorpio was recently featured in an exhibition at the Clark Art Institute in Williamstown (2017), in which some of Frankenthaler’s paintings and woodcuts were reassessed in light of her relationship with nature. The New York artist was indeed infuenced both by nature and the tradition of landscape painting, particularly by the paintings of J.M.W. Turner and Gustave Courbet. Alexandra Schwartz, the exhibition’s guest curator, highlighted the fact that many of Frankenthaler’s works were inspired by her surroundings, and that she used a number of cues from the natural world — preliminary outdoor sketches, earth tones, textured layers of paint — to create her abstract canvases. Using horizontal lines across her canvases, just as traditional landscape painters did, she adopted forms of nature — trees, clouds, clifs and specifc colours — that she reimagined in the abstract (quoted in Steve Pfarrer, ‘“There are no rules:” Clark Art Institute features work of Helen Frankenthaler’, Amherst Bulletin, 24 August
2017, online). Another important source of inspiration for Frankenthaler came from the watercolours of Paul Cézanne, whose light plein-air studies were key to liberating his oil paintings from over-academic formalism (see for example Montagne Sainte Victoire, 1905-6). To achieve the right efect, Frankenthaler painted directly onto untreated canvas with oil paints heavily diluted with turpentine. Her “soak stain” technique allowed colours to penetrate immediately into the canvas, creating a difuse, translucent efect reminiscent of watercolour. Frankenthaler’s thinking paralleled that of great Asian modern masters such as Chu Teh-Chun (see for example lot 13), Zao Wou-ki and Zhang Daqian. Using diluted ink wash-like oils, these artists created sweeping painterly surfaces emulating natural movement. Zhang in particular, one of the most renowned and prodigious Chinese artists of the twentieth century who prefgured the journey of many of Chinese painters from guohua (traditionalist) painting to modern expressionism, combined his training across the cultures of the East and West to create expressionist masterpieces reminiscent of Tang Dynasty splashed-ink paintings, its spontaneity mirroring the divine process of creation (see for example The Swiss Snow Mountain (1965). Frankenthaler’s work has been the subject of several major exhibitions and retrospective until now, including at the Whitney Museum of American Art, New York (1969), the Museum of Modern Art, New York (1989), the Solomon R. Guggenheim Museum, New York (1998) and the Albright-Knox Art Gallery, Bufalo, New York (2015). The latest exhibition staged in 2019 in Italy (Pittura/Panorama Paintings by Helen Frankenthaler 1952-1992) signaled the return of the artist to Venice, the frst exhibition of the artist in this city since her frst appearance in 1966 at the American Pavilion of the 33rd Biennale.
Zhang Daqian The Swiss Snow Mountain, 1965 張大千 《瑞士雪山》 ，1965年作
海倫·弗蘭肯塔爾是美國第二代抽象表現主義畫家， 其創作對色域藝術運動的發展至關重要。活躍於藝術界 六十多年，她跨越了幾代的抽象畫家，同時持續創作出 重要且不斷變化的新作，並憑藉其在油畫中先鋒性地使用 「浸泡染色」技法而尤獲讚譽。 弗蘭肯塔爾秉承立體派的風格從大學畢業後，於1950年 邂逅了著名抽象表現主義藝術家傑克遜·波洛克的作品。 對這位年輕的藝術家來說，看到波洛克激進的滴畫法作品 《秋韻，第30號》 （1950年）和《薰衣草之霧：第1號》 （1950年）可謂一見鍾情： 「一切都在那裏。我想要住進 這片土地。我必須住在那裏，並且掌握那個語言。」 （藝術家 引自艾莉森·羅利， 《海倫·弗蘭肯塔爾：繪畫史，書寫 繪畫》，倫敦，2007年，第1頁） 弗蘭肯塔爾在1950年代初期開始創作並展出大型抽象 表現主義繪畫，也參加了由傳奇藝術評論家克萊門特· 格林伯格於1964年策劃的開創性展覽「後繪畫性抽象」展。 弗蘭肯塔爾的作品，作為格林伯格所倡導的更新、更進步 之一代抽象表現主義繪畫的一份子被推向世界，這一代的 繪畫後來被稱為色域，其特徵是將大面積的單一顏色運用 於畫布。僅管他們與行動繪畫家們在對大的架構和簡化 的構圖方面之使用有著相似性，但色域畫家們（包括 巴內特·紐曼和馬克·羅斯科）當中差異在於，他們努力 擺脫日益變得模仿化、學術化的特質，包括融入任何情感、 神話和宗教色彩內容或動態的特質。
追求色域繪畫更加純粹的抽象形式，弗蘭肯塔爾的作品 採用流暢、自然的形狀，並使用她於1952年所開創的 「浸泡染色」技法，在直接鋪於地面的畫布上創作廣闊、 簡化的抽象構圖。通過這項技法，她將顏料潑到畫布上， 使之被畫布的纖維緩慢地吸收。允許引力和機會去引導 其畫作的方向，弗蘭肯塔爾看著稀釋的顏料逐漸溶解為 稀薄的、近乎縹緲的絲絲色素，並從這個玄思靜觀的過程 中感到滿足。這在當時是一個驚人的創新，克萊門特·格 林伯格甚至邀請了藝術家莫里斯·路易斯和肯尼思·諾蘭德 到弗蘭肯塔爾的工作室一睹她現場的手法。 到1980年代初，弗蘭肯塔爾已經擴展了她繪畫手法， 並重新調整她的繪畫語彙：她將充滿氛圍感的單色色域 鋪開，散落地疊放點點可觸的顏料，或如島嶼般漂浮的 色彩和書法線條，正如在《馬德里》 （1984年）中可以看到的。 在那十年的後半段裏，她整合了過去作品中的各種元素 來進行創作。 《天蠍》正是這個時期作品的最佳列證。 在這幅畫中，我們看到藝術家意圖通過將大片平坦的表面 劃分成純色條狀，來製造空間深度的錯覺。在向畫布倒 入液體的同時，她還增加了滴畫和用畫筆製造如蛇行般輕 觸的線條元素，猶如作品的標題， 《天蠍》的尾巴。在這些 界定之內，她創造出一個存在於想像中的風景，在藍灰 兩色條痕劃過美麗天空的背景下，沙子流向平靜的大海。 畫布上未經潑色所觸之處，雲朵浮現。幾個氣泡像氣球 一樣飛昇至空中，給畫面增添幾許色彩。她的技法， 僅管極其精湛，卻又以完美的自發性和即興感為畫面呈現 了一種屬於內心的想像。
「一幅好畫看起來會像是一切都在瞬間發生的。這是一個 即時的圖像。在我自己的作品中，當一幅畫看起來是過 於使勁和費盡心血所作，你可以從中看出——好吧，她做 了這個，然後她做了那個，然後她再做了那個——對我 來說，這裡面就有些與美的藝術不相干的東西。 而我通常會把這些東西扔掉，雖然我認為通常需要在畫了 十張那種太過費力的嘗試才做出一張下筆漂亮、且與你的 思緒和心靈都達成一致的作品，這時你就圓滿了，因此 它看起來好像是在一分鐘裏所成就的。」 （藝術家引自 芭芭拉·羅斯， 《海倫·弗蘭肯塔爾》，紐約，1975年，第85頁） 《天蠍》最近在威廉姆斯鎮的克拉克藝術中心一個展覽中 展出（2017年） ，展出弗蘭肯塔爾的一些繪畫和木刻平面 作品，以她與自然之間的關係為出發點被重新審視。這位 紐約藝術家確實受到自然和傳統風景畫的影響，尤其是 約瑟夫·瑪羅德·威廉·特納和居斯塔夫·庫爾貝的作品。 該展之策展人亞歷山德拉·施瓦茨強調，弗蘭肯塔爾的 許多作品都受到她周圍環境的啟發，並且她使用了許多源 於自然界的切入點——初步的室外素描、大地色系、顏 料的層次肌理——來創作她的抽象畫面。就像傳統風景 畫家那樣，在她的畫布中使用水平線條，採用了自然的形 式——樹木、雲朵、懸崖和特定顏色——她以抽象的方式 重新想像（引自Steve Pfarrer， 《沒有規則：克拉克藝術 中心呈現海倫·弗蘭肯塔爾作品》， 〈阿默斯特通訊 〉 ， 2017年8月24日，截自網路）。弗蘭肯塔爾的另一重要 靈感來源是保羅·塞尚的水彩畫，後者輕柔的戶外寫生 草稿是將其油畫從過度學院派的形式主義中釋放出來的 關鍵（見《聖維克多山》，1905-06年） 。為了達到對的效果， 弗蘭肯塔爾將用松節油大量稀釋的油畫顏料直接畫在未經 處理過的畫布上。她的「浸泡染色」技法讓色彩立即滲透 到畫布中，創造出一種讓人聯想到水彩畫的瀰漫地、半透 明的效果。
Lot 13 Chu Teh-Chun No. 164, 1963 拍品編號13 朱德群 《164號》 ，1963年作
弗蘭肯塔爾在思想上可與亞洲傑出的現代大師相提並論，， 例如朱德群（見拍品編號13為例）、趙無極和張大千。通過 使用像水墨一樣稀釋後的油畫顏料，這些藝術家們創造出 行雲流水般重現自然動態的繪畫表面。尤其是張大千， 作為二十世紀最著名和最偉大的中國藝術家之一，預示了 許多中國畫家從國畫到現代表現主義轉變的旅程，他結合 了自己在東西方文化中的訓練，所創作的表現主義傑作， 讓人聯想起唐代的潑墨畫，其自發性映現出創作的神聖 過程（參見《瑞士雪山》1965年））。 迄今為止，弗蘭肯塔爾的作品在許多大型展覽和回顧 展中亮相，其中包括位於紐約的惠特尼美國藝術博物館 （1969年）、現代藝術博物館（1989年）、所羅門·R·古根漢 博物館 （1998年） ，以及水牛城公共美術館（2015年） 。 她的最新展覽在意大利： 《皮圖拉/全景：海倫·弗蘭肯塔爾 的繪畫 1952-1992年》 （2019年）使藝術家重返威尼斯； 這是藝術家自1966年的第33屆雙年展上，在美國館首次 亮相以來在該地的首次展覽。
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16. Kazuo Shiraga
1924-2008
Zuisouhen signed, titled and dated ‘“Zuisouhen” [in Kanji and Japanese] 1986 June [In Japanese] (61st year of Showa Era) Shiraga Kazuo [in Kanji]’ on the reverse oil on canvas 130 x 160 cm. (51 1/8 x 62 7/8 in.) Painted in 1986. Provenance Gallery Haku, Osaka Private Collection, Osaka Private Collection, Belgium Axel Vervoordt, Belgium Phillips, London, 9 February 2016, lot 28 Acquired at the above sale by the present owner Exhibited New York, Mnuchin Gallery, Kazuo Shiraga, 10 February - 11 April 2014 Hong Kong, Axel Vervoordt, Kazuo Shiraga, 28 August - 15 November 2014
白髮一雄 《瑞相奕》 油彩 畫布 1986年作 款識： 《瑞相奕》昭和六十一年 六月作之 白髮（畫背） 來源 大阪，Haku畫廊 大阪私人收藏 比利時私人收藏 比利時，Axel Vervoordt 畫廊 倫敦，富藝斯，2016年2月9日，拍品編號28 現藏者購自上述拍賣 展覽 紐約，Mnuchin 畫廊， 〈白髮一雄〉 ，2014年2月10日-4月11日 香港，Axel Vervoordt 畫廊， 〈白髮一雄〉 ，2014年8月28日-11月15日
HK$ 8,000,000-12,000,000 US$ 1,030,000-1,540,000
Yves Klein's performance Anthropometries of the Blue Period, 1960 © Succession Yves Klein c/o Artists Rights Society (ARS), New York / ADAGP, Paris 2019
伊夫·克萊因的展演 《藍色時期身體繪畫》 ，1960年
Kazuo Shiraga was one of the founders of the radical Gutai art movement, developed in 1954 in the wake of the Second World War in Japan. Gutai artists favoured freedom of expression and creativity above anything else, dismantling the regime of total conformity imposed during the war. For these artists, art was a playful medium that freed audiences from ideologies and social conventions. As the writer of the Gutai manifesto, Yoshihara Jiro’s dictum was: “Do what no one has done before!” (Yoshihara Jiro, quoted in ‘Gutai Gurupu no 10 nen: Sono ichi’ [10 years of the Gutai Group: Part One], Bijutsu January 38, March 1963, pp. 3-5). Shiraga epitomised Gutai’s spirit of playfulness: he completely rejected the traditional methods of painting with brushes, and sought more progressive ways to make art. Fastening a rope above the painting and grabbing frmly onto it, he glided across the canvas in vigorous movements, spreading thick mounds of paint with his feet on the surface. In doing so, Shiraga fully mastered the canvas by immersing himself physically into the work, eliminating both composition and consciousness from his work.
of fowers, the disappearing of insects from the palace, and the chirping of birds from the snowy mountains. Shiraga was particularly fascinated by the Matsuri festivals in Japan – Buddhist purifcation festivals intended to renew ties with divinities and nature, as well as bonds between individuals within a community. The festivals are pervaded by a frantic Dionysian energy, in which humans must appease and entertain the deities. Fascinated by the duality of beauty and destruction, Matsuri provided a primordial experience that allowed Shiraga to develop a form of art that straddled both worlds: “My art needs not just beauty, but something horrible. All of my works more or less express some sort of gruesomeness” (K. Shiraga, quoted in Body and Matter: The Art of Kazuo Shiraga and Satoru Hoshino, exh. cat., Dominique Levy Gallery, New York, 2015, p. 20). With the motifs of exhaustion and violence prevalent in the making of his art, Shiraga explained: “I want to paint as though rushing around on a battlefeld, exerting myself to collapse from exhaustion” (quoted in Kazuo Shiraga: Six Decades, exh. cat., McCafrey Fine Art, New York, 2009, p. 59).
Executed in 1986, Zuisouhen’s mesmerising dynamism and unrestrained energy is an outstanding example of Shiraga’s persistent engagement with action painting as a powerful means of artistic expression. The dense strokes of paint convey a sculptural materiality and dimensionality, with the thick red pigments simultaneously creating beautiful abstract forms and foreboding allusions to spilt blood. Thick twirls of red, white, yellow and black converge in the middle of the canvas, maintaining their unique tonalities whilst in other parts of the composition these harmoniously dissolve into a single hue of colour.
Shiraga’s startlingly passionate paintings and accompanying performances were groundbreaking milestones in the history of Japanese avant-garde art, and he continued his action paintings until his death in 2008. His pioneering techniques and philosophy paved the way for many European and American performance artists, such as Yves Klein (see for example his Anthropometries of the 1960s). The infuential legacy of Shiraga and the Gutai group, not only in Japanese but also in post-war Western art history, have become increasingly recognized over the last few years, with the milestone exhibition Gutai: Splendid Playground held at the Guggenheim Museum in New York in 2013, and a Shiraga retrospective to be held at Tokyo Opera City Gallery in January 2020.
Zuisouhen’s Japanese title is《 瑞相奕》, “zuiso” referring in Japanese Buddhism to an auspicious phenomenon that augurs an important event, for example according to legend the birth of Buddha was presaged by the blooming
白髮一雄是具體派藝術運動的創始人之一，具體派於 瀰漫著狂大之酒神式力量，人類必須要撫慰並娛樂眾神。 日本在第二次世界大戰過後的1954 年成立，崇尚表達 「祭」充滿美與破壞的雙重性，其原始性的體驗讓白 和創意的自由，打破了戰爭時期的絕對服從性。對這些 髮一雄得以發展出屹立於這兩個世界的藝術形式： 「我的 藝術家而言，藝術是一種可以把觀者從理念和社會 藝術不止要美的，也要可懼的。我所有的作品都在 常規中解放出來的趣味性媒介。吉原治良在具體派宣言中 某種程度上表達了可怕陰森之氣。」 （白髮一雄之言，錄於 說過： 「創造前所未有的事！」 （吉原治良，錄於〈具體藝術 《身體與物質: 白髮一雄與星野悟的藝術》展覽圖錄， 十年：第一部〉， 《Bijutsu January 38》，1963 年3 月， 3-5 頁）白髮一雄的藝術就是具體派玩味精神的代表，他完 Dominique Levy 畫廊，紐約，2015 年，第20 頁） 白髮一雄的藝術創作總不乏枯竭和暴力題材，他解釋道： 全捨棄了傳統繪畫以筆為媒材的做法，追求藝術的革新， 「我希望繪畫是像在戰壕中奔跑一般，耗盡最後一絲力量 在畫布上方懸掛繩索，接著以手緊握繩索，以強而有力 而垮掉。 」 （錄於《白髮一雄：六十年》展覽圖錄，McCaffrey 的動態在畫布上滑行，雙足塗抹厚實的顏料，身體力行， 藝術畫廊，紐約，2009 年，59 頁） 讓自己完全沉浸在作品中，不加考慮作品的構圖和意識。 《瑞相奕》為1986 年作品，洋溢著動感和無疆的力量， 彰顯白髮一雄心中動作繪畫的強大藝術表達力，濃厚的 油彩具有雕塑般的質感和尺寸，厚重的紅色顏料既形成 唯美的抽象造形，也如撕裂血液之象徵預示。旋轉扭曲的 紅色、白色、黃色和黑色在畫面中匯聚，既保持各自的 色調，也在構圖其他部分融為一種和諧的顏色。 作品以《瑞相奕》為題，瑞相是日本佛教裡「祥兆」的意思， 預示重大事件即將發生。傳說佛陀誕生前便有茂盛花朵、 皇宮裡昆蟲消失和雪山鳥鳴的預兆。白髮一雄對日本「祭」 節日非常感興趣，那是佛教淨化靈魂的節日，是為了重建 神與自然的關係，以及個人在社區裡的結合力。節日裡
白髮一雄的繪畫富有激情，更連同身體動作，在日本前衛 藝術史上開創了新的一章，他不斷創造動作繪畫，直到 在2008 年去世為止。其革新的技術和思想更啟發了許多 歐美行為藝術家，包括伊夫·克萊因（見其1960 年代的 《人體測量》創作）。近年，白髮一雄與其他具體派藝術家 的影響力不僅在日本得到肯定，更在西方戰後時期藝術 史上佔有一席。2013年，紐約古根漢博物館舉辦「具體派: 燦爛遊樂場」重要展覽，而2020 年1 月東京 Opera City Gallery 也將進行白髮一雄回顧展。
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17. Liang Yuanwei
b. 1977
Untitled 2013.14 signed with the artist’s initials and dated ‘LYW. 2013.14’ on the reverse oil on linen 140 x 120 cm. (55 1/8 x 47 1/4 in.) Painted in 2013. Provenance Pace Acquired from the above by the present owner Exhibited London, Pace, Liang Yuanwei: The Tension between a Bow and an Elephant, 21 March - 26 April 2014
梁遠葦 《無題 2013.14》 油彩 畫布 2013年作 款識：LYW. 2013.14 (畫背) 來源 佩斯畫廊 現藏者購自上述來源 展覽 倫敦，佩斯畫廊， 〈梁遠葦：弓象之間〉 ， 2014年3月21日 - 4月26日
HK$ 1,200,000-2,200,000 US$ 154,000-282,000
Liang Yuanwei is one of China’s most infuential young contemporary artists. Born in Xian in 1977 and based in Beijing, she is best known for her richly textured impasto canvases of intricately fowered cloth, an intimate artistic practice underpinned by her rich knowledge of both Chinese and Western art history. A graduate of Beijing’s renowned Central Academy of Fine Arts, Liang was a founding member of N12, a young Chinese art collective dedicated to exploring “all possibilities beyond the rules of the Academy” and motivated by a desire to break away from the rigid traditions of representational painting. Forbidden to study Fine Art by her father, who feared an unpredictable and unhappy life as an artist for her, she graduated instead from the School of Design, an unconventional path which would later prove key to forming her unorthodox approach to art. Persuading other students to show her how to stretch a canvas, Liang became a self-taught painter. She was introduced to the radical ideas of the German Fluxus conceptual artist Joseph Beuys in 1995 by some of the Central Academy tutors who had just returned from Berlin. Liang began working with found objects and non-art materials in her developing practice as an installation artist, and grew to realise that the ideas underpinning her work were as important as the media and techniques used. She explained: “Art practice is like building houses, where diferent people use many diferent materials and construction methods. My paintings are my own little universe of materials, purposes and techniques” (Liang Yuanwei, quoted in Luise Guest, ‘Between Fear And Trust: The Art Of Liang Yuanwei’, Culture Trip, 29 December 2016, online). The evolution of the present work, Untitled 2013.14, can be traced back to Liang’s frst solo show, held at Boers-Li Gallery in 2008, where Liang unveiled a cycle of paintings each entitled Piece of Life. Pieces of fabric were collected from friends and relatives, some with a personal signifcance and others of a deliberately banal nature, for example clothing, furniture, curtains or fabric samples. Working slowly and laboriously in vertical fve-centimetre strips - each requiring up to 12 hours of work - Liang painstakingly recreated the colours, patterns and textures of these fabrics. Like fellow N12 artist Wang Guangle, Liang adopts a predominantly conceptual and process-based approach to painting, taking approximately a month to complete each piece. Oil paints are applied with alternately delicate and forceful brushwork; thickly-applied layers of paint are scraped and overlaid with contrasting paints to form undulating peaks and valleys across each painting. With a deliberate and controlled sculptural sensibility, Liang constructs layered and textured surfaces that meditate on the nature of process, labour, repetition and chance in artistic creation,
a tribute to the Chinese literati painters whose expressive works ‘borrowed’ shapes and forms as means to ‘satisfy the heart’. Liang commented: “In my own creative practice I imitate the world, thereby understanding the world, in order to create the world” (Liang Yuanwei, quoted in the exhibition press release for London, Pace Gallery, Liang Yuanwei: The Tension between a Bow and an Elephant, March – April 2014). Painted afer almost a decade of oil painting, Untitled 2013.14 displays a subtle evolution in Liang’s work, with a confdence and complexity in composition and execution. The top half resembles a rich, supple and iridescent brocade, which progresses into darker visual relief at the bottom. Akin to the Rudolf Stingel’s iconic series of resplendent silver carpet paintings, Untitled 2013.14 large scale and visual depth allows it at once to function as a self-refexive object of refection as well as a space for refection. Liang’s paintings speak of the female experience and the unsung labour of generations of women across the East and the West, an homage to the groundbreaking work of women such as the Bauhaus textile artist Anni Albers, who blurred the line between traditionally ‘domestic arts’ such as weaving and contemporary art. Loïc Le Gall, curator at the Centre Pompidou, described Liang’s practice as “penetrated by feelings, combining conceptual rigour with an expression of intimacy” (Liang Yuanwei: Behind the Curtain, exh. cat., K11 Art Foundation and Palazzo Pisani, Venice, 2017, n.p.). Liang represented China at the 54th Venice Biennale, in 2011. She has been the subject of solo exhibitions at the Boers-Li Gallery, Beijing (2008), Beijing Commune (2010 and 2013) and K11 art Foundation Palazzo Pisani, Venice (2017), and her works have also been included in key publications such as ‘Vitamin P2: New Perspectives in Painting’ and ‘The Chinese Art Book’ by Phaidon Press, and ‘The Generational: Younger than Jesus’ by New Museum, New York.
LEFT: Rudolf Stingel Untitled, 2010 © Rudolf Stingel
左: 魯道夫·斯丁格爾 《無題》 ，2010年作 RIGHT: Anni Albers Epitaph, 1968 © The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York 2019
右: 安妮·阿爾伯斯 《悼文》 ，1968年作
梁遠葦是中國最具影響力的年輕當代藝術家之一。 1977年生於西安，現居北京，以其質地豐富、錯綜複雜 的花布厚塗繪畫而著稱，這種個人化的藝術體現得益 於其對中西方藝術史的深厚了解。 畢業於北京著名的中央美術學院，梁遠葦是N12的創始 成員之一。N12是一個由一群年輕藝術家組成的，致力於 探索「學院規則之外的所有可能性」和渴望擺脫具象繪畫 的刻板傳統之藝術團體。由於父親認為作為藝術家將面對 的不可知以及生存問題，而不允許她學習藝術，她因此 畢業於設計系，這一非常規的道路後來被證明成為形成 她非傳統的藝術方式的關鍵。 說服其他學生教她如何拉伸畫布，梁遠葦成為一名自學 而成的畫家。1995年，中央美院剛從柏林回來的老師 將德國激浪派藝術家約瑟夫·博伊斯的激進想法介紹 給她。在她作為裝置藝術家的發展過程中，梁遠葦開始 使用現成品和非藝術材質，並逐漸意識到那些支撐她 作品的想法與所使用媒介和技巧同樣重要。她解釋說： 「藝術實踐就像造房子一樣，不同的人使用不同的材料和 建造方法。我的繪畫就是我自己的材料、目的和技巧的 小小宇宙」 （梁遠葦，摘自Luise Guest， 《在恐懼與信任 之間：梁遠葦的藝術》，Culture Trip，2016年12月29日， 截自網路）。
以交替柔和與有力的筆法將顏料畫上去；在厚重層疊的 顏料上刮擦和用對比色顏料進行覆蓋，在每一幅畫作上 形成層巒疊嶂的形式。憑藉雕塑般恣意與控制的敏感， 梁遠葦構造出層疊的和具有紋理的平面，來審視藝術創作 中的過程、勞作、重複和偶然性的本質，向那些在充滿 表現力的作品中通過「借用」形狀和形式作為創作手段來 「滿足內心」的中國文人畫家致敬。梁遠葦說： 「在創作中， 我模仿世界，從而了解世界，最終創造世界。」 （梁遠葦， 摘自佩斯畫廊倫敦展覽新聞稿， 《梁遠葦：弓象之間》， 2014年3-4月）。繪於將近十年的油畫創作之後， 《無題 2013.14》展現了梁遠葦作品中微妙的演變，在構圖和 手法上所具有的信心和複雜性。上半部分如同豐富、 柔和、斑斕的錦緞，而到底下則逐漸演變成為色彩較暗 的視覺浮雕。 與魯道夫·斯丁格爾標誌性的華麗銀色地毯系列繪畫有著 相似性， 《無題 2013.14》的大尺幅和視覺深度使之既可以 作為具有反射性的自我反觀物件，又可以充當一個反射 的空間。 梁遠葦的繪畫講述了女性的經驗，以及世代的 東西方女性的無聲勞作，向包浩斯織品藝術家安妮· 阿爾伯斯等女性的開創性創作致敬，後者打破了例如編織 等傳統意義上的「家庭藝術」與當代藝術之間的界限。 蓬皮杜藝術中心的策展人Loïc Le Gall將梁遠葦的實踐 描述為「滲透著情感，結合了觀念上的強烈和個人化的 表達」 （《梁遠葦：勘玉釧》展覽畫冊，K11藝術基金和 Palazzo Pisani，威尼斯，2017年，無頁碼）。
本件作品， 《無題 2013.14》，其演變過程可以追溯到 梁遠葦在在2008年於博而勵畫廊安辦的第一個個展， 梁遠葦於2011年代表中國參加第54屆威尼斯雙年展。 梁遠葦呈現了一系列名為《生活的片段》之繪畫作品。 她曾在北京博而勵畫廊（2008年） 、北京公社（2010年 從朋友和親戚處收集到的布料，有的具有個人意義， 和2013年），以及威尼斯K11藝術基金Palazzo Pisani 有的刻意的平庸尋常，比如衣服、傢俱、窗簾和織物 （2017年）安辦個人展覽，並且她的作品也被收錄在例如 碎屑。在5公分的垂直長條上緩慢而艱辛地繪畫—— 费顿出版社出版的《維他命 P2：繪畫新視角》和《中國 每一條需要長達12小時的勞作——梁遠葦用心地將這些 藝術》 ，以及紐約新當代藝術博物館出版的《世代：比耶穌 布料的色彩、花紋和肌理進行重新創造。與N12的另一位 年輕》等主要的出版物中。 藝術家王光樂一樣，梁遠葦在繪畫上採用觀念主導且強調 過程的方法，每一件作品需要花費大約一個月時間來完成。
18. Bernard Frize
b. 1954
Leu signed, titled, numbered and dated ‘“LEU” 2015 034 Bernard FRIZE’ on the overlap acrylic and resin on canvas 160 x 140 cm. (62 7/8 x 55 1/8 in.) Executed in 2015. Provenance Galerie Perrotin, Hong Kong Acquired from the above by the present owner Exhibited Seoul, Galerie Perrotin, Bernard Frize: Tongue and Groove, 30 August - 21 October 2017
貝爾納．弗里茨 《Leu》 壓克力 樹脂 畫布 2015年作 款識： 《LEU》2015 034 Bernard FRIZE (畫布邊緣) 來源 香港，貝浩登畫廊 現藏者購自上述來源 展覽 首爾，貝浩登畫廊， 〈貝爾納·弗里茨：槽榫接合〉， 2017年8月30日 - 10月21日
HK$ 350,000-450,000 US$ 44,900-57,700
Viscous brushstrokes of vibrant hues interweave in Leu, leaving no trace as to which mark met the canvas frst. Seemingly opaque in its multilayered execution, yet simultaneously delicate with thinly applied paint – this present work is an arresting example of Bernard Frize’s abstract paintings. Working in a variety of materials and employing a multitude of techniques, the French visual contemporary artist is widely lauded for defying traditional notions associated with the medium. Industrial rather than fgurative, and calculated rather than spontaneous, Frize’s paintings follow a strict set of choreographed conditions conceived by the artist prior to starting a series. Viewing the role of the creator as simply the developer of systems under which painting is reduced to the mere physical act, the artist’s practice is decidedly process-oriented and unconcerned with reaching a visual conclusion. Governed entirely by the materials themselves, a series is only completed when Frize feels the theory has been exhausted; however, drawing inspiration from Matisse who considered his own work his best inspiration, “a theory ofen leads [Frize] onto another theory, or another painting” (the artist quoted in Jennifer Sauer, “‘Bernard Frize is Beyond Abstraction”, CR Fashion Book, 22 April 2019, online). As curator Jean-Pierre Criqui noted of Frize’s practice, “The painting, then, is a consequence, a record rather than a goal the artist decided to achieve; it is the image of its own execution” (J. Criqui, ‘Bernard Frize: Musée d’Art Moderne de la Ville de Paris’, Artforum, November 2003, p. 183). Though Frize’s oeuvre bears similarities to that of his contemporaries working under movements and styles including Colour Field painting, Minimalism, Fluxus and Conceptual art – it occupies a unique position within the discourse of abstract painting. Ever evolving, Frize began his devoted experimentations with painting in the mid-1970s, at a time when many regarded the medium to be obsolete. Executed in 2015, the present work is thus a prime example of the artist’s mature practice: despite being devoid of conception, it is surprisingly complex with intriguing plays of colour and texture. With gestural motions of the brush making it impossible not to imagine the process happening in real-time, the canvas’s smooth plastic surface ofers a curious juxtaposition. In combining synthetic resin with fuid acrylic paint, Frize consequently renders his brush marks fat, a style that has become a trademark of his practice. Frize’s sophisticated practice has garnered international acclaim. He has presented solo exhibitions in key galleries and museums throughout his career: in the past two years this has included Galerie Perrotin at their Paris, New York and Tokyo locations (2019), the Centre Pompidou in Paris (2019), Simon Lee Gallery in London (2018), and Girimart Gallery in Istanbul (2018). Today, Frize’s works are also found in numerous public collections, including the Tate Gallery in London, MUMOK in Vienna, Museo Nacional Centro de Reina Sofa in Madrid, the Museum of Contemporary Art in Los Angeles, and the Kunstmuseums in Basel and Zurich.
在作品《Leu》中，鮮麗的色彩以濃密的筆觸相互交織， 絲毫不留下哪一個點最先觸及畫布的痕跡。看似有著 並不透明的多層次呈現，卻同時又以稀薄的顏料精細地 塗繪——本件作品是貝爾納·弗里茨的抽象繪畫中的一件 標誌性的動人之作。在創作上採用多種材料，運用多重 技法，這位法國當代視覺藝術家因推倒人們對媒材的 傳統觀念而廣受讚譽。理性的非具象，精心編排而非 心血來潮，弗里茨在繪畫上遵循著一套由藝術家在開始 創作一個系列之前就已編排好的先行條件。將創作者的 角色僅僅看作是系統的開發者，而繪畫則只是按照該系統 進行的一種單純的物理行為，藝術家的創作手法是高度面 向過程的，且無關在於得出任何視覺上的結論。完全由 材料本身所支配，當弗里茨感到一個理論已經消耗殆盡時 一個系列才吿以完成；然而，從馬蒂斯所認為其最好的 作品即是從他的靈感的論述中得到啟發，弗里茨認為 「一個理論時常引向另一個理論，或者是另一幅繪畫」 （藝術家引自Jennifer Sauer， 《貝爾納·弗里茨超出抽象 之外》 ， 《CR Fashion Book》 ，2019年4月22日，截自網路）。 正如策展人尚-皮埃爾·克裏基對弗里茨的實踐所指出的， 「畫作，當它，是一個結果，是一個紀錄而不是藝術家 決定要達到的目標；它是其自身所呈現的鏡像」 （皮埃爾· 克裏著， 《貝爾納·弗里茨：巴黎市現代藝術博物館， 《Artforum》，2003年11月，第183頁）。 僅管弗里茨的作品與同時代創作色域繪畫、極簡主義、 激浪派和觀念藝術等運動和風格的藝術家有著相似 之處——他在抽象繪畫的語境中仍佔有獨特的地位。 在不斷發展的過程中，弗里茨於1970年代中期開始致力 於在繪畫上的實驗，而當時許多人將這一個媒介視為 過時。創作於2015年，本件作品是藝術家創作成熟期的 極佳典範：僅管缺乏概念，它對色彩和紋理的把玩仍然 顯得迷人和超乎想像的豐富。作品展現的畫筆姿勢動態， 讓人無法不去想像其進行中的創作過程，畫布平滑的表面 呈現出奇異的並置。通過混合合成樹脂與壓克力顏料， 弗里茨使他的畫筆的痕跡顯得平整，這種風格業已成為他 的藝術標誌。 弗里茨精進的創作為他贏得了國際性的讚譽。在他的職業 生涯中，於許多重要的畫廊和美術館舉辦過個展：過去的 兩年裏包括貝浩登在巴黎、紐約和東京的空間（2019年）、 巴黎的蓬皮杜藝術中心（2019年）、倫敦Simon Lee畫廊， 以及伊斯坦堡Girimart畫廊。如今， 弗里茨的作品還可以 在眾多公共收藏中看到，包括倫敦的泰特美術館、維也納 的MUMOK、馬德里的蘇菲亞王后國家藝術館、洛杉磯 當代藝術博物館，以及巴塞爾美術館和蘇黎世美術館等。
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19. Liu Wei
b. 1972
Beyond the Sky Limits signed and dated ‘Liu Wei [in Chinese and Pinyin] 2012’ on the reverse oil on linen 251 x 151 x 17 cm. (98 7/8 x 59 1/ 2 x 6 3/4 in.) Executed in 2012. Provenance Long March Space, Beijing Acquired from the above by the present owner
劉韡 《超越天空的界限》 油彩 畫布 款識：劉韡 Liu Wei 2012（畫背） 2012年作 來源 北京，長征空間畫廊 現藏者購自上述來源
HK$ 800,000-1,000,000 US$ 103,000-128,000
Prodigious in scale and composed of stacked chromatic hues, Beyond the Sky Limits is a prime example from Liu Wei’s practice that represents the Chinese visual contemporary artist’s move towards total abstraction. With an aesthetically pleasing balance between muted cool and warm tones of purple, blue, grey, orange and pink, the coloured strips blend into each other as they run the width of the canvas and extend onto the industrial wooden frame. Covering the work with luxurious, fuid brushstrokes, Liu Wei imbues the pictorial surface with a luminous dimensionality in which a unique ebb and fow unfolds, demonstrating the possibility of colour in a nonfgurative form. Whilst simple in composition, the artist’s horizontal bands of rich tones are allencompassing, powerfully dictating the ambience of the artwork’s surroundings as Liu Wei draws upon the tenets of abstraction to transport the viewer into his contemplative painterly sphere.
Executed in 2012, the present work belongs to Liu Wei’s masterful Beyond the Sky Limits series, in which the artist’s sumptuously rendered canvases appear to evoke the beauty and brilliance of our natural world. Whereas the politically explicit undertones typically recognisable in Liu Wei’s oeuvre are not overtly obvious in the present work’s rich strata of tonal variations, his more abstract aesthetic actually represents a deepening of the artist’s earlier ideas. When discussing the evolution of his practice throughout his career, Liu Wei has noted that “all artistic creation is a continuum”, and that he “[continues] with previous themes, but [uses] a new way to express them.” (the artist quoted in E Jane Dickson, “The seismic power of Liu Wei”, Christie’s, 1 May 2019, online). As Liu Wei expands his exploration to the more universal theme of humanity, the present work’s harmonious canvas encourages the viewer to indulge in a meditative, dreamlike state as they engage with the work.
Born in Beijing in 1972, Liu Wei came of age during a period of rapid economic reforms in China. As the country underwent vast industrialisation, it experienced the most substantial rate of internal migration in human history. During this period, where “things were constantly changing and nothing seemed stable”, the country witnessed “a turnaround in [social] values every couple of years.” (the artist quoted in Hans Ulrich Obrist, ‘Hans Ulrich Obrist: Interviews Liu Wei’, in The China Interviews, Hong Kong, March 2012, online). Consequently, much of the art created during this time of ideological instability concerns the complexities of the human condition, particularly within the facets of rapidly evolving contemporary urban life.
With an unparalleled painting style that remains highly sought afer and revered throughout his career, Liu Wei’s practice exudes an infuence that confrms his position in the lexicon of Chinese contemporary art. As well as being exhibited in prestigious organisations worldwide, Liu Wei’s artworks are included in numerous museum collections, including the M+ Sigg Collection in Hong Kong, the National Gallery of Victoria in Melbourne, the Samsung Museum of Art in Seoul, and the Hammer Museum in Los Angeles. The invitations for Liu Wei to exhibit at both the 2005 Venice Biennale and the most recent 2019 edition, confrms that the artist’s unique visual attraction continues to enrich the history of abstract art.
Afer graduating from Beijing’s Central Academy of Fine Arts in 1996 as a student of printmaking, Liu Wei quickly became a leading fgure in the country’s post-Cultural Revolution art establishment, alongside contemporaries such as Fang Lijun. In his visual explorations of China’s 21st century socio-political concepts, Liu Wei draws from a wide array of infuences, ranging from the relationship between humans, nature and urbanisation, to Chinese calligraphy and Expressionism. Primarily reworking found material in his diverse practice that includes paintings, sculptures, photography, and installation art – Liu Wei presents the viewer with unique abstract representations portraying themes relating to China’s rapid transformations, ofen imbued with a somewhat ironic commentary.
《超越天空的界限》尺寸碩大，層疊色調豐富，是劉韡藝術 的精彩之作，代表了中國視覺藝術家步向純抽象之路。 畫面色彩看起來和諧愉悅，在柔和的紫、藍、灰、橙和 粉的冷暖調子中取得平衡。橫向的彩色線條相互混合， 甚至延伸到工業木框上，讓作品佈滿華麗流暢的筆觸。 劉韡筆下的畫面十分明亮，如潮起潮落，以不具象的形態 展現顏色的潛質。雖然構圖簡單，但橫向的色條豐富 多彩，囊括整個畫面，強勁地帶動氛圍，以抽象藝術原則 把觀者帶入他心中的畫境。 劉韡於1972 年在北京出生，成長時期的中國正值經濟的 迅速改革，國家經歷大規模工業化，形成人類歷史上最高 比例的國內遷徙率。在此時期， 「一切都在不斷改變， 沒有什麼是穩定的」。國家見證「每兩年就徹底改變的[社 會]價值觀。」 （藝術家錄於漢斯·烏爾里希·奥布里斯特， 〈漢斯·烏爾里希·奧布里斯特：與劉韡訪談〉 ， 《訪談中國》， 香港，2012 年，截自網路）故此，該思想動蕩時期產生的 藝術經常與人類狀況的複雜性有關，尤其是面對快速發展 的當代都市生活的各個層面。 劉韡於1996 年畢業於北京中央美術學院版畫專科，隨即 與藝術家方力鈞等人成為後文化大革命時期的領軍人物。 劉韡對中國二十一世紀社會政治問題的視覺探討中，借鑒 來自各方的影響，包括人類、自然和都市化之間的關係、 中國書法，以及表現主義。他在作品中重塑一系列來自 繪畫、雕塑、攝影和現成物裝置，以獨特的抽象表達方式 呈現關於中國急速改革的主題，並為其注入諷刺性評論。 此畫作於2012 年，屬於劉韡「超越天空的界限」系列作品， 該系列著意表達大自然的美麗與光彩，藝術家其他作品中 的直率政治色彩在此作並不明顯，豐富層次的色調變化中 是越趨抽象的美學，更深入表達了藝術家的早期概念； 當劉韡談到他藝術手法發展時講道： 「我一直在改變我做 的事，當我在某件事上純熟了[…],到了一個再無困難或 問題的地步，那時我就開始覺得没路可走了，正是因為 已經沒有問題了，它就無生命了，所以我需要轉變到另一 種感覺。我希望保持永遠都不穩定的狀態；只有這樣才能 保持積極性和活力。 」 （藝術家之言，杰羅姆·桑斯， 〈劉韡， 訪談〉， 《對話中國》，2010 年3 月10 日，截自網路）在 「超越天空的界限」系列，劉韡把自己的探索擴大至普世的 人道價值，當觀者面對此作，和諧的畫面將引導大家進入 冥想夢幻般的境界。 劉韡的繪畫風格別樹一幟，一向受藏家追捧，且備受 好評，作品見證其在中國當代藝術的地位。劉韡的作品 曾在國際重要機構展出，亦被納入許多博物館館藏，包括 香港 M+ 希克收藏、墨爾本維多利亞國家美術館、首爾 三星美術館和洛杉磯哈默博物館。劉韡受邀參展2005年 和最近2019 年的威尼斯雙年展，再次證明藝術家在抽象 藝術歷史中獨一無二的影響力。
Property from an Important Private European Collection Ж
20. Wang Guangle
b. 1976
Terrazzo No. 9 titled and dated ‘“Terrazzo No. 9 [in Chinese]” 2003’ on the reverse oil on canvas 180 x 140 cm. (70 7/8 x 55 1/8 in.) Painted in 2003. Provenance Galerie Frank Schlag & Cie, Germany Acquired from the above by the present owner Exhibited Essen, Galerie Frank Schlag & Cie, Chinese Abstract Painting Today!, 30 May - 8 August 2015, pp. 112-13, 170, 180 (illustrated pp. 112-13, 170) Literature Jan Leaming, ed., Wang Guangle, Beijing, 2005, pp. 14-15 (illustrated p. 15)
Property Property from from an an Important Important Private Private European European Collection Collection 重要歐洲私人收藏 重要歐洲私人收藏
HK$ 2,000,000-3,000,000 US$ 256,000-385,000
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王光樂 《水磨石 9號》 油彩 畫布 2003年作 款識： 《水磨石No.9》2003（畫背） 來源 德國，Frank Schlag & Cie 畫廊 現藏者購自上述來源 展覽 埃森，Frank Schlag & Cie 畫廊， 〈今日中國抽象繪畫!〉， 2015年5月30日-8月8日，第112-113、170、180頁 (圖版 第112-13、170頁) 出版 Jan Leaming編， 〈王光樂〉，北京, 2005年, 第14-15頁 (圖版 第15頁)
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A graduate of Beijing’s renowned Central Academy of Fine Arts, Wang Guangle is widely recognised as a pioneer of conceptual painting in China. Resisting conventional labels such ‘representation’ or ‘abstraction’, his criticallyacclaimed paintings represent a signifcant artistic breakthrough, embodying the physical efort of painting and capturing metaphysical concepts such as the passage of time through painstaking repetition. As a founding member of N12, a collective of young artists unifed by a desire to break away from the traditions of representational painting in favour of individual expression, Wang spearheaded a new generation of Chinese artists dedicated to exploring “all possibilities beyond the rules of the Academy”. Rebelling against the mainstream realist aesthetics and the notion of social utility which were key to Social Realism (the sanctioned artistic style of the era), his 2000 graduation show at the Academy showcased fve paintings which had taken him almost half a year to complete. The title of the series, “3pm to 5pm”, referred to the period when Wang would paint in his studio, working to capture the rays of light projected across his studio foor by the setting sun.
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Terrazzo, a composite material consisting of chips of marble, quartz, granite, or glass poured with a binder whose use became popular in the 1970s and 1980s, frst appeared in Wang’s oeuvre as fooring within the 3pm – 5pm series. Originally focused on portraying the light projections on the foor, afer a month trying to complete one such painting Wang realised there were two directions to take: either he could attempt to capture the narrative aspect of the scene with light entering the room, or he could choose to emphasise the painting process itself by focusing solely on the terrazzo and stripping out all other details. Deciding on the latter, the artist explained his growing fascination with painting terrazzo and how it led to the birth of the Terrazzo series, a cycle of twelve dedicated works: “The Terrazzo theme made me refect a lot. Terrazzo is a very common construction material. I consider it as a testimony of a past ideology of a certain period in China. We eat the same, we dress the same, we use the same materials, etc. […] I wanted to be independent. If I was independent then I could have opinions, which were diferent from the existing ideology” (the artist, quoted in Garcia Frankowski, ‘Interview with Wang Guangle’, Intelligentsia, 5 September 2015, online). Terrazzo No.9 (2003), an important early work from Wang’s Terrazzo series, depicts a slender, elegant slab of terrazzo set against a deep, inky-black background. Utilising his academic training in realist techniques, Wang applied slow, methodical brushstrokes and an unemotional rendering of colour and form to create a startling new form of painting. Eschewing the simplistic label of ‘abstraction’, he sought to make clear that his work was the result of a concept, namely the time he spent labouring on the
painting: “One painting could require three months or more. The time I spent on the painting was for me the important part for me” (the artist, quoted in Garcia Frankowski, ‘Interview with Wang Guangle’, Intelligentsia, 5 September 2015, online). Once he had managed to capture “every stone detail, every diferent shape and size, round/square/triangle” then he would consider the work fnished. The laborious, quasi-ritualistic act of painting, akin to the traditional process of grinding inksticks with water to make Chinese ink, gave him new insights into the nature of time: “The sensation of the passage of time always inspires me. Time changes everything, and when I can detect the pure movement of time, nothing else seems to matter. In these moments, there is very little else I would want to do.” (the artist, quoted in Lorraine Rubio, ‘artnet Asks: Wang Guangle’, Artnet, 24 November 2014, online) Wang’s work arguably transcended the eforts of other conceptual artists who explored the boundaries of monochrome painting such as Lucio Fontana, who punctured his canvases in an attempt to make form and color continuous with space and time (see his experimental Concetti spaziali, or ‘spatial concepts’), as well as Ad Reinhardt, whose Black Paintings represented for him ‘the strictest formula for the freest artistic freedom’ (the artist, quoted in Barbara Rose (ed.), Art as Art: The Selected Writings of Ad Reinhardt, California, 1991, p. 52). Testament to the uncompromising and revolutionary nature of his vision, Wang’s work forms part of distinguished public collections including the M+ Sigg Collection, Hong Kong; Guy & Myriam Ullens Foundation, Geneva; M+, Museum for Visual Culture, Hong Kong; Sammlung Goetz Collection, Munich; Shanghai Minsheng Art Museum, China; Vanhaerents Art Collection, Brussels; and the White Rabbit Collection, Chippendale, Australia. Wang has been honoured with solo exhibitions at venues including Beijing Commune (2009, 2011, 2015), and Soka Art Center, Taipei (2011). Since 2000, his work has been featured in over ninety group exhibitions, including Spin: The First Decade of the New Century at Today Art Museum, Beijing (2012); ON | OFF: China’s Young Artists’ Concept & Practice at Ullens Center for Contemporary Art, Beijing (2013); and 28 Chinese at Asian Art Museum, San Francisco (2015).
Property from an Important Private European Collection
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Ad Reinhardt Abstract Painting, 1963 Collection of the Museum of Modern Art, New York © 2019 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York
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艾德．萊茵哈特 《抽象繪畫》 ，1963年作 紐約，現代藝術博物館收藏
Lucio Fontana Concetto Spaziale, 1952 © 2019 Artists Rights Society (ARS), New York / SIAE, Rome
盧齊歐·封塔納 《空間概念》 ，1952年作
水磨石，一種由大理石碎片、石英石、花崗岩，或玻璃 拌入黏著劑後製成的複合材料，於1970和1980年代被 廣泛使用，最早以地面的形式出現在王光樂的作品《午後 3點到5點》系列中。起初專注於描繪光線在地板上的 投射，在經過一個月去嘗試完成一幅這樣的繪畫後， 王光樂意識到兩個可行的方向：要麼他可以嘗試以敘事的 方式去捕捉當光線進入房間時的場景，或他可以選擇單純 專注於水磨石，剔除所有其他的細節，來強調繪畫過程本 身。藝術家決定選擇後者，並解釋他對繪畫水磨石不斷 增長的興趣，以及這又如何促使十二張專門以此為主題的 《水磨石》系列的誕生：
「時間的流逝感總是激發著我的靈感。時間改變一切， 而當我能察覺到時間的純粹運動時，一切都顯得不重要。 在這些時刻，我幾乎別的什麼都不想做了。」 （藝術家， 引自Lorraine Rubio， 《artnet提問：王光樂》 ，《Artnet》 ， 2014年11月24日，截自網路） 王光樂的作品可以說是超越了其他探索黑白繪畫邊界的 觀念藝術家，例如盧齊歐·封塔纳，通過將畫布穿刺， 試圖讓形式、色彩與時間、空間形成連續性（見其試 驗性的《空間概念》），以及艾德·萊茵哈特，他的《黑色 繪畫》代表了他的「最自由的藝術自由之最嚴格公式」 （藝術家，引自Barbara Rose（編輯）， 《藝術作為藝術： 艾德·萊茵哈特文選》，加利福尼亞，1991年，第52頁） 。
「水磨石這一主題讓我反思了很多。水磨石是一種非常 王光樂的作品被許多重要的公共機構所收藏，證明了他在 常見的建築材料。我將其看做是對中國在一定時期過去 創作上毫不妥協以及具有創新性的遠見，其中包括香香港 意識形態的見證。我們吃一樣的食物、穿一樣的衣服、 M+希克收藏；日內瓦尤倫斯基金會；香港M+視覺文化 用一樣的材料，等等。[…] 我想要獨立。當我獨立了 博物館；慕尼黑戈兹現代藝術收藏館；上海民生現代美術 我才擁有屬於自己的、與現有的意識形態不一樣的想法」 館；布魯塞爾Vanhaerents藝術收藏；以及白兔澳洲 （藝術家，引自Garcia Frankowski， 《採訪王光樂》， 《知識 齊本德爾中國當代藝術收藏 。王光樂曾在包括北京公社 階層》，2015年9月5日，截自網路）。 （2009年、2011年、2015年） 和台北索卡藝術中心（2011年） 等展館舉辦個展。自2000年以來，他的作品參加了超過 九十個群展，其中包括「自旋：新世紀的十年」，北京 今日美術館（2012年）； 「ON | OFF:中國年輕藝術家的 觀念與實踐」，北京尤倫斯當代藝術中心（2013年）； 以及舊金山「中華廿八人/28 Chinese」，亞洲藝術博物館 （2015年） 。
重要歐洲私人收藏
N12，由一群年輕藝術家因渴望擺脫具象繪畫的傳統， 轉向個人表達而聚集在一起所成立的藝術團體，王光樂 作為其中一名創始成員，帶領了新一代中國藝術家致力 於探索「學院規則之外的所有可能性」。反叛主流的現實 主義美學以及對社會現實主義（那一時代被主流認可 的藝術形式）起著關鍵影響的群起效應概念，他在2000年 於美院的畢業展覽中展出了五張花費他將近半年完成的 繪畫作品。那個系列的標題， 《午後3點到5點》，紀錄了 王光樂在他的工作室創作的時光，並在作品中捕捉西下的 太陽灑落在工作室地面的光線。
《水磨石9號》 （2003年） ，來自王光樂的《水磨石》系列中 一幅重要的早期作品，描繪了以深墨黑色為背景的一塊 纖細、優雅的水磨石。充分利用他的學院派現實主義繪畫 技巧，王光樂以緩慢、有條不紊的筆觸，以及對色彩 和形式施以理性的處理，創造出一種驚人的新繪畫形式。 摒棄了「抽象」這一簡單標籤，他強調其作品是一種觀念 的產物，即他在繪畫上勞動所花的時間： 「一張畫可能 要三個月或者更長的時間來畫。對我來說花在繪畫上 的時間是很重要的一個部分。」 （藝術家，引自Garcia Frankowski， 《採訪王光樂》， 《知識階層》，2015年9月 5日，截自網路）。只有當他成功捕捉到「石頭上的每一個 細節、每一個不同的形狀和大小，圓的/方的/三角的」， 他才將作品視作完成。繪畫上的艱辛、近乎儀式，有著 類似於在畫中國山水畫時的傳統磨墨過程，這使他對時間 的本質有了新的認識：
Property from an Important Private European Collection
畢業於北京著名的中央美術學院，王光樂被公認為中國 觀念繪畫的先驅人物。一向不希望被貼上諸如「寫實」或 「抽象」之類的傳統標籤，他廣受讚譽的繪畫作品代表了 藝術上的重要突破，體現了繪畫在體力上的付出，以及 通過孜孜不倦重複的過程來對時間流逝等形而上的概念 進行捕捉。
Property of an Important American Collector Ж
21. Yue Minjun
b. 1962
Mushroom Cloud signed and dated ‘yue minjun 2002’ lower right acrylic on canvas 300 x 220 cm. (118 1/8 x 86 5/8 in.) Painted in 2002. Provenance Private Collection, Beijing (acquired directly from the artist) Private Collection, New York Acquired from the above by the present owner Literature Yue Minjun: Soaking in Silly Laughter, exh. cat., Soobin Art Gallery, Singapore, 2002, pp. 10-11 (illustrated) Reproduction Icons: Yue Minjun Works, 2004-2006, exh. cat., He Xiangning Art Museum, Shenzhen, 2006, p. 27 (illustrated)
HK$ 3,000,000-5,000,000 US$ 385,000-641,000
‘A caricature could express so much more humanity, and having decided that this would be my ultimate subject, why not create a caricature of myself to convey the stories I wanted to relate to.’ Yue Minjun
重要美國私人收藏
岳敏君 《蘑菇雲》 壓克力 畫布 2002年作 款識：yue minjun 2002 (右下) 來源 北京私人收藏 (直接購自藝術家本人) 紐約私人收藏 現藏者購自上述來源 出版 〈岳敏君: 沐浴在傻笑中〉，展覽圖錄，新加坡， Soobin Art畫廊，2002年，第10-11頁 (圖版) 〈復制的偶像: 岳敏君作品 2004-2006〉，展覽圖錄， 何香凝美術館，深圳，2006年，第27頁 (圖版)
Depicted in his seminal realist style and vibrant colour palette, Yue Minjun’s Mushroom Cloud presents the viewer with a battalion of grinning frozen-faced clones, set against a billowing, explosive background. Painted in 2002, the present work is an epitome of Yue’s celebrated aesthetic, comprised of the artist’s laughing characters that are immediately humorous and instantly recognisable. With connotations of the laughing Buddha, this work presents nine identical bright pink faces of the artist himself – each with smart rows of tiny white teeth and framed by a smooth, neat crop of black hair. The incorrigible, openmouthed laugh that features on each self-portrait has become one of the foremost icons of contemporary Chinese art and in many ways, a symbol of the shifing sensibilities of an entire generation. Born in 1962 in Heilongjiang, China’s northernmost province, Yue belongs to a generation who grew up during the Cultural Revolution (1966-1976) under the guise that “we will triumph only when we march to the same tune”. Art from this period was subjugated to politics, and the “red, bright, and luminescent” compositions had to serve socialism and the people – ofen advocating the greatness of labourers or heroes. In the post-cultural revolution era that followed, China underwent rapid transformation, particularly when economic change in the 1990s began to exert an irrevocable force on the lives of Chinese people. In response to the psychological implications of China’s rapid development, urbanisation, and opening to the West – a new art movement emerged: ‘Cynical Realism’, of which Yue is considered as one of the defning protagonists. In combining unique pictorial and historical references of China’s evolution, Yue and his contemporaries – including Wang Guangyi, Fang Lijun and Zhang Xiaogang - were ultimately responsible for driving art practices in the country towards its prominent secondary phase. In deliberately employing the defning characteristics of ‘Social Realism’ propaganda art in his body of work, as seen in the red-toned faces in the present painting, Yue transforms them into a satirical commentary on how the nation sugar-coated reality. In doing so, the artist’s distinctive iconography and implicit political commentary ofer a further ironic parody of contemporary Chinese society.
Bearing an allusion to the explosion of China’s frst atomic bomb in 1964, which marked the country’s entrance into the ranks of global nuclear powers, Yue juxtaposes the underlying sense of peril with lighthearted laughter. The sense of absurdity that this contrast evokes contributes to what is a dynamic example of the artist’s psychologically complex paintings. Sleek in its execution, Yue’s composition of the present work masterfully balances the ornate and intelligent, imaginative and realistic, as well as the disordered and the considerably composed. In combining appropriated elements from propaganda posters with the simple and visually direct language of contemporary advertising, Yue succeeds in discarding traditional aesthetics in favour of a new style that derives from our contemporary cultural context. As the connotations in Mushroom Cloud merge to convey the vast enormity of China, ranging from the country’s rich history to its vibrant culture and individual strives – the arresting composition undoubtedly confrms Yue’s position as one of China’s most progressive voices. With his recognisable signature motifs, Yue’s work has garnered international acclaim, with solo exhibitions in key galleries and museums throughout his career. Widely collected, Yue’s work has also found a place in the permanent collections of institutions including the Guang Dong Art Museum in China, the Museum of Modern Art in San Francisco, the Francois Mitterrand Cultural Center in France and the Busan Museum of Art in Korea, amongst others. Considered to be amongst the handful of contemporary Chinese giants, Yue has lef an infuential mark as a leading painter of his generation and era.
Whilst the act of grinning is typically indicative of a joyful atmosphere, Yue’s iconic laughing visages are rendered in an almost jaw-breaking hysteria, with white teeth bared and eyes tightly shut. Mushroom Cloud is a particularly captivating piece from Yue’s oeuvre due to the artist’s use of repetition, as the artist lines up his faces in a way that resembles a military formation, even alluding to terracotta warrior sculptures. As the row is composed at the bottom of the canvas pane, the viewer’s eyes are thus drawn to look behind their heads at the background, featuring a mushroom cloud set against a bright blue sky. Roy Lichtenstein Atom Burst (Atomexplosion), 1965 Collection of the Modern Art Museum of Fort Worth, Texas © Estate of Roy Lichtenstein
羅伊·李奇登斯坦 《原子爆裂》 ，1965年作 德州，沃思堡現代美術館收藏
「誇張的形象可以表達更多的人性，並且決定這將是我的 終極主題後，為什麼不創建自己的誇張形象來傳達我想 講述的故事。」–岳敏君 以其開創性的現實主義風格和鮮明的色調描繪，岳敏君 的《蘑菇雲》向觀者展示了在一個濃煙滾滾、爆炸的 背景前，一群咧嘴笑到臉都僵硬的複製人。創作於2002年， 本件作品是岳敏君著名風格的典型之作，其中包括藝術家 所創作的極具幽默感與辨識度之開懷大笑人物。帶著 彌勒佛笑臉迎人的涵義，本作品展現了九張一模一樣、 鮮豔粉紅色的臉孔，也就是藝術家本人——每一張臉上都 有著一排整齊、細小的潔白牙齒，以及光滑齊整的黑髮 所構成。每張自畫像上的這個招牌式咧嘴大笑特徵已經 成為中國當代藝術最重要的標誌之一，並在許多層面上， 成為了整整一代人情感變遷的象徵。 1962年出生在中國最北面的黑龍江省，岳敏君屬於成長於 「文化大革命」 （1966年至1976年）期間宣揚「同一步調， 方能勝利」的一代人。那一時期的藝術受制於政治，而僅 展現以「紅、光、亮」為題材的藝術，目的在於服務社會 主義和人民——時常宣揚勞動者或烈士的偉大。在文化 大革命後的時代，尤其是1990年代經濟上的變化開始對 中國人民的生活施加不可逆轉的力量時，中國經歷了快速 的轉型。為了回應中國快速的發展、城市化和對西方開放 給人們所帶來的心理影響——出現了一種新的藝術風潮： 「玩世現實主義」，而岳敏君被認為是其中起著定義性作用 的領軍人物之一。通過結合中國的演變體現在繪畫上和 歷史上的獨特典故，岳敏君與他的同時代藝術家——包括 王廣義、方力鈞和張曉剛——起著最終推動中國的藝術 實踐邁向其重要之下一階段的作用。從本件畫作中紅色調 的臉孔中可以看出，他在作品中故意使用「社會現實主義」 政治宣傳藝術的主要特徵，並將其轉變為對國家糖衣包裝 現實的諷刺性批評。通過此舉，藝術家獨特的肖像和隱含 的政治評論，對當代中國社會做出的進一步的諷刺諧擬。 咧嘴大笑，一般來說意味著歡樂的氣氛，但岳敏君標誌性 的笑臉，被描繪成牙齒白亮、雙眼緊閉，下巴近乎裂開的 歇斯底里。《蘑菇雲》是岳敏君作品中尤為引人入勝的一 件，這歸因於藝術家對重複手法的使用。藝術家將他的 臉孔以軍事陣列一般的形式排列，甚至暗示著兵馬俑。 由於一整排的臉都位於畫布的底端，觀者的目光被吸引至 他們頭部後方的背景，展示著蔚藍天空背景前的一朵 蘑菇雲。讓人聯想起中國在1964年第一次試爆原子彈， 標誌著中國進入了全球核武器大國的行列。岳敏君將 原子彈潛在的嚴重後果與輕鬆的嘻笑並置在同一畫面。 這一對比所引起的荒謬感，顯著證明了藝術家的繪畫所 具有的心理上的複雜性。
畫面鮮艷純淨，岳敏君在本件作品的構圖上巧妙地達到了 華麗與機智、想像與現實，以及雜亂無章與整齊有序之間的 平衡。通過結合從宣傳海報中挪用的元素與當代廣告中簡單 且直觀的語言，岳敏君成功地摒棄了傳統美學，取而代之 的是一種源自我們當代文化語境的新風格。隨著《蘑菇雲》 中的內涵融合在一起，去傳遞中國的龐大廣袤，從國家的 悠久歷史到其生機勃勃的文化，以及個人的汲汲營營—— 這件動人的畫作無疑證實了岳敏君作為中國最先進的聲音 之一的地位。 憑藉其高識別度的標誌性圖案，岳敏君的作品獲得了國際性 的讚譽，他的整個職業生涯中在許多重要的畫廊和美術館 舉辦過個展。岳敏君的作品被廣泛收藏，包括中國的廣東 美術館、舊金山現代藝術博物館、法國弗朗索瓦·密特朗 文化中心和韓國釜山藝術博物館，以及其他機構的永久性館 藏中都擁有一席之地。被認為是當代中國的藝術巨匠中之一 位，岳敏君作為他這一代人和這一時代的傑出畫家，留下了 他具有影響力的印記。
22. Takashi Murakami
b. 1962
Cherries FRP, steel, acrylic and urethane paint 218.4 x 165.1 x 78.7 cm. (85 7/8 x 65 x 30 7/8 in.) Executed in 2005, this work is number 2 from an edition of 5 plus 2 artist’s proofs. Provenance Blum & Poe, Los Angeles Acquired from the above by the present owner Exhibited Hong Kong Museum of Art, Louis Vuitton: A Passion for Creation, 22 May - 9 August 2009, p. 23 (another example exhibited and illustrated) Literature Marc Jacobs and Louis Vuitton, Louis Vuitton: Art, Fashion and Architecture, New York, 2009, p. 302 (another example illustrated)
村上隆 《櫻桃》 玻璃纖維 鋼 壓克力 聚氨酯塗料 2005年作，共有5版及2版藝術家試作版，此為第2版 。 來源 洛杉磯，Blum & Poe 畫廊 現藏者購自上述來源 展覽 香港藝術館， 〈路易威登: 創造的激情〉 ，2009年5月22日-8月9日， 第23頁（展品及圖版為他版作品） 出版 Marc Jacobs 與路易威登著， 〈路易威登：藝術，時尚與建築〉 ， 紐約，2009年，第302頁 (圖版為他版作品)
HK$ 3,000,000-5,000,000 US$ 385,000-641,000
© 2005 Takashi Murakami / Kaikai Kiki Co. Ltd. All Rights Reserved
O♦
Takashi Murakami is one of the most successful and infuential contemporary artists to emerge from Japan in recent decades. Known for blurring the lines between high art and popular visual culture, and for challenging the divide between artistic practice and commercial enterprise, Murakami’s colourful sculptures and paintings belie the sharp, subversive intelligence of their creator. Graduating with a PhD from the Tokyo National University of Fine Arts in 1993, encounters with the simulationist art of Jef Koons and later with a collective of installation and performance artists in New York led to Murakami rejecting his training in the traditional Japanese artistic conventions and techniques of nihonga in favour of acrylic paints and a fully-fedged exploration of Japanese otaku subcultures. “Superfat” was Murakami’s 2001 manifesto arising from this period of refection, a term referring to the twodimensionality of Japanese graphic art and animation, as well as describing an ironic response to the perceived shallowness of the media, entertainment and consumer culture. Murakami’s work subsequently adopted a blend of contemporary Japanese pop culture themes and motifs (most notably manga comics and anime) together with infuences from traditional Japanese painting and printmaking, in particular the fat and brightly-coloured simplicity of ukiyo-e woodblock prints (see for example Utagawa Hiroshige’s Flowers of the Four Seasons). With its irresistible charm and a sly provocativeness, Cherries shows Murakami to be an artist skilled at navigating the realm of the surreal. The traditionally sexual connotations of cherry fruit are undermined by the disarming, candy-coloured smiles of Murakami’s Cherries, ofering a joyfully surreal encounter for viewers. In the midst of his deep dive into otaku culture during the mid-1990s, Murakami realised the greater relatable appeal and potential of kawaii, and thus re-oriented his art from confrontation to cuteness. He created a strange, imaginary world of iconic characters including Mr. DOB, Kaikai, Kiki and enchanted mushrooms, eyes, and fowers. He explained in an interview with the New York Times: “I found a system for what is a cute character,” and on a whiteboard at Kaikai Kiki he drew a circle with the top half blank and the bottom half containing two dots for eyes and a smiling mouth. “In the kawaii system, this scale is very important” (the artist quoted in Arthur Lubow, ‘The Murakami Method’, The New York Times, 3 April 2005, online).
Cherries also pays tribute to the infuence of Pop Art on the Superfat movement, referencing American sculptor Claes Oldenburg’s celebrated Spoonbridge and Cherry sculpture (1988) for the Walker Art Center in Minneapolis. Oldenburg created monumental works based on everyday consumer objects which elevated the banal to the extraordinary, and Cherries in its bold, voluptuous form provides a humorous, even Americanised, counterpoint to the mystique and rituals of Japanese cherry blossom culture. But whilst Pop Art took a somewhat quizzical, even critical look at capitalism and the burgeoning culture of consumerism, Murakami transcended those boundaries altogether. Cherries was created in 2005, the same year that Murakami’s fourishing collaboration with Louis Vuitton saw Murakami’s kawaii smiling red cherries featured alongside the historic LV monogram on the label’s cult luxury handbags and accessories. Murakami’s instantlyrecognisable smiling cherry icon is now immortalised in art and fashion history, his collaboration with the French fashion house propelling Murakami to celebrity status in Japan and around the world, and cementing his reputation as an artist unafraid of blurring the boundaries between ‘high’ art and commercial enterprise. Murakami continues to work deliberately to reject the air of exclusivity surrounding art, synthesising elements of high and low culture across all areas of his work. Showing a fercely entrepreneurial streak in his work, he is a game-changer in terms of his desire to cut across conventional boundaries for an artist in the art world (most notably through the establishment of his art production and artist management company KaiKai KiKi), as well as through his collaborations across altogether diferent industries (for example with cult fashion designer and music producer Virgil Abloh), efortlessly switching between contemporary cultural and subcultural trends. Since his frst solo exhibition outside Japan in 1995 at Galerie Perrotin, Murakami’s status as one of the most important artists of our time has been confrmed by numerous exhibitions at prominent museums and art institutions around the world, including the Palais de Tokyo in Paris and the Museum of Contemporary Art in Los Angeles.
村上隆是近幾十年來日本出現的、最成功及最具影響力之 當代藝術家之一。其作品以模糊高雅藝術與流行視覺文化 之間的界限，及挑戰藝術實踐與商業之間的鴻溝而聞名， 村上隆彩色鮮麗的雕塑和繪畫，蘊含著創作者敏銳和具有 顛覆性的智慧。 1993年畢業於東京國立美術大學並獲得博士學位後， 由於受到傑夫·昆斯的模擬主義藝術、以及後來在紐約的 一個裝置與表演藝術家團體之影響，村上隆摒棄了他所 接受的日本傳統藝術「日本畫」手法及技巧方面的訓練， 並轉向丙烯顏料的使用，以及對日本禦宅族次文化的全面 探索。 「超扁平」是村上隆在2001年這一反思時期產出的宣言， 這一術語意指日本圖像藝術和動畫中的二維性，以及描述 對人們所認知的媒體、娛樂和消費文化的膚淺所作出之 反諷的回應。村上隆的作品隨後採用了對當代日本流行 文化中的主題和圖案（尤其是日本漫畫與動漫）的融合， 以及日本傳統繪畫和版畫，特別是浮世繪版畫中的扁平和 明亮鮮豔的簡約之影響（參見歌川廣重的《四季之花》為例） 。 憑藉其不可抗拒的魅力和狡黠的挑釁意圖， 《櫻桃》展現了 村上隆作為一名藝術家擅長遊走於超現實領域的能力。 櫻桃傳統意義上的性暗示在村上隆讓人毫無戒心、糖果色 的笑臉櫻桃身上不復存在，為觀者帶來了一場愉悅的超現 實邂逅。當他在1990年代中期深入研究於禦宅族文化 之際，村上隆意識到卡哇伊對人們的巨大吸引力和潛力， 於是將他的藝術從衝突重新調整為可愛。他創造了一個 奇異、想像的世界，裡面有著包括Mr. DOB、Kaikai、 Kiki，以及魔法蘑菇、眼睛和花朵等標誌性人物。他在 接受《紐約時報》採訪時解釋說： 「我發現了一套打造可愛 角色的方法，」並且在Kaikai Kiki工作室的白板上畫了一個 圓圈，上半部分是空白的，而下半部分則是兩個點做眼睛 和一張微笑的嘴。 「在卡哇伊系統中，這個比例非常重要」 （藝術家引自Arthur Lubow， 《村上隆方法論》， 《紐約時報》 ， 2005年4月3日，截自網路）。 《櫻桃》同時也通過參照美國雕塑家克萊斯·歐登柏格為 明尼亞波利斯之沃克藝術中心所創作的著名雕塑作品 《勺與櫻桃》，來向波普藝術對超扁平運動的影響表示 致敬。歐登柏格以日常生活中的消費品為原型，將平庸 瑣碎提升到超凡脫俗，創作了具有紀念意義的作品， 而《櫻桃》以其大膽、豐滿的形式為日本櫻花文化的神秘性 和儀式性提供了幽默的、甚至是美國式的對立。然而波普 藝術對資本主義以及蓬勃發展的消費文化持有質疑、甚至 批判性的態度，村上隆則超越了所有這些界限。
《櫻桃》創作於2005年，同年村上隆與路易威登進行火熱的 合作，他的卡哇伊笑臉紅櫻桃與具有歷史感的LV字母 組合花紋一起被印在品牌的經典手袋和配飾上。村上隆 那辨識度極高的櫻桃笑臉圖案如今已被用藝術和時尚歷史 永久記載，他與這家法國時尚品牌的合作也將村上隆在 日本與世界各地都推向了明星般的地位，並且鞏固了他 作為一名毫不忌諱地打破「高雅」藝術與商業之間界限 的藝術家之聲譽。 村上隆在創作中持續地刻意摒棄藝術的排他性，將高雅與 通俗文化中的元素在他的作品的各個領域進行結合。他的 作品中表現出強烈的企業家精神，他渴望打破藝術圈傳統 意義上給藝術家所設定的界限，使他改變了藝術界的遊戲 規則（尤其是通過他所創立的藝術品生產和藝術家管理 公司Kaikai Kiki），以及通過與不同行業的跨界合作（例如 他與傳奇時裝設計師兼音樂製作人Virgil Abloh的合作） ， 使他毫不費力地在當代文化與次文化潮流之間進行切換。 自1995年他在貝浩登畫廊舉辦的首次在日本以外的 個展起，他在巴黎的東京宮和洛杉磯當代藝術館等全世界 各大重要美術館和藝術機構舉辦的無數展覽，都證明了 村上隆作為這個時代最重要的藝術家之一的地位。
Utagawa Hiroshige Colour woodblock print of bird and fowers Collection of the British Museum, London 歌川廣重 雀鳥、花卉彩色木刻版畫 倫敦，大英博物館收藏
Property from an Important Private Collection
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23. KAWS
b. 1974
TALK BACK signed, titled and dated ‘KAWS..13 “TALK BACK..”’ on the reverse acrylic on canvas 241 x 221 cm. (94 7/8 x 87 in.) Painted in 2013. Provenance Galerie Perrotin, New York Acquired from the above by the present owner Exhibited New York, Galerie Perrotin, KAWS: PASS THE BLAME, 2 November - 21 December 2013
重要私人收藏
KAWS 《回嘴》 壓克力 畫布 2013年作 款識：KAWS..13《TALK BACK..》(畫背) 來源 紐約，貝浩登畫廊 現藏者購自上述來源
展覽 紐約，貝浩登畫廊， 〈KAWS: 推卸責任〉， 2013年11月2日 - 12月21日
HK$ 8,000,000-12,000,000 US$ 1,030,000-1,540,000
The present work exhibited during New York, Galerie Perrotin, KAWS: PASS THE BLAME, 2 November – 21 December 2013 Photo: Guillaume Ziccarelli
此作品展於紐約，貝浩登畫廊， 〈KAWS: 推卸責任〉 ， 2013年11月2日 - 12月21日
‘KAWS is not just referring to pop culture, he is making it.’ (Michael Auping, ‘America’s Cartoon Mind’, KAWS: WHERE THE END STARTS, exh. cat., Modern Art Museum of Fort Worth, Texas, 2016, p. 63) KAWS is one of the most prominent and forward-looking artists of our present age. Prodigious in scale and composed of vibrant chromatic hues, the present lot is a striking example of the American visual contemporary artist’s signature shaped canvas paintings. Immaculately rendered in shades of red, blue, turquoise and neon yellow, TALK BACK appears to leap of the wall and into the viewer’s space, juxtaposing the canvas’ fat surface as the viewer is thrown into a mass of kaleidoscopic dynamism. Tapping into the nostalgic potency of cherished childhood icons who are universally recognised, KAWS redesigns them in his work, inserting their cartoon forms back into the realm of fne art. TALK BACK represents a robust development of this strand of the artist’s practice, as he twists and magnifes the animated pop culture icons with an aesthetic that straddles both traditional illustration and expressive abstraction. Through elements that seem to resemble cartoon eyes, a chin, and clenched teeth, the canvas hints at certain character’s features without ofering the viewer with enough information for a picture to be fully formed. The cartoonish symbolism extends onto the shape of the canvas itself, as KAWS moves away from a conventional rectangular plane towards a more abstract form. Among the colourful elements, however, a pair of X-ed out eyes confront the viewer. Drawing on the imagery from cartoons afer a character has drunk from a vial of poison, KAWS’s trademark X-ed out eyes give a somewhat sinister edge to a work that initially feels very playful. The subversive nature of the present lot’s title, TALK BACK, contributes to the unique sense of the uncanny that is fostered in the work. While the result of KAWS’s ingenious compositions is a visual language that is recognisable, translatable and impressionable, his infused animated icons also present the viewer with witty humour and critical discourse.
Painted with such perfected clarity that there is no trace of his freehanded approach, TALK BACK clearly demonstrates the artist’s technical mastery and meticulous attention to detail. The precision of his brushwork refects the artist’s admiration of Jef Koons, whose ‘perfectionist mentality’ KAWS has commended, appreciating how ‘over the top’ it is (Brian Donnelly, quoted in Tobey Maguire, ‘KAWS’, Interview Magazine, 27 April 2010, online). KAWS’s works follow in the footsteps of Pop Art, and his questioning of consumer culture aligns his practice with artistic predecessors, including Andy Warhol, Keith Haring, Claes Oldenburg and Takashi Murakami. Uniquely to him, however, KAWS’s instantly identifable aesthetic straddles both the art and design worlds with a global outreach arguably achieved by no artist before him, incorporating public art, product design, toy making, painting, sculpture and printmaking. With inspiration drawn from a variety of other sources, including high art, comic books, and popular animations, KAWS’s clean graphic style of perfect lines and abstract shapes stems from his initial background as a grafti provocateur in the 1990s. In modifying photographic images on billboards, fashion and bus shelter advertisements, KAWS would leave his playful mark in such a skilful manner that his brushstroke-free versions could have been mistaken for the initially intended imagery. Executed in 2013, the present lot is thus not only a compelling example of KAWS’s refned aesthetic, but of the transformation of his work into the upper echelons of fne art galleries and institutions. With his unique aesthetic that has garnered him a devoted international following including more than 2.5 million people on Instagram, KAWS has experienced a meteoric ascent to international acclaim, vehemently establishing his position in the lexicon of contemporary art. His characteristically bright compositions have avidly caught the attention of collectors worldwide, as well as industry giants and collaborators such as Nike, Dior and Uniqlo. His practice has been honoured with numerous solo shows around the globe including, most recently, a monumental retrospective at the National Gallery of Victoria, Australia (2019-2020).
Josef Albers Homage to the Square (La Tehuana), 1951 Collection of the Modern Art Museum of Fort Worth, Texas © The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York 2019
約瑟夫·阿爾伯斯 《向方型致敬（拉特瓦納）》 ，1951年 德州，斯州沃思堡現代藝術博物館收藏
「KAWS不只是在指涉波普文化，他是在創造它。」 （麥克· 奧平， 《美國的卡通心靈》 ， 《KAWS：始於終點》，展覽 畫冊，沃斯堡現代藝術博物館, 德克薩斯州，2016年， 第63頁） KAWS是我們這個時代最重要且最具遠見的藝術家之一。 尺幅龐大且在構圖上色調明豔，安件拍品是這位美國 視覺藝術家的標誌性不規則形狀的布面作品中出類拔萃 的典範。以紅、藍、青綠，以及霓虹黃，色度完美地 呈現， 《回嘴》彷彿跳脫牆面，躍入觀者所在的空間， 使畫布平整的表面與之並列，將觀者帶入千變萬化的動態 世界。KAWS在他的作品中將人們所熟知的、自童年時代 便喜愛的卡通人物進行重新設計，將它們的卡通形式重新 融入到藝術領域。 《回嘴》代表著藝術家創作理念的強勁發展，他將流行 文化中，標誌性動畫人物以跨越傳統插畫和抽象表現的 美學風格進行改變和放大。畫面通過看似卡通的眼睛、 下巴，以及咬緊的牙等等元素，暗示著某些卡通人物的 特徵，卻又不為觀者提供足夠的信息來形成完整的畫面。 隨著KAWS從傳統的方形畫面轉向一種更為抽象的形式， 卡通式的象徵意義也延伸到了畫布的形狀本身。然而， 在這些色彩繽紛的元素中，一雙X眼睛直視著觀者。 從一個卡通人物喝了一瓶毒藥之後的形象中汲取靈感， KAWS的標誌性X眼讓原本感覺俏皮的作品帶著某種程度 的惡毒特質。本拍品的標題， 《回嘴》，其顛覆性本質， 也為作品所醞釀的獨特怪異感錦上添花。僅管KAWS巧妙 構圖的成果是一種易於辨識、易於傳達、易於影響的視覺 語言，他所創造之充滿活力的人物同時也向觀者呈現了 機智幽默和批判性的論述。
以如此完美並清晰的繪制手法，作品中完全看不到他徒手 繪畫的痕跡， 《回嘴》明顯展示了藝術家在技巧上的精湛和 對細節的無微不至。他在筆觸上的精確影射著藝術家對 傑夫·昆斯的欽慕，而其「完美主義者的心態」被KAWS 所讚賞，稱頌其為「極致」(布萊恩·唐納利，引自托比· 马奎爾， 《KAWS》， 〈Interview雜誌〉，2010年4月27日， 截自網路）。KAWS的作品緊隨波普藝術的腳步，而他對 消費文化的質疑也使他的創作與安迪·沃荷、凱斯·哈林、 克萊斯·歐登柏格以及村上隆等藝術先驅人物有著 一致性。然而，他的獨特之處在於，KAWS讓人一眼 就能辨識的美學風格跨越了藝術和設計兩個領域，結合了 公共藝術、產品設計、玩具製造、繪畫、雕塑和版畫 製作，有著在他之前可以說其他藝術家未曾達到的全球 範圍之影響力。KAWS也從其他各種渠道汲取靈感，包括 高雅藝術、連環畫，以及流行動漫等，KAWS具有完美 線條和抽象形狀的簡潔圖像風格源自他在1990年代初作為 塗鴉先鋒人物的背景。在對廣告看板、時尚和公車站海報 的攝影圖像上再創作時，KAWS會以一種巧妙的方式留下 他自己俏皮的印記，以至於讓人們將他那與原始海報的 完美結合之修改版本誤認為是原始規劃的圖像。創作 於2013年，本件拍品不僅是KAWS的精緻美學風格的； 一件引人注目之例證，更是他的創作轉變成為進階至高 水準藝廊和機構的一個例子。 他獨特的美學風格為他在國際上贏得了一批忠實粉絲， 其中包括超過250萬的Instagram追蹤者，KAWS經歷了 飛速的上升，獲得國際上的盛譽，迅猛地建立出他在當代 藝術上眾所周知的地位。他特徵鮮明的明亮作品引起了 全球收藏家的熱切關注，加上耐吉、奧迪和優衣庫等行業 巨頭和合作品牌之推波助瀾。他的創作履履進入美術館， 舉辦了全球多場個人展覽，包括正在進行中的， 於澳大利亞 的維多利亞國立美術館之大型回顧展（2019年-2020年）。
Property of a Distinguished Asian Collector
24. George Condo
b. 1957
The Great Gazoo signed and dated ‘Condo 2010’ on the reverse acrylic and charcoal on linen 165.2 x 165.8 cm. (65 x 65 1/4 in.) Executed in 2010. Provenance Galerie JérÔme de Noirmont, Paris Acquired from the above by the present owner Exhibited Paris, Galerie JérÔme de Noirmont, George Condo - Cartoon Abstractions, 31 March - 26 May 2010, pp. 28-29 (illustrated p. 29)
重要亞洲私人收藏
喬治·康多 《偉大的加佐》 壓克力 炭筆 畫布 2010年作 款識：Condo 2010 (畫背) 來源 巴黎, Jérôme de Noirmont 畫廊 現藏者購自上述來源 展覽 巴黎，Jérôme de Noirmont 畫廊， 〈喬治·康多：卡通抽象〉，2010年3月31日-5月26日， 第28-29頁 (圖版第29頁)
HK$ 4,500,000-6,500,000 US$ 577,000-833,000
The Great Gazoo is a cartoon character in the Flintstones animated series and part of the body of works entitled Cartoon Abstractions, which George Condo began in 2009. Inspired mainly by Tex Avery, Hanna-Barbera and Looney Tunes characters, in each painting Condo begins by drawing the original outlines of these fgures. He then extends these black outlines in order to produce an abstract composition which will cover the remainder of the canvas. Fragmented, subjective depictions of the character drawn from the artist’s imagination blend with the layers of paint, at times appearing clearly or implicitly beneath coloured marks, an improvisation based upon spontaneous use of the paint. Each canvas has its own chromatic palette, drawn directly from the colours associated with the character shown. In the present work, shades of green dominate the composition to match the costume of the little alien. Exhibited as early as in 2010 at the Galerie JérÔme de Noirmont in Paris, the Cartoon Abstractions form a singular but very coherent small group of works in the artist’s career. Condo had already embraced the cartoons theme in depicting Superman and Batman in works from 2005. At play in these works was an acerbic comment on the values of the superhero in today’s society, as well as an underlying analysis of the genre of portraiture itself. In the Cartoon Abstractions series, Condo refects upon his own practice as well as the age d’or of American sof power, where its cultural history conquered and transformed the world in the 1950s and 1960s. Condo has always drawn his inspiration from the Masters, whether Pablo Picasso or the Old Masters he copied in the Louvre whilst living in Paris. He did not merely copy their fgures and subjects though, showing more interest in their techniques and rules of composition. Looking at the deep infuence Abstract Expressionism and especially Willem de Kooning has had on Condo, the same analysis can be drawn. De Kooning’s heritage can be seen in the background of the The Great Gazoo, where the canvas forms the stage of an action painting in which corrections, erasures and grand gestures are as important as the subject which occupies the foreground.
Another major source of inspiration evident in this work is the artist’s tribute to Pop Art, in particular Andy Warhol and Lichtenstein. Condo’s Cartoon Abstractions similarly emphasises the gravity of the pictorial language present in cartoons, representing consumer products as emblems of a mythical American imagery. Moreover, the Cartoon Abstractions series highlights an evolution in the artist’s work, a fascination with and a craving for a chronicle of generic American imagery. By choosing to represent cartoons developed in the 1950s and 1960s, Hollywood’s ‘Golden Age’, Condo links his paintings to moments in American history where cultural identity was being reshaped and the infuence of mass media in the culture of a nation was only just starting to emerge. In illustrating a realistic portrayal of the artifcial, these works question the legitimacy of the subject in art and the stereotypes to which we adhere. Cartoons are a product comprised of part pure imagination and part cultural framework; their realistic aspects too are a function of the perspective in which they are considered. When Condo exhibited this work in the Galerie JérÔme de Noirmont, he discussed with Emmanuelle de Noirmont the infuence of Jazz music on his practice, in particular Free Jazz. This form of music emerged in America in the 1950s and 1960s and set the principle that the musician should start with a simple musical motif and improvise on it. The parallel with the Cartoons Abstractions and The Great Gazoo is particularly evident in the artist’s technique, the tremendous freedom in the composition of the canvas and the application of the paint.
The present work exhibited during Paris, Galerie Jérôme de Noirmont, George Condo - Cartoon Abstractions, 31 March - 26 May 2010 Artwork © 2019 George Condo / Artists Rights Society (ARS), New York
此作品展於巴黎，Jérôme de Noirmont 畫廊， 〈喬治·康多：卡通抽象〉 ，2010年3月31日-5月26日
‘It’s about dismantling one reality and constructing another from the same parts.’ George Condo
The lines are sketchy, colours radiate outside their linear bounds and, in certain felds of the canvas, individual details of the characters are duplicated in varying arrangements, contorted or slung over each other. Condo leaves intact the initial black outlines of the fgures that not only serve as the formal inception of the central matter but also extend outwards to create an abstract confguration submerging the remainder of the canvas. Disjointed portrayals of the characters reimagined by the artist suggest spontaneity and echo a musical phrase which would be played in a variation of tones. Jazz, cartoons, Abstract Expressionism, Pop Art - all these sources relate to a specifc period in the history of the United States, the 1950s and 1960s, during which all these creative manifestations were shaping a cultural identity which is still alive today. By summoning all of them simultaneously, Condo not only blends them onto the canvas but also invokes and follows their spirit, making him impossible to categorise under any school or movement. Led by a creative force free from any constraint, virtuosic, and enthusiastic in his artistic practice, Condo ofers us in The Great Gazoo a valuable insight into his creative process and inspirations.
《偉大的加佐》是《摩登原始人》動畫系列中的一個卡通 人物，並且是喬治·康多於2009年開始創作的名為《卡通 抽象》系列作品的一部分。主要受到泰克斯·艾弗瑞、 漢納·巴伯拉和樂尼·突尼斯所出品的角色之啟發，康多 在每一幅畫中都是先從繪製這些人物的原始輪廓開始。 然後，他將這些黑色輪廓進行擴展，發展成覆蓋畫布其他 部分的抽象構圖。從藝術家的想像中提取出來的；碎片化 的主觀之描繪與層層顏料融合在一起，有時清晰地或隱約 地出現在彩色標記之下，一種基於對顏料自發使用的 即興創作。每張畫布都有自己的色彩組合，直接來自與所 展示的角色之相關顏色。在本作品中，綠色陰影構成了 與小外星人的服裝匹配的構圖。最早於2010年在巴黎的 杰羅姆·德·諾瓦蒙畫廊展出， 《卡通抽像》系列作品在 藝術家的職業生涯中，形成了一組獨特但非常具有一致性 的作品。康多在2005年開始，通過在作品中描繪超人和 蝙蝠俠的形象，去擁抱卡通這一主題。這些作品中即出現 了對當今社會的，超級英雄價值觀之尖刻評論，以及就此 引發的，對肖像畫本身這一題材之分析。在《卡通抽象》 系列中，康多對自己的創作，以及美國軟實力的黃金時代 進行反思，後者的文化歷史在1950和1960年代征服和 改變了全世界。 康多一直從大師的作品中汲取靈感，無論是畢卡索， 還是他在巴黎居住期間於盧浮宮複製的古典大師。他不僅 只是複製他們的人物和主題，而且對其技巧和構圖規則 表現出了更大的興趣。細觀抽象表現主義，尤其是 威廉·德·庫寧對康多的深刻影響，可以得出相同的分析。 德·庫寧的精華可以在《偉大的加佐》背景中看到，畫布 構成了行動繪畫的舞台，其中修改、擦除和宏偉動勢都 有著與占據前景的主題同樣之重要性。
© 2019 George Condo / Artists Rights Society (ARS), New York
這件作品中另一個重要的靈感來源，顯然是藝術家對波普 藝術的致敬，特別是對安迪·沃荷和李奇登斯坦。康多的 《卡通抽象》同樣強調了卡通中圖示語言的莊重性，代表著 消費品作為美國神話圖像的象徵。此外， 《卡通抽象》系列 強調了藝術家作品演變過程，一種對紀錄美國通用圖像的 迷戀和渴望。通過選擇對發展於1950和1960年代好萊塢 的「黃金時代」之卡通漫畫進行表現，康多將他的繪畫與 美國歷史上那些文化身份被重新塑造，大眾媒體對一個 民族文化的影響，其方興未艾的時刻進行連結。通過對人 造的現實性寫照，這些作品對該主題在藝術中的權威性 以及我們所墨守的成規提出質疑。卡通產品是由純粹的 想像力和文化框架共同組成的產品；它們的現實方面也 取決於看待它們的角度。
當康多在杰羅姆·德·諾瓦蒙畫廊展出這件作品時，他與 Emmanuelle de Noirmont討論了爵士樂對他的創作的 影響，尤其是自由爵士樂。這種音樂形式出現在1950和 1960年代的美國，並確立了樂手應該以簡單的音樂主題 開始，並在此基礎上即興創作為原則。這與《卡通抽象》 和《偉大的加佐》有其相似之處，在藝術家的技巧上尤為 明顯，在畫面構圖上的巨大自由度和在顏料的運用方面。 線條是粗略的，顏色在其線性邊界越出，在畫面的某些 區域中，人物的各個細節以不同的排列方式重複出現、 扭曲或相互倚靠。康多完整保留了人物最初的黑色輪廓， 中心主題不僅從這些輪廓中開始，而且還向外延伸，創建 出淹沒餘下畫面的抽象結構。由藝術家重新構想出不連貫 的人物描繪，顯示了其自發性，並且呼應了可以用不同音 調演奏的曲調。 爵士樂、卡通、抽象表現主義、波普藝術——所有這些 來源都與美國歷史的特定時期相關，1950和1960年代， 在這些時期，所有這些創造性的表現形式都在塑造著一種 至今都仍活躍著的文化身份。通過同時召喚所有元素， 康多不僅將它們融合在畫布上，而且還喚起並追隨它們的 精神，使他無法被歸類到任一學派或藝術運動中。不受 任何限制，在創作中以其精湛技巧、滿腔熱忱，康多在 《偉大的加佐》中讓我們有幸得以一窺其創作過程與靈感。
Property from an Important Asian Collection
25. Takashi Murakami
b. 1962
And Then x 6 (Platinum & White: The Superfat Method) signed and dated ‘TAKASHI 2012’ on the overlap acrylic and platinum leaf on canvas mounted on board 100 x 100 cm. (39 3/8 x 39 3/8 in.) Executed in 2012. Provenance Gagosian, New York Acquired from the above by the present owner
重要亞洲私人收藏
村上隆 《然後x 6（白金和白：超扁平方法論）》 壓克力 鉑箔 畫布 裱於木板 2012年作 款識：TAKASHI 2012 (畫布邊緣) 來源 紐約，高古軒畫廊 現藏者購自上述來源
© 2012 Takashi Murakami / Kaikai Kiki Co. Ltd. All Rights Reserved
HK$ 3,800,000-5,000,000 US$ 487,000-641,000
Takashi Murakami and Andy Warhol’s names are ofen confated in contemporary art historical discourse as a means to thematically link the oeuvres of the two artistic powerhouses, born some three decades apart. Much like his Western predecessor, Murakami’s artwork has sought to scrutinise the interrelationship between art and commerce, paving a plane for both high and low art to co-exist. And yet, the “Japanese Warhol” exists far beyond this ascribed moniker—Murakami’s art is one which fuses varying strands of dichotomous infuences: traditional nihonga Japanese painting versus contemporary Japanese painting; nihonga vis-à-vis Western media; as well as pre and post war Japanese culture, lexicon, and visual prompts. It is against this rich backdrop of cultural, historical, and commercial infuences that Murakami has created his inimitable rubric of Superfat, an elaborate theory which forms the crucial lens through which one must read his art. An essence of all that is Murakami, Mr. DOB is the epitome of the artist—at once a mascot, a self-portrait, and an alter ego, Mr. DOB was Murakami’s frst signature creation in the early 1990s, and has remained the single most recognisable fgure in his entire body of work. In the present work, Mr. DOB has been rendered in a brilliant white, set against a metallic platinum leaf background. Mr. DOB simultaneously amalgamates the binaries of high and low art: the reverence usually reserved for Japanese and Western precious metal paintings or icons of deities (see for example the Christ Pantocrator mosaic from the dome of the Church of the Holy Sepulchre in Jerusalem) is juxtaposed against the cartoonish, grinning features of Mr. DOB. Recalling a huge variety of cartoon fgures spanning Walt Disney’s Mickey Mouse, Sonic the Hedgehog, Pyonkichi (from Dokonjo Gaeru [Gutsy Frog]), Doraemon—and much more, Mr. DOB captured the artist’s wish to create a Japanese cartoon icon as immediately recognisable as Hello Kitty, Pikachu, and Disney’s signature mouse. Refecting on his creation nearly a decade later, Murakami stated: “I set out to investigate the secret of market survivability - the universality of characters such as Mickey Mouse, Sonic the Hedgehog, Doraemon, Mify, Hello Kitty…” (Murakami quoted in Jef Howe, “The Two Faces of Takashi Murakami”, Wired, 2003, online). The character’s name is a contraction of various Japanese sub-culture references. Combining the Romanisation of comedian Yuri Toru’s catchphrase “oshamanbe”, with “Dobojite Dobojite” (Why? Why?) — a deliberate mispronunciation of “doshite” (why) uttered by characters in the 1970s manga cartoon Inakappe Taishō (The Country General) — Mr. DOB is a deliberate afront to logic and sense itself. This very nonsensical nature is literally blazoned upon and makes up Mr. DOB’s physiognomy: as we can see in the present work, the “D” and “B” make up his lef and right ears, and the “O” his smiling face. But in true Murakami form, the deceptively simple or even blasé ofen necessitates a much more cerebral analysis. In essence, though “DOB” has no meaning, it harks back to Murakami’s doctoral thesis, the titular investigation of which can be seen as a precursor to even Superfat itself:
“Imi no muimi no imi” (“Meaning of the Meaningless of Meaning”.) This thesis title breathed life into the artist’s practice that has been highlighted by a unique blend of nihilism and cynicism when inspecting his native culture. This essentially “meaningless meaning” was captured in one critic’s summary of Mr. DOB: “He faces the world with a question continually on his lips: ‘Why is this important? Why is this meaningful? Why is this good? Why is this read? Why is this art?’” (quoted from Takashi Murakami: summon monsters? open the door? heal? or die?, exh. cat., Museum of Contemporary Art, Tokyo, 2001, p.62) Indeed, the “why?” that represents Mr. DOB encapsulates Murakami’s desire for the viewer to continually challenge contemporary society’s conventions. Furthermore, Mr. DOB can also be seen as a literal physicalisation of Murakami’s singular enquiry into the co-dependence between consumerist culture and art itself, mixed in with a distinctive hint of post-war Japanese culture. In 1991, Murakami’s debut show Takashi, Tamiya — a title which referenced the famous Japanese toymaker Tamiya Inc.—showcased a series entitled Signboard TAMIYA, in which aspects of the American fag, the Tamiya Inc. company logo, and American soldier fgurines were all intertwined to create boards where the outlines of soldiers were somewhat burned into the stars above the toy logo. Rife with meaning, these works can be considered a post-war investigation into the identity of Japan following post-American-occupation, and the otaku (loosely simplifed as “geeky”) culture that sprung forth following—a generation revolving around toys, anime, and manga. Murakami maintains that in the wake of a World War II defeat and postwar occupation, Japan turned to otaku culture as a means of grappling with tough subjects, preferring childlike, animated fgures and forms which were free of historical meaning. Out of this setting, famous Japanese cartoons emerged, giving way to a huge production of toys, comic books, and various other paraphernalia. Mr. DOB, with its simple and easily replicable form, can therefore be seen not only as a fgurehead that evokes the likes of American pop art icons such as Andy Warhol and Roy Lichtenstein, but also as a symbol of the mass avalanche of Japanese cartoons and playthings which fooded post-war Japan. When taken alongside this context, we see many strands coalesce in the present works. Mr. DOB is a hybrid emblem that unites many dualities: East and West, pre and post-war Japan, high and low art, consumerist culture and high art forms. Forever ageless, Mr. DOB is the paragon of Takashi Murakami’s oeuvre that successfully captures the archetypal “Murakami efect” of a decentralised view of art history. It is thus no wonder that Mr. DOB has become a lasting symbol of the artist’s erudite sensibilities. Featured in the MoMA’s own collection, but also the artist’s 2003 collaboration with Louis Vuitton, Kanye West’s 2008 music video “Good Morning”, and the more recent collaboration with Virgil Abloh, “Future History”, Mr. DOB is here to stay in contemporary discourse, and will remain the pinnacle of the artist’s career and the very defnition of Murakami himself.
村上隆和安迪·沃荷這兩個名字在當代藝術的歷史語境中 此外，DOB先生也可以看作是隆上隆對消費主義文化 經常被混為一談，藉此將這兩位出生前後相隔了三十年的 與藝術本身的相互依賴關係的獨特探究的一種直觀物化的 藝術圈大腕的作品以主題進行連結。與他的西方前輩非常 體現，同時融入了戰後日本文化的獨特暗示。 在1991 相似的是，村上隆的藝術作品試圖審視藝術與商業之間 年，村上隆的首次個《Takashi，Tamiya》—展覽名稱來 的相互聯繫，為高低藝術鋪起共同存在的面。然而， 源於日本著名玩具製造商Tamiya Inc. － 展出了一個名為 「日本的沃荷」之存在遠遠超出了這個綽號本身 - 村上隆 《TAMIYA廣告牌》 （Signboard TAMIYA）的系列，其中 的作品融合了兩種完全相對立的藝術影響：傳統的 美國國旗、Tamiya Inc.公司的logo，以及美國士兵雕像 「日本畫」繪畫相對於當代日本繪畫； 日本畫相對於西方 都交織在一起構成這塊廣告牌，士兵的輪廓在某種程度上 媒體；以及戰前與戰後的日本文化、詞彙和視覺提示。 被燒成了玩具標誌上方的星星。作品充斥著意義，可以被 在如此豐富的文化、歷史，以及商業影響的背景下， 看作是對戰後結束美國占領後的那個日本的一種身份的 村上隆創造了他無可比擬的「超扁平」 （Superfat）創作 探究，以及伴隨著一代人對玩具、動漫的熱衷所產生的 概念，而正是這一精細的理論形成了我們對他的藝術進行 御宅族（可簡視為「極客」）文化。村上隆堅持認為， 解讀的關鍵方式。作為村上隆作品的精髓，DOB先生就 在第二次世界大戰中日本的失敗和戰後被佔領之後，日本 是藝術家本人的化身－作為吉祥物、自畫像，以及第二 將御宅族文化作為一種應對艱難的主題的手段，並且轉向 自我，DOB先生在90年代早期便立即成為了村上隆的標誌 那些本身不帶有任何歷史意義的富有童趣的、動畫般的 性作品，並且一直以來都是他所有作品中最具辨識性的 人物和形式。在這種背景下，出現了著名的日本漫畫， 人物。本拍品中，藝術家將Mr. DOB以明亮的白色呈現於 導致了玩具、漫畫書，以及各種其他配件的大量生產。 帶著金屬光澤的鉑箔背景之上。Mr. DOB同時融合了高雅 Mr. DOB，以其簡單且極易複製的形式，因此不應僅僅 和大眾兩類藝術本質：通常僅供日本和西方珍貴的金身 被視為對安迪·沃荷和羅伊·李奇登斯坦等美國波普藝術 畫像或聖靈畫像所獨享的尊榮（見耶路撒冷聖墓教堂圓頂 代表人物的簡單聯想，更應該視作是席捲戰後日本的卡通 上基督普世君王鑲嵌畫為例 ）與Mr. DOB那卡通式、齜牙 和玩具風潮的一種象徵。 咧嘴的面容放在一起形成對比。 在這種語境下，我們在這件拍品中看到許多的合併。 DOB 這讓我們聯想起許多卡通人物，包括華德·迪士尼的 先生是一個結合了許多二元性的混合標誌：東方和西方、 米老鼠、刺猬索尼克、平吉（來自《根性青蛙》）、哆安A夢 戰前和戰後的日本、高低藝術、消費主義文化和高級 等等，DOB先生完成了藝術家希望創造出一個能像Hello 藝術的形式。永遠具有永恆性，DOB先生作為村上隆 Kitty、皮卡丘和迪士尼的標誌性的米老鼠那樣讓人們立刻 作品中的典範，成功地捕捉了藝術史的分散式視角在 認出的日本卡通偶像的願望。在創作DOB先生近十年後， 「村上效應」中的原型。因此，無疑DOB先生已成為 村上隆回憶說： 「我開始探究關於市場生存能力的秘密 藝術家多元感知的持久象徵。展示於紐約現代藝術博物館 米老鼠、刺猬索尼克、哆安A夢、米菲兔、Hello Kitty等 的館藏中，同時也出現在藝術家於2003年與路易威登的 人物的普遍性...” （村上隆，引自Jeff Howe， 《村上隆的 合作中，在Kanye West的2008的音樂錄影帶《早安》 兩面》， 《Wired》雜誌，2003，截自網路。 ）這個角色的 （Good Morning）中，以及最近與Virgil Abloh合作的 名字來自對各種日本次文化參考的縮寫。結合喜劇演員 《未來歷史》 （Future History）中，DOB先生將繼續在現代 Yuri Toru所用的流行詞「oshamanbe」與「Dobojite 話語中有其一席之地，並將一直是藝術家職業生涯的巔峰 Dobojite」 （為什麼？為什麼？）的拉丁化 - 故意用上了 之作，且將繼續定義村上隆本身。 1970年代的漫畫卡通《InakappeTaishō》 （鄉村將軍） 中 人物將「doshite」 （為什麼）一詞的錯誤發音 － DOB先生 是對邏輯和意義本身的刻意侮辱。這種非常荒謬的本質 也被逐字刻劃在DOB先生的外貌構成上：正如我們在這件 拍品中所看到的那樣，字母「D」和「B」構成他的左耳 和右耳，而字母「O」則構成了他的笑臉。 但在真正的村上隆形式中，看似簡單甚至司空見慣的其實 需要更多的大腦分析。從本質上講，雖然「DOB」沒有任 何意義，但它可以追溯到村上隆的博士論文，其甚至可以 看作是「超扁平」的前身的同名研究：「Imi no muimi no imi」 （「意義的無意義的意義」。）這篇論文的標題為藝術 家的實踐注入了活力，而該實踐顯示在對他的本國文化的 審視中將虛無主義和犬儒主義的獨特融合上。這個本質上 「毫無意義的意義」體現在一位評論家對DOB先生所做出 的總結中：「他面對世界時一直有一個問題掛在嘴邊： 「為什麼這是重要的？為什麼這是有意義的？為什麼這樣是 好的？為什麼這是解讀？為什麼這是藝術？」」 （引自東京， 東京都現代美術館， 《村上隆：召喚怪物？打開門？治愈？ 或死？》摘自展覽畫冊，2001年，第62頁）的確，這個 「為什麼？」代表著DOB先生身上包含的村上隆寄予觀眾 去不斷挑戰當代社會習俗的渴望。
A view of the Christ Pantocrator mosaic depicting Jesus in the dome of the Church of the Holy Sepulchre in Jerusalem. 聖墓教堂圓頂上基督普世君王鑲嵌畫圖象， 耶路撒冷
Property from an Important Los Angeles Collection
26. Yoshitomo Nara
b. 1959
The Prototype of the Head of Morioka Pup fbre reinforced plastic and wood Head: 93.3 x 73.7 x 109.2 cm. (36 3/4 x 29 x 42 7/8 in.) Base: 71.8 x 68.6 x 102.8 cm. (28 1/4 x 27 x 40 1/ 2 in.) Executed in 2005. Provenance Tomio Koyama Gallery, Tokyo Acquired from the above by the present owner Exhibited Aomori, Yoshii Brick Brewhouse, Yoshitomo Nara + Graf: A to Z, 29 July - 22 October 2006 Literature Yoshitomo Nara and Graf, A to Z, Tokyo, 2006, unpaginated Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works Volume 1: Paintings, Sculptures, Editions, Photographs 1984-2010, Tokyo, 2011, no. S-2005-002, p. 279 (illustrated)
重要洛杉磯私人收藏
奈良美智 《盛岡小狗頭部原型》 強化纖維塑料 木 2005年作 來源 東京，小山登美夫畫廊 現藏者購自上述來源 展覽 青森，吉井酒造煉瓦倉庫， 〈YOSHITOMO NARA + Graf: A to Z〉 ， 2006年7月29日 - 10月22日 出版 奈良美智與Graf， 〈A到Z〉 ，東京，2006年，無頁數 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-2005-002，第279頁 (圖版)
HK$ 1,500,000-2,000,000 US$ 192,000-256,000
‘I could communicate better with animals, without words, than communicating verbally with humans.’ © Yoshitomo Nara
Yoshitomo Nara
Executed in 2005, the present lot’s long snouted white puppy with foppy ears is amongst Yoshitomo Nara’s most beloved characters. Its outwardly innocent form encapsulates a deeply held set of emotions spanning childhood memories, spirituality, and loneliness. Representative of the prolifc Japanese artist’s style, one which blends childlike imagination with undercurrents of adult cynicism, not only are Nara’s works highly relatable to audiences of all ages but they also possess strong spiritual and autobiographical qualities that reach into the heart of the artist’s unique brand of art-making. The giant scale puppy head rendered in pure white brings to mind the komainu from the Japanese tradition, mythical lion-dog statues commonly placed at shrine entrances as guardians. Dignifed and imposing in solidity and size, Nara introduces emotional complexity to what is commonly viewed as a noble statue. Unlike humans, animals do not have the ability to communicate through words, doing so instead through their expressions. Whilst large and solid, the domesticated canine companion’s playful expression is betrayed by long drooping ears that evoke the fragile vulnerability of a wounded puppy, even conveying a sense of defensive anxiety in response to its surroundings. The result is a larger than life work that is both endearing yet faintly menacing. The puppy motif that populates Nara’s oeuvre is also highly signifcant to the artist’s personal life, exemplifed by the character’s inclusion as the main protagonist of Nara’s frst children’s book The Lonesome Puppy. The artist wrote and illustrated a tale of a large dog that was so big that nobody noticed him, until a little girl came by and climbed through the clouds to befriend him. The story recounts the point of view of the puppy: ‘I was too big for anyone to notice me, that’s why I was all alone and lonesome.’ (Yoshitomo Nara, The Lonesome Puppy, California, 2008, n.p.). Growing up the youngest of three sons with much older brothers and emotionally distant parents, Nara’s childhood was largely spent in isolation. Lef to the confnes of his imagination in rural post-war Japan, he recounts in an interview, ‘When you are a kid, you are too young to know you are lonely, sad, and upset…now I know I was.’ (Yoshitomo Nara quoted in Kay Itoi ‘Interview with Yoshitomo Nara’, ARTNews, May 1998, p.153) Simple in form yet complex in its underlying intentions, Nara’s puppy is essentially a self-portrait that carries the emotions and memories from the artist’s developing youth, its yearning for friendship and afection manifested through its physical size.
© Yoshitomo Nara
Since the Japanese pop movement in the 1990s, Yoshitomo Nara has received international acclaim for his distinct fgurative style. His drawings, paintings and sculptures can be seen in the permanent collections at MOMA, New York; CAC Malaga, Spain; Queensland Art Gallery, Australia and his largest sculpture, a 3-metre high concrete dog, is permanently installed at the Aomori Art Museum, Japan. A mixture of vulnerability, rebellion and hopefulness within Nara’s artworks connects intimately with people worldwide.
創作於2005年，本拍品中的長鼻子、垂著耳朵的白色小狗 是奈良美智最受喜愛的創作角色之一。它外向的天真形象 懷著深刻的情感，包括童年記憶、精神性和孤獨感。代表 了能量充沛的藝術家，結合了孩子般的天真想像力與底下 暗湧的成人式憤世嫉俗的風格，奈良美智的作品不僅能讓 不同年齡層的人都產生共鳴，並有著強烈的精神與自傳 特質，讓人可以直接進入藝術家獨特的藝術創作核心。 小狗那純白色的巨大的頭部，使人聯想起日本傳統中的 狛犬（komainu），通常放置在神社入口作為守護，神獸是 的外型似犬的石獅子。氣質莊嚴，其勢磅礴，奈良美智讓 通常叫人敬畏的雕像，注入了更加豐富的情感。與人類 不同，動物沒有能力通過語言進行溝通，而是透過表情 進行交流。僅管龐大堅實，這個被馴養的人類伴侶， 其頑皮的表情卻被它耷拉的長耳所出賣，喚起一隻受了傷 小狗的楚楚可憐之脆弱感，甚至傳達了一種對周圍環境 充滿警惕的焦慮感。因此最終得到的效果，是一件既招人 喜愛又略微帶威脅性的囑目作品。 構成奈良作品中充斥的小狗主題，對藝術家的個人生活 也具有重要意義，從該角色被選為奈良美智的第一本 兒童讀物《寂寞的小狗》中的主人公就可以看出。藝術家創 作的故事和插畫中，描寫了一隻大狗的故事，那隻狗 太大了以至於沒有人注意到他，直到一個小女孩走過來， 爬過雲層與他成為朋友。這個故事從小狗的角度講述： 「我太大了，所以沒人能注意到我，這就是為什麼我孤單 又寂寞。 ” （奈良美智， 《寂寞的小狗》，加利福尼亞，2008年， 無頁碼。）。奈良美智是三兄弟中年紀最小的一個，兩個哥 哥比他年長許多，父母在感情上也很疏遠，他的大部分童 年是在孤單中度過的。成長於戰後日本農村的他，活在自 己的想像世界中，他在一次採訪中回憶道， 「當你還是小孩 子的時候，你太小了所以根本不知道自己是孤獨、悲傷和 沮喪的...現在我知道我當時是。」 （奈良美智引自Kay Itoi， 《採訪奈良美智》， 《藝術新聞》，1998年5月，第153頁） 形式簡單，但有著豐富的內在用意，奈良美智的小狗 本質上是一件自畫像，蘊藏著藝術家成長過程中的情感和 記憶，通過物質上的載體去體現對友誼和關愛的嚮往。 自1990年代日本流行文化運動以來，奈良美智憑藉其獨特 的具象風格獲得了國際讚譽。他的素描、繪畫和雕塑作品 可以在紐約現代藝術博物館、西班牙的馬拉加現代藝術 中心和澳大利亞昆士蘭美術館的永久館藏中看到，而他 最大的雕塑，一隻3米高的混凝土小狗，永久地安裝在日本 青森美術館中。奈良美智作品所融合的脆弱性、叛逆性和 希望，與世界各地的人們建立了親密的聯繫。
重要亞洲私人收藏
Property from a Distinguished Asian Collection
27. Yayoi Kusama
草間彌生
b. 1929
《六人之客》 木 畫布 噴漆 纖維 綜合媒材 1986年作，並附藝術家公司之登記卡。 款識：草間彌生《SIX GUESTS》 《六人之客》 （日文）Yayoi Kusama 1986 (桌子底部);《SIX GUESTS》 《六人之客》 （日文）Yayoi Kusama 草間彌生 (5張椅子底部)
Six Guests signed, titled and dated ‘Yayoi Kusama [in Kanji and English] “SIX GUESTS [in Kanji and English] 1986’ on the underside of the table; further signed and titled ‘“SIX GUESTS [in Kanji and English]” Yayoi Kusama [in Kanji and English]’ on the underside of fve chairs wood, canvas, spray paint, fbre and mixed media Table: 113 x 185 x 130 cm. (44 1/ 2 x 72 7/8 x 51 1/8 in.) Chair: 83 x 65 x 55 cm. (32 5/8 x 25 5/8 x 21 5/8 in.) Executed in 1986, this work is accompanied by a registration card issued by the artist's company.
來源 私人收藏 香港，蘇富比 S|2 畫廊 現藏者於2012年購自上述來源
Provenance Private Collection Sotheby's S|2 Gallery, Hong Kong Acquired from the above by the present owner in 2012 Exhibited Tokyo, Fuji Television Gallery, Yayoi Kusama: Infnity Explosion, 6-28 June 1986, n.p. (illustrated) Tokyo, The National Museum of Modern Art; Kyoto, The National Museum of Modern Art, Yayoi Kusama: Eternity Modernity; then traveled as Eight Places for Burning Soul, Hiroshima City, Hiroshima City Museum of Contemporary Art; then traveled as Yayoi Kusama: Sailing the Sea of Infnity, Kumamoto, Contemporary Art Museum; then traveled as Yayoi Kusama: The Place for My Soul, Matsumoto, Matsumoto City Museum of Art, 26 October 2004 - 10 October 2005, no. 112, p. 181 (illustrated) Hong Kong, Sotheby’s S|2 Gallery, Yayoi Kusama: Hong Kong Blooms in My Mind, 19-31 May 2012, pl. 16, pp. 46-47
展覽 東京，富士電視畫廊， 〈無限爆炸〉，1986年6月6-28日，無頁數 (圖版) 東京，國立近代美術館；京都，國立現代美術館， 〈草間彌生：永恆的 現在〉; 廣島，廣島市當代美術館， 〈燒魂的八處〉; 熊本，當代美術館， 〈草間彌生：在無限海中航行〉; 松本，松本市美術館， 〈草間彌生：容納我靈魂的地方〉 ，2004年10月26日 - 2005年10月10日， 圖版編號112，第181頁 (圖版) 香港，蘇富比S|2畫廊， 〈草間彌生：花兒在我心中為香港綻放〉， 2012年5月19-31日，圖版16，第46-47頁 出版 而立書房， 〈在天地之間〉，東京，1988年（圖版，封面） 托馬斯·弗里克， 〈草間彌生：紐約/東京-永遠的愛：草間彌生， 1958-1968〉，洛杉磯，1998年，第77頁（圖版，封面） 美術出版社， 〈草間 彌生 : 永遠的現在〉，東京，2005年，第181頁 （圖版）
Literature Jiritsu Shobo, Between Heaven and Earth, Tokyo, 1988 (illustrated, book cover) Thomas Frick, YAYOI KUSAMA: NEW YORK/TOKYO - LOVE FOREVER: YAYOI KUSAMA, 1958-1968, Los Angeles, 1998, p. 77 (illustrated on a book cover) Bijutsu Shuppan-Sha, Yayoi Kusama: Eternity-Modernity, Tokyo, 2005, p.181 (illustrated)
Six Guests published as the front cover of Between Heaven and Earth, 1988 《六人之客》印於〈在天地之間〉封面，1988年
© Yayoi Kusama
HK$ 7,000,000-9,000,000 US$ 897,000-1,150,000
The sculptural Accumulations created by Kusama fnd their roots in the very early years of her creative career, whilst she was living in New York. To understand them means taking a deep dive into the artist's psyche and neuroses, for they stand at the crossroads between the artist’s desire for self-obliteration and self-glorifcation. They represent the conversion of her Infnity Net paintings into threedimensional sculptures in which she can pose, merge, or simply disappear. The conscious willingness to become part of a work, or to be a work herself, is an extrapolation of the performances which were a central component of her artistic practice at the time. It was in September 1961 that Yayoi Kusama, with help from Donald Judd, her neighbor and close friend, began sewing and stufng hundreds of small canvas sacks full of cotton. At the time, she had been in New York for three years and had just moved to a lof in East 19th street. She fnished her frst Accumulations in 1963. These were pieces of furniture, usually cast-ofs scavenged from the streets, that she covered with protuberances of stufed cloth. Part of the fascination they exercise upon the viewer derives from an overabundant, repetitive profusion that also characterised the Infnity Net paintings. The immersive environment of the Accumulations sculptures provided a necessary remedy to soothe her anxieties. Ofen posing with her creations in photographs, Kusama dressed to blend in with her works, simulating a merging with the obsessive and repetitive matrix of her art. Returning permanently to Japan in 1973 and taking up residence in a private mental hospital where she has lived ever since, depressed and profoundly afected by the death of Joseph Cornell, Kusama revisited many of the themes she had been developing in New York. A lot of the Accumulations from the early 1980s are covered in a silver coat of paint as if they had been found frozen in a post-apocalyptic world. Kusama slathered silver paint over entire installations of phallus-festooned furniture and clothing as well as crammed segmented boxes. Leaving no uncertainty as to the rationale behind this, her works from this period possess eerily morbid titles, such as Walking on the Sea of Death (1981), Ceremony for Suicide and Desire for Death in the World of Silver. However, at the exact same time, in 1981, she started working on sets of colourful fabric-stufed furniture showing tables and chairs arranged in a dining room setting, or sofa and armchairs ft for a psychedelic living room. Although the fabrics used in these sets comprise a vivid array of blues, reds and greens, the title of Farewell Supper (held in the collection of the Chiba City Museum of Art, Japan) leaves no doubt that Kusama is still deeply afected by dark thoughts. Not to be overlooked is the sexual component of these sculptures, evident in the phallic protuberances which have engulfed the piece of furniture and the box serving as a host. These Accumulations acted as a form of catharsis for the artist, who described them as ‘psycho-somatic work’ undertaken to conquer her fear of the phallus. In her 2002 autobiography Infnity Net she recalls:
“I began making penises in order to heal my feeling of disgust towards sex… It was a kind of self-therapy. I was terrifed of sex and of the phallus.” (quoted by Chris Kraus, ‘Accumulations’, Kusama, New York, 2012, p. 108). Towards the middle of the decade however, Kusama’s spirits had lifed and, emerging from this dark period, she continued her explorations using the sculptural Accumulations. In Six Guests, executed in 1986, Kusama’s sculptures are much more poetic than psychologically sinister. Here phallic shapes still blanket the objects, but no longer pose a menace. Surrounded by bowls, a jug, fowers and a pineapple, Kusama’s creations are brought into the safe, kitsch-infused realm of quotidian femininity. With Six Guests Kusama defantly seizes control of her discourse, and the phallus is no longer an object of fear that dominates the narrative of the work, but is instead wholly contained and controlled by the feminine. The choice of scarlet red pigment, which dots the shapes and stains their fbrous cushioning, allude to female menstruation and loss of virginity. Kusama also presents the image of a matriarchal family dinner, with six guests gathered around a fower-laden table. A direct allusion to her own childhood, Kusama parents owned a seed farm and fowers became a constant source of inspiration throughout her career. But they also brought back memories of the abuse sufered at the hands of her own mother as a child and teenager. Exactly two years before the creation of Six Guests, Kusama’s mother Shigeru had passed away and the artist said of this tragic event: “Born with hair-trigger temper, my mother also had a tendency to hysteria that was only exacerbated by my father’s famboyant womanizing. Sometimes when she found me painting she would overturn the desk or rip up the pictures and throw them away. Inwardly I was always at war with her.” (the artist quoted in Kusama, Rizzoli, New York, 2012, p. 297). But it is precisely with this work that Kusama regains control of her own destiny, personality and femininity - exactly in the same way Niki de Saint-Phalle shot pouches of pigment attached to plaster reliefs (the Tirs), an act of pure violence usually associated with men which proved the artist to be one of the most important feminist artists in France in the 1960s. Extremely personal, cathartic and feminist, Six Guests is an important work for understanding the psyche at work behind the creation of the most fascinating body of works of the 20th century. “Such energy! (…) I felt once again overwhelmed as the polka-dotted forms with their vivid colours and the phallus-shaped objects spread and proliferated endlessly before me. This exhibition is indeed a monument to the dazzling victory of one lone woman who has battled mental illness all her life and managed to transform that bitter struggle into magnifcent art.” Akira Asada, The Victory of Yayoi Kusama, Nami, July 1999.
Yayoi Kusama in her studio, New York, circa 1965, with My Flower Bed, 1962 Collection of the Centre Pompidou, Paris © Barbara Moore / Licensed by VAGA, New York,NY
草間彌生 《我的花壇床子》攝於紐約工作室，約1962年 巴黎，蓬皮杜藝術中心收藏
草間彌生的雕塑作品《積累》系列，源自她創作生涯早期； 生活在紐約之時期。要理解它們，就意味著要深入到藝 術家的心理和精神層面，因為它們處於藝術家對自我消融 和自我歌頌的渴望之間的十字路口。它們代表了她將 《無限之網》繪畫作品向三維雕塑的轉換，而她可以在其中 擺出姿勢、融合，或乾脆消失。有意識地自願成為作品的 一部分，或者讓自己成為一件作品，可以推斷出，表演是 她當時藝術實踐的核心成分。 1961年9月，草間彌生在鄰居和好友唐納德·賈德的幫助下， 開始縫製數百個小帆布袋，並將它們用棉花塞滿。當時， 她已經在紐約生活了三年，且剛搬進東19街的一所倉庫 公寓中。她於1963年完成了自己的第一件《積累》作品。 她將街上撿回來的廢棄物，裹上突起的填充布料，製成 一件件傢俱。它們使觀者著迷的一部分原因來自它們不盡 其數、繁複繽紛，而《無限之網》的繪畫中也有著同樣的 特質。 《積累》系列雕塑的沈浸式環境為她提供了一劑緩解 焦慮的必需靈藥。經常與她的作品擺拍合影，草間彌生 將自己打扮得與作品融為一體，演繹自己與她那強迫性和 無限重複的藝術宇宙合而為一。 她於1973年回到日本定居後，住進一家私人精神病院， 並在此後一直生活於此。出於抑鬱，以及約瑟夫·康奈爾 的去世對她造成的深刻影響，草間開始重新審視在紐約時 便在發展的許多主題。 在1980年代初創作的的許多《積累》 雕塑都被塗上了一層銀色的顏料，彷彿它們是在世界末日 中被結凍成冰一樣。草間彌生將做成陰莖狀的傢俱和 衣服，以及擠得滿滿的小盒子所組成的整個裝置，都塗上 一層銀色顏料。毫無邏輯根據可言，她這一時期的作品有 著陰森病態的標題，例如《行走死亡之海》 （1981）、 《自殺 儀式》、 《在白銀世界中渴望死亡》。然而，恰好在同一 時期，於1981年，她開始製作彩色填充織物家具，這些 家具中有佈置在一個飯廳佈局中的桌子和椅子，或者是 適合一個迷幻的客廳之沙發和扶手椅。儘管這些佈景中 使用的面料包括了大量鮮豔的藍色、紅色和綠色，但作品 《告別晚餐》 （日本千葉市美術館收藏）的名稱無疑展露了 草間彌生仍然深受著陰暗思緒的影響。 性的成分在這些 雕塑中不容忽視，從吞沒家具和盒子的陰莖突起中可以 明顯看出它作為主體的角色。這些《積累》雕塑對藝術家 來說是一種情感宣洩的形式，她把它們描述為「變態軀體 作品」，旨在幫助她克服對陰莖的恐懼。
© Yayoi Kusama
Niki de Saint Phalle Coeur No. 1 (Heart No. 1), 1963 © 2019 Niki Charitable Art Foundation. All rights reserved / ARS, NY / ADAGP, Paris
妮基·聖法爾 《心1號》 ，1963年作
她在2002年的自傳《無限的網》中回憶道： 「我為了治癒 自己對性的厭惡而開始製作陰莖...這類似自我療法。 我極其恐懼性和陰莖。 」 （引自克里斯·克劳斯（Chris Kraus） ， 《積累》， 《草間彌生》，紐約，2012年，第108頁）。 到了1980年代中期，草間的精神有所振奮，從這個黑暗 時期抽離之後，她繼續使用雕塑《積累》來進行她的探索。 在創作於1986年的《六人之客》中，草間的雕塑，比起 心理上陰鬱，變得更具有詩意。在這裡，陰莖的形狀仍 籠罩著物件，但不再構成威脅。被碗、水罐、鮮花以及 鳯梨等水果所包圍著，草間彌生的創作被帶進安全、充滿 女性日常生活的世界裏。通過《六人之客》 ，草間彌生 挑釁式地取得了她的話語權，而陰莖也不再是主導她作品 敘事的恐懼對象，而是完全被女性所包容和控制。選擇用 猩紅色的色調去點綴形狀和在纖維靠墊上留下紅顏料， 暗示著女性的安事和失去童貞。草間還呈現了六位客人 聚集在擺滿鮮花水果桌子旁的母系家庭晚餐之意象。直接 暗示自己的童年，父母曾經營一個苗種農場，而鮮花也 一直是她職業生涯中的一個靈感源泉。但是這些也帶回了 她童年和少年時期被自己的母親虐待的記憶。在創作 《六人之客》整整兩年前，草間彌生的母親茂（Shigeru） 去世了，藝術家談起這件慘痛的事情： 「生來脾氣火爆， 我的母親有著歇斯底里的傾向，而這更因父親的風流浪蕩 而加劇。有時當她發現我在畫畫，她就掀翻桌子，或把 畫撕爛再丟出去。我的內心一直在與她交戰。 」 （藝術家引自 《草間彌生》，Rizzoli，紐約，2012年，第297頁） 。但正是 通過這件作品，草間彌生重新獲得對自己命運、個性和女 性本質的掌控——就像妮基·聖法爾射擊被熟石膏覆蓋的 顏料袋一樣（ 「射擊藝術」），這通常與男性聯想在一起的 純暴力行為，結果證明了她是1960年代法國最重要的女權 主義藝術家之一。 極其個人化、宣洩性和女性主義， 《六人之客》是一件讓 人們了解二十世紀最具魅力的作品，創作背後所蘊含的 心理之重要作品。 「如此的能量！ （…）當色彩鮮豔的波點形 和陰莖狀的物體在我眼前延展和無限激增，我再次感到 被淹沒。這個展覽確實是一場光輝耀眼的勝利豐碑，讚頌 著一個獨自孤身的女人終其一生在與精神疾病作戰，並且 最終將那種痛苦的掙扎轉變為宏偉的藝術。」 （浅田彰， 《草間彌生的勝利》，南怡島，1999年7安） 。
Property from a Distinguished American Collection
28. Yayoi Kusama
b. 1929
INFINITY-NETS (GMBKA) signed, titled and dated ‘“GMBKA INFINITY-NETS” YAYOI KUSAMA 2013’ on the reverse acrylic on canvas 162 x 131 cm. (63 3/4 x 51 5/8 in.) Painted in 2013, this work is accompanied by a registration card issued by the artist's company. Provenance David Zwirner, New York Acquired from the above by the present owner in 2013
重要美國私人收藏
草間彌生 《無線網 (GMBKA)》 壓克力 畫布 2013年作，並附藝術家公司之登記卡。 款識： 《GMBKA INFINITY-NETS》YAYOI KUSAMA 2013 (畫背) 來源 紐約，卓納畫廊 現藏者於2013年購自上述來源
© Yayoi Kusama
HK$ 6,000,000-8,000,000 US$ 769,000-1,030,000
‘In front of paint brushes and canvas, my hands react to them and make my work before I think of anything. Then, when the piece is completed, I look at it, and am surprised by the result—always.’ Yayoi Kusama
INFINITY-NETS (GMBKA) presents the viewer with a glittering black canvas adorned by a meticulously applied web of golden-orange. Rendered in congregations of varying density, the individually painted lines generate an entrancing optical sensation as they expand and contract across the large canvas with a steady pulse. From afar, the repeated iterations of a single touch of the brush establish a spellbinding sense of pictorial space. Upon closer examination, the incessant quality of this calculated gesture reveals a dizzying, labour-intensive technique that envelops both the viewer and the artist in the concept of the infnite. Created approximately 60 years afer she began her expansive Infnity Nets series, INFINITY-NETS (GMBKA) exemplifes the contemporary artist Yayoi Kusama’s most celebrated and best-known motif. Employing a unique framework that has become instantly identifable to her practice, Kusama’s obsessive exploration of Infnity Net variations harkens back to the artist’s well-documented childhood hallucinations. Born in 1929 in Matsumoto City, Japan, Kusama’s crucial years of early adolescence passed while the country was still at war. It was during this time that the artist began to experience vivid hallucinations of rhythmic patterns that engulfed her feld of vision. As dots and semicircles would “envelop [her], clinging to [her] arms and legs and clothes and flling the entire room”, Kusama refgured her kaleidoscopic neurosis into ceaseless art marking, deliberately representing its startling sensory efects in her practice. (Yayoi Kusama, quoted in Marie Laurberg, Deep Surfaces: Yayoi Kusama In Infnity, Humblebaek, 2015, p. 12).
Now considered to be at the core of Kusama’s artistry and person, her Infnity Nets series was born afer the artist arrived in New York in the 1950s, seeking artistic freedom from the conventions of her native Japan. In being introduced to New York’s avant-garde scene, Kusama found inspiration in the action paintings of Jackson Pollock and Willem de Kooning, as well as the meditative qualities found in the work of Donald Judd and Frank Stella (who both acquired her paintings during this time). These early net paintings, described by the artist as “a white net of nothingness composed of an astronomical aggregation of connected dots [that] will obliterate me and others, and the whole of the universe”, laid the foundations of her iconic style. Openly displaying the process of their making, Kusama’s repetitions portray the artist’s technical facility and stamina. Working for 40 or 50 hours without taking a break, Kusama would lose herself in her practice, as her dots and nets arose from a desire to subsume individual ego and obliterate the self. Expanding her palette to include vibrant colours, INFINITY-NETS (GMBKA) represents a mature, archetype work from the artist’s oeuvre rendered in acrylic paint instead of oil – a pivotal transition that Kusama undertook in the late 1970s. This transition also signifes Kusama’s return to a water-based medium, having employed traditional Japanese nihonga watercolour to compose the series’ earlier works. While Kusama has worked across a widely diverse media during the many distinctive phases in her career, her fundamental methodology of obsessive patterning, as seen in the present work, retains a remarkable consistency that has carried through her practice.
「在畫筆和畫布面前，我的手自然對它們做出反應，我什麼 如今被視為草間彌生的藝術和本人的核心所在，她的 都還沒想就在創作作品了。然後，當作品完成之後，我看 《無限之網》系列誕生在藝術家於1950年代為尋求藝術 著它，並對結果感到驚訝——總是如此。」——草間彌生 自由，離開故土日本的傳統束縛來到紐約之後。面對紐約 的前衛藝術圈，草間彌生在傑克遜·波洛克和威廉·德· 《無限之網 (GMBKA)》向觀者展現了一張金橙色的網精心 庫寧的行動繪畫，以及唐納德·賈德和弗蘭克·斯特拉 繪製於黑色為底之畫面上。以不同密度構成，每一個單獨 （賈德和斯特拉當時均購買了她的繪畫）的冥想特質作品中 畫上去的點隨著穩定的脈動在大幅的畫布上擴張和收縮， 汲取靈感。這些早期的網之繪畫，被藝術家稱為「由連結 生成一種迷人的視覺感官。從遠處看，畫筆下每一個觸點 在一起的點；如天體聚合所組成的；虛無的白色網， 的不斷重複形成一種魅惑人心的圖像空間。走近看時， 它將把我和其他人，還有整個宇宙都毀滅」，為她的標誌 這種精心編排的姿態所具有的連綿不絕之特質顯示了一種 性風格奠定了基礎。公開展示自己創作的過程，草間彌生 令人眼花瞭亂、費神勞力的技巧，將觀者和藝術家包裹在 的重複展現了藝術家在技巧上的實力和耐力。連續工作 無限這一概念之中。 40至50小時不眠不休，草間彌生往往迷失在她的創作 之中，而她的點和網則在她對個人自我放逐和對消融的 創作於她開始其龐大的《無限之網》系列的60年之後， 渴望之中冉冉升起。 《無限之網 (GMBKA)》是當代藝術家草間彌生最具盛名 和為人熟知的主題典範之作。採用了一個能讓人立即 將色調擴展到鮮麗的色彩， 《無限之網 (GMBKA)》代表了 辨識出是她的創作的框架，草間彌生對《無限之網》不同 藝術家使用壓克力顏料取代油畫顏料進行創作的成熟之作。 變化的癡迷探索，可以追溯到藝術家仔細紀錄的童年 這一轉變也標誌著草間彌生已經回歸以水為基底的媒材， 幻覺。1929年出生於日本松本市，草間彌生的青春期的 而她早前也曾採用傳統日本畫（nihonga）水彩來創作這一 關鍵歲月是在仍處於戰時的日本度過的。正是在這個時期 系列的作品。僅管草間彌生在其藝術生涯的許多不同階段 藝術家開始體驗生動的幻覺，幻象中充滿節奏感的圖案 曾使用極其多元的媒介進行創作，她那如強迫症圖案的 將她的視野吞沒。由於圓點和半圓「包裹著她，纏繞著 基本法，正如本件作品中所看到的，在她的創作中一直 她的手臂、腿和衣服，並且充滿了整個房間」，草間彌生 保持著非凡的一致性。 將她被幻象圍繞的精神病症轉換為源源不斷的藝術創作， 並特意在她的作品中表現這種驚人的感官效果。 （草間彌生， 引自瑪麗·勞爾伯格《深層的平面：無限之中的草間彌生》， 胡姆勒拜克，2015年，第12頁）。
Frank Stella East Broadway, 1958 © 2019 Frank Stella / Artists Rights Society (ARS), New York
弗蘭克·斯特拉 《東百老匯》 ，1958年作
29. Lynn Chadwick, R.A.
1914-2003
Pair of Sitting Figures 1 incised with the artist's name, date and number ‘CHADWICK 654/S 5/6 87’ along the edge bronze 63 x 66 x 56 cm. (24 3/4 x 25 7/8 x 22 in.) Executed in 1987, this work is number 5 from an edition of 6. Provenance Osborne Samuel Gallery, London Acquired from the above by the present owner Literature Dennis Farr & Eva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, no. 654s, p. 294 (illustrated) Dennis Farr and Eva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2005, Aldershot 2006, no. 654s, p. 288 (illustrated)
林恩．查德維克 《靜坐雙人像1號》 款識: CHADWICK 654/S 5/6 87 (刻於邊緣) 銅雕 1987年作，共有6版，此為第5版 。 來源 倫敦, Osborne Samuel 畫廊 現藏者購自上述來源 出版 Dennis Farr 與 Eva Chadwick 著， 〈雕塑家林恩·查德威克， 完整圖文目錄 1947-2003〉 ，法納姆，2014年，作品編號654s， 第294頁 (圖版) Dennis Farr 與 Eva Chadwick 著， 〈雕塑家林恩·查德威克， 完整圖文目錄 1947-2005〉 ，奧爾德肖特，2006年， 作品編號654s，第288頁 (圖版)
HK$ 800,000-1,200,000 US$ 103,000-154,000
Lynn Chadwick, CBE RA was one of the leading British post-war sculptors. Trained as an architectural draughtsman, he created starkly expressive sculptures through “drawing in steel rods” (the artist quoted in Michael Bird, Lynn Chadwick, Farnham, 2014, p. 8), which became welded armatures for his distinctive semi-abstract bronze and steel sculptures.
林恩·查德維克是戰後時期英國重要的雕塑家之一。受過 建築草圖繪製員的訓練，他所創造的雕塑充滿鮮明表現力， 「用鋼枝作畫」 （藝術家，摘自 麥可·博德， 《林恩·查德維克》 ， 法納姆，2014年，第8頁），將它們焊接後，再製成其獨特 的半抽象青銅和鋼鐵雕塑。
His critical breakthrough came swifly, with his frst major exhibition of his mobiles at Gimpel Fils gallery in 1950, and major recognition followed just a few years later when he was awarded the coveted International Sculpture Prize at the 1956 Venice Biennale, becoming its then-youngest recipient. Recalling this period, Chadwick said: “I actually wanted to produce a sort of touchable object, a tangible object. I really wanted to do that rather than be involved with intangible things like architecture ... (the artist quoted in Paul Levine, Lynn Chadwick: The Sculptor and His World; The Artist and His Work, Leiden, 1988, p. 55).
在1950年於金貝爾斐斯畫廊第一個主要展出查德維克的 動態作品展覽之後，他的關鍵性突破迅速到來，並且國際 上對他的認可也在僅僅幾年後接踵而至，他於1956年在 威尼斯雙年展上獲得了夢寐以求的國際雕塑獎，成為該 獎項當時最年輕的得奬人。回想那個時期，查德維克說： 「我實際上想要創造一種可觸摸的、有形的物件。這是 我的興趣及熱情所在，而不是去參與比如建築這種無形 的事物中」 （藝術家，摘自Paul Levine， 《林恩·查德 維克：雕塑家與他的 世界；藝術家與他的作品》，萊頓， 1988年，第55頁） 。
Chadwick experimented with other natural forms, insect and animal, but by the end of the 1960s he largely devoted his time to working on groups of human fgures such as Pair of Sitting Figures 1. These fgurative sculptures were infuenced by the Easter Island fgures and Greek mythology. Half human and half abstract, geometric beast, they were a visual embodiment of the classical dichotomy between the Apollonian and Dionysiac: the rational, ordered being and its struggle against the emotional, the irrational and the chaotic. The English art historian Herbert Read noted that since Chadwick’s rise to critical acclaim, his works had ventured yet further towards a “preoccup[ation] with states of attention or alertness in the human fgure or the animal. His aim is to incorporate a moment of maximum intensity, and this he does by the most direct means – the reduction of bodily attitudes to their magnetic lines of force” (the artist quoted in Judith Collins, Lynn Chadwick: the Collection at Lypiatt Park, New York, 2006, p. 22). Pair of Sitting Figures 1 is a tribute to a simple and age-old theme: enduring love and companionship. Despite their mute facelessness (in the 1970s Chadwick developed a simple, striking system for distinguishing male and female subjects, depicting men with rectangular heads and women with triangular ones), Pair of Sitting Figures 1 exudes a distinctly vulnerable, human quality. Though sat apart, cloaked literally and metaphorically, both fgures speak of an intimacy and closeness with tilted knees and bowed heads, caught in eternal conversation. Chadwick’s distinctive sculptural technique throws into sharp relief the very human essence of emotion: “the way that you make something talk by the way the neck is bent, or the attitude of the head; you can actually make these sculptures talk, they say something according to the exact balance” (the artist quoted in Dennis Farr and Eva Chadwick, Lynn Chadwick Sculpture, with a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p.28). Cast in bronze, Chadwick used a matt patina over most of the sculpture, but with faces (or sometimes chests) burnished to a golden, otherworldly sheen. His foray into naturalism, with pleated drapery in Pair of Sitting Figures 1 (sometimes billowing, for example in Pair of Walking Figures – Jubilee 1977) brings a touch of poignant realism to the scene, an unresolved tension that renders the work’s impact both immediate and timeless.
查德維克嘗試了對其他自然形態、昆蟲和動物進行實驗， 然而到1960年代末他將其大部分時間投入到了成對的人像 創作中，例如《靜坐雙人像1號》。這些具象雕塑是受到 復活島的石像和希臘神話的影響。一半是人，一半是 抽象、幾何形的野獸，他們是對典型的太陽神與酒神二元 對立的視覺體現：理性、節制的存在與其狂熱、非理性 和混亂之間的對抗。英國藝術史學家赫伯特·里德自查 德維克開始獲得評論界的認可伊始便指出，他的作品在 進一步邁向「對人體和或動物的專注或警覺。他的目標是 融入一瞬間最大化的強烈，而他通過最直接的方式 達到——將身體的姿態減至其最誘人的力量」 （藝術家， 摘自Judith Collins， 《林恩·查德維克：利皮亞特公园系列》， 紐約，2006年，第22頁） 。 《靜坐雙人像1號》是對一個簡單而古老主題的致敬：持久 的愛與陪伴。僅管他們緘默無聲、不露臉面（查德維克在 1970年代建立了一套簡單而引人注目的方式來區別男女 形象，將男性的頭呈現為方形和女性的頭呈現為三角形） ， 《靜坐雙人像1號》滲透著尤為纖細的人性氣質。雖然 分開坐著，既是名副其實，也是隱喻上的；兩個人彎曲著 膝蓋、低垂著頭，陷入永恆的對話之中，顯示著他們的 親密和靠近。 查德維克獨特的雕塑技巧將人性化的情感本質展現得一覽 無餘： 「通過彎下脖子，或頭的姿勢來讓一件東西開口說話； 你真的可以讓這些雕塑說話，它們根據確切的平衡而述 說」 （藝術家，摘自Dennis Farr和Eva Chadwick, 《林恩·查德維克雕塑，含完整的插圖目錄，1947至2003年》 ， 法納姆，2014年，第28頁）。以鑄銅製作，查德維克 將雕塑的大部分上了一層消光銅綠，但將臉部（或有時是 胸部）打磨出金色的、超凡脫俗的光澤。他對自然主義的 涉足，通過《靜坐雙人像1號》中垂下的百褶（有時則是 翻滾起伏狀，例如《行走人像一對－歡慶日1977》）為場景 添加了顯著的真實感，一種凝滯的張力使作品呈現即時 又永恆的影響力。
30. Rudolf Stingel
b. 1956
Untitled oil and enamel on canvas 167 x 111.6 cm. (65 3/4 x 43 3/4 in.) Executed in 1989-1990. Provenance Massimo de Carlo, Milan Private Collection, Europe Acquired from the above by the present owner
魯道夫·斯丁格爾 《無題》 油彩 瓷漆 畫布 1989-1990年作 來源 米蘭，Massimo de Carlo 畫廊 歐洲私人收藏 現藏者購自上述來源
HK$ 5,500,000-7,000,000 US$ 705,000-897,000
“Mr. Stingel is among the great anti-painting painters of our age,” wrote the renowned art critic Roberta Smith, “a descendant of Warhol but much more involved with painting’s conventions and processes, which he alternately spurns, embraces, parodies or exaggerates. His art asks what are paintings, who makes them, and how?” (Roberta Smith, ‘The Threads That Tie a Show Together’, The New York Times, 20 August 2013, online). Rudolf Stingel is an Italian Conceptual artist, and a renowned provocateur of the contemporary art world. Born in a small town in south Tyrol, Italy, Stingel came of age during the 1960s and 1970s, a time when “questioning” was “what art was supposed to be” (the artist quoted in Farah Nayeri, ‘Rudolf Stingel and a Career That Redefned Painting’, The New York Times, 11 June 2019, online). Stingel moved to New York in 1987 for what was supposed to be a three-month stint but ended up staying. The New York art scene was a world apart - the playground of icons such as Keith Haring, Jean-Michel Basquiat, Jef Koons - and Stingel was faced with a necessary period of self-refection. “In Europe, you never had to deal with the question ‘What is your work about?’” he said. “I had no idea what my work was about.” (the artist quoted in Farah Nayeri, ‘Rudolf Stingel and a Career That Redefned Painting’, The New York Times, 11 June 2019, online). What eventuated was a breakthrough in clarity for Stingel. Stingel gained critical acclaim during the late 1980s for his beautifully-textured silver paintings with primary-coloured undertones and Untitled, 1989-1990 is a prime example from this early period. Untitled, 1989-1990 is a masterful study of colour and materiality, with a feld of purple and gold shimmering subtly through a veil of silver that transforms from a hazy mist to intricate metallic embossing depending on the painting’s angle. Without the restraints of traditional practices and materials, Stingel’s use of industrial materials and methods to deform his own paintings parallels Gerhard Richter’s painterly experiments in the 1960s in disfguring his own photorealist images with haptic swirls of grey paint (see for example Tisch (Table), 1962), and a subsequent body of grey textural monochromes exploring the efects of diferent methods of paint application.
But what arose from this body of work in the late 1980s was nothing less than an outright act of rebellion against the institution of painting itself. At the 1989 Venice Biennale Stingel published an illustrated “do-it-yourself” manual entitled “Instruzioni (Instructions)”, available in six languages, revealing how to create a painting just like Untitled, 1989-1990. The steps were simple: frstly by applying a thick layer of blended paint to a canvas, laying a piece of tulle on top, adding a layer of silver enamel paint with a spray gun, and fnally removing the fabric to reveal a richly textured abstract surface. Stripping away the mystique of painterly creation, and fearlessly deconstructing the simple origins of his celebrated paintings, Stingel declared himself freed from the traditional tropes of art theory and criticism: authenticity, meaning, hierarchy and context. Challenging his audience to engage in a deeper understanding and experience of the traditional art object, Stingel “not only bursts open the conventions of painting, but creates unique ways of thinking about the medium and its reception” (Francesco Bonami, Rudolf Stingel, exh. cat., Museum of Contemporary Art, Chicago, 2007, p. 10). This act of artistic iconoclasm foreshadowed his move towards bold explorations of colour abstraction during the 1990s, and his avant-garde experiments with industrial materials such as rubber, carpet, Celotex, and Styrofoam in the late 1990s and early 2000s, an extension of the Italian Arte povera (‘poor art’) movement’s use of a wide range of materials including soil, rags and twigs to challenge and disrupt the values of the increasingly commercialised contemporary art world. Prolifc and varied in his artistic production, yet meticulous and unceasingly bold in his explorations of painting, Stingel is one of the most celebrated painters of his generation. He has exhibited internationally, with solo shows including those at Palazzo Grassi, Venice (2013); Secession, Vienna (2012); and the Neue Nationalgalerie, Berlin (2010); and a major retrospective at the Museum of Contemporary Art, Chicago and the Whitney Museum of American Art, New York (2007). His work was included in the 2003, 1999 and 1993 Venice Biennales.
「斯丁格爾先生是我們這個時代最偉大的反繪畫藝術家 之一，」著名的藝評家羅伯塔·史密斯說： 「作為沃荷的 接班人，但更多地關注繪畫的傳統和過程，同時又交替 對它們進行抵抗、擁護、諧擬或誇大。」他的藝術提出什麼 是繪畫、是誰創作的、以及如何創作的？ （羅伯塔·史密斯， 《將展覽聯繫在一起的線》， 《紐約時報》，2013年8月 20日，截自網路）。 魯道夫·斯丁格爾是一位意大利觀念藝術家，也是當代 藝術界的一位著名的先行者。出生於義大利南蒂羅爾的 一個小鎮，斯丁格爾成長於1960和1970年代，一個 「質疑」正是「藝術理所當然的樣子」之時代（藝術家引自 Farah Nayeri， 《魯道夫·斯丁格爾與其重新定義繪畫的 藝術生涯》， 《紐約時報》，2019年6月11日，截自網路）。 斯丁格爾於1987年搬至紐約，原本為期三個月的逗留， 最終變成留在了那裡。紐約的藝術界截然不同——那是 凱斯·哈林、尚·米榭·巴斯奇亞、傑夫·昆斯；等偶像級 人物的遊樂場——斯丁格爾由此面臨著一個必要的自我 反思時期。 「在歐洲，你永遠無需去想『你的作品是關於 什麼的？』這個問題。」他說。 「我完全不知道我的作品是 關於什麼的。」 （藝術家引自Farah Nayeri， 《魯道夫·斯丁 格爾與其重新定義繪畫的藝術生涯》， 《紐約時報》 ，2019年 6月11日，截自網路） 。 最終的結果是斯丁格爾找到一種突破。斯丁格爾在1980年 代後期以其質地精美的、以三原色為底的銀色繪畫而獲得 廣泛讚譽，而《無題》 （1989-1990年）正是出自這個早期 的典型例子。 《無題》 （1989-1990年）是對色彩和材質性的 精湛展現，隨著作品角度的改變，其表面的一層薄薄的 銀色從朦朧的霧狀轉變成錯綜複雜的金屬壓花，一處紫色 和金色透過這層表面微微閃爍。在不受傳統方法和材料 約束的情況下，斯丁格爾使用工業材料和創作手法來改變 自己繪畫的型式，與格哈特·里希特在1960年代進行的繪 畫實驗有著相似性，後者採用灰色顏料的有形漩渦來破壞 他的照相寫實主義圖像，隨後用具有肌理感的一片灰色 單色來探索顏料運用上的不同方法所產生之效果。
Gerhard Richter Tisch (Table), 1962 © Gerhard Richter 2019 (0254)
格哈特·里希特 《桌子》 ，1962年作
但是從1980年代後期的這些作品中產生的，絕不僅僅是 對正統繪畫本身的完全叛逆行為。在1989年的威尼斯 雙年展上，斯丁格爾出版了一本標題為《Instruzioni》 (使用說明)插圖本「自己動手做」手冊，用六種語言， 展示如何創作一幅像《無題》 （Untitled） （1989-1990年） 那樣的繪畫。步驟很簡單：首先在畫布上塗上一層厚厚的 混合顏料，在上面放一塊薄紗，然後用噴槍添加一層銀色 瓷漆，最後將紗布移開，露出的就是一個紋理豐富的抽象 表面。 通過剔除繪畫創作的神秘色彩，並且無畏地解構自己著名 的繪畫作品之簡單起源，斯丁格爾宣布自己擺脫了藝術 理論和批評的傳統主題：原創性、意義、等級和語境。 挑戰觀眾去更深刻地理解和體驗這一傳統藝術，斯丁 格爾「不僅扯破了繪畫的慣例，而且創造了對於這一媒介 及其接受形式的獨特思維方式」 （弗朗西斯科·博納米， 《魯道夫·斯丁格爾》，展覽畫冊， 芝加哥當代藝術博物館， 芝加哥，2007年，第10頁）。這一藝術上的偶像破壞主義 行為，預示著他在1990年代對色彩抽象的大膽探索，以及 他在1990年代末和2000年代初對橡膠、地毯、絕緣板和 泡沫塑料等工業材料進行的前衛實驗，成為繼義大利貧窮 藝術運動中使用包括土壤、抹布和樹枝在內的多種材料， 來挑戰和擾亂日益商業化的當代藝術世界的價值觀之 一種延伸。 多產且具有豐富樣貌的藝術創作，一絲不苟又不斷大膽地 對他的繪畫進行探索，斯丁格爾是他這一代最受讚譽的 藝術家之一。他的作品在國際上舉辦過許多展覽，其中 包括在威尼斯格拉西宮當代藝術博物館（2013年）、 維也納分離派展覽館（2012年），以及柏林新國家藝廊 （2010 年）舉辦的個展，以及在芝加哥當代藝術博物館和 紐約惠特尼美國藝術博物館（2007年） 舉辦的大型回顧展 等等。他的作品曾參加2003年、1999年和1993年的 威尼斯雙年展。
31. Pat Steir
b. 1940
Summer Waterfall signed with the artist’s initials and dated ‘P.S. 2007-2018’ on the overlap oil on canvas 304.8 x 259.1 cm. (120 x 102 in.) Painted in 2007-2018. Provenance Acquired directly from the artist by the present owner
帕特·斯蒂爾 《夏日瀑布》 油彩 畫布 2007-2018年作 款識：P.S. 2007-2018 (畫布邊緣) 來源 現藏者直接購自藝術家本人
HK$ 3,000,000-5,000,000 US$ 385,000-641,000
‘I wanted to be a great artist, again not in slang in someone who is great. But in the fantastic, reaching the soul of other people.’ Pat Steir
Pat Steir is an American painter and conceptual artist best known for her Waterfall paintings, a series she began working on in the 1980s which engages with ideas of chance and East Asian philosophy. In a career stretching over fve decades, Steir has undergone multiple transformations as an artist. Graduating from the Pratt Institute in New York, she rose to fame in the 1970s with her “intimate” conceptual monochromatic canvases of crossed-out roses and other subjects, which sought to destroy images as symbols. She subsequently underwent a formative period of artistic self-refection, immersing herself in a study of the styles and iconography of other artists, which culminated in The Brueghel Series (A Vanitas of Style) (1982–4), a pivotal work comprising 64 painted panels each reinterpreting a section of a still-life vase of fowers by Jan Breughel the Elder in the style of a diferent artist or school, ranging from Byzantine to Japonisme. In the 1980s, struck by the radical ideas of the artist, composer and close friend John Cage on integrating “chance-controlled” elements into his watercolours, prints, drawings, and musical scores (most notoriously 4’33”) Steir’s working methods pivoted dramatically. Liberating herself from the confnes of imagery, she began to produce dripped, splashed and poured paintings, allowing nature and elemental forces to take charge. Steir particularly drew inspiration from the Chinese Tang dynasty yipin painters, who rebelled against orthodox painting methods in favour of explosive bursts of energy and spontaneity, splattering or using their hands to smear ink. Setting basic parameters about palette (from around 1989–92 this was increasingly limited to monochrome) and canvas shape, Steir would begin to throw, pour and stream oil pigments of various viscosities down the upright, primed linen canvas. With diferent speeds, drying rates and efects for each of the multiple, diaphanous layers, the fnal appearance of each work was
subject to infnite variations: “My idea was not to touch the canvas, not to paint, but to pour the paint and let the paint itself make the picture.” (Steir, quoted in Phyllis Tuchman, ‘Gravity’s Rainbow: Hot on the Heels of Key Showcases, Painter Pat Steir Preps Major Washington, D.C. Exhibition’, ARTnews, 30 July 2019, online). Summer Waterfall, executed over more than a decade, is a sublime work capturing the sensation of warm falling water. Steir explained why she has dedicated over 30 years of her life to the Waterfall series: “It’s chance within limitations […] Being more attached to the process than the conclusion, it’s an incredible freedom.” (quoted in Hilarie Sheets, ‘Pat Steir Gets Discovered, Again’, The New York Times, 18 January 2019, online). Resisting simplistic categorisation of her work as ‘abstract’, and taking her cue from the Chinese literati painters, who pursued personal erudition and expression rather than literal representation or superfcially attractive beauty in their works, Steir considers her works ‘nonobjective’, and herself to be fundamentally a maker of conceptual art: “I became an artist against all odds and nobody was going to tell me what imagery is good for me” (Pat Steir, quoted in Hilarie Sheets, ‘Pat Steir Gets Discovered, Again’, The New York Times, 18 January 2019, online). In 2018 Steir joined a small group of elite female artists commanding seven fgures at auction when Elective Afnity Waterfall (1992) sold for more than US$2.2 million at Phillips New York. Steir’s work is included in major public collections around the world, including the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Solomon R. Guggenheim Museum (all New York City), National Gallery of Art (Washington, D. C.), Tate Gallery (London), Walker Art Center (Minneapolis), and the San Francisco Museum of Modern Art.
「我想要成為一名偉大的藝術家，但不是以坊間傳說的形式說誰 是偉大的。而是極其卓越的、觸及人們靈魂式的偉大。」 帕特·斯蒂爾是一位美國繪畫及觀念藝術家，以其從1980年代 開始創作的有關機會和東方哲學的系列繪畫《瀑布》而聞名。 在她長達五十年的職業生涯中，斯蒂爾經歷了多次藝術上的 轉型。畢業於紐約普拉特藝術學院，她憑藉自己「個人私密 的」概念性單色布面繪畫而聲名鵲起，畫中描繪了被一個叉 所覆蓋的玫瑰，以及其他主題，來試圖消滅意象的象徵意義。 她隨後經歷了一個藝術上的自我反思的形成時期，沈浸在對 其他藝術家的風格和肖像學的研究，最終完成了《勃魯蓋爾》 系列（《虛空派風格》） （1982-4年），這件關鍵性的作品包含了 64塊繪版，每一塊用從拜占庭到日本主義的不同藝術家或 流派的風格，重新演繹了老揚·勃魯蓋爾的靜物瓶花繪畫。 在1980年代，受到藝術家、作曲家和好友约翰·凯奇激進想 法的啟發，後者將「機會控制」的元素結合到他的水彩畫、 版畫、素描，以及樂譜中（尤為驚世駭俗的是「4分33秒」）， 斯蒂爾的創作發生了戲劇性的改變。將自己從意象的束縛中 釋放，她開始創作將顏料滴落、潑濺和扔到畫布上的繪畫， 讓自然和原始力量來掌控畫面。斯蒂爾尤其從中國唐代的 逸品畫家處汲取靈感，那些畫家跳脫了傳統的繪畫手法， 轉向能量的爆發與自發性，選擇潑濺或用手塗抹墨汁。設定 好色彩的基本範圍（從大約1989年至1992年逐漸限制為單色 調）以及畫布的形狀之後，斯蒂爾將各種黏稠度的油畫顏料 往事先塗好底漆的直立亞麻畫布上扔擲、傾倒和流下。出於 輕薄透明的每一層次所具有的不同流速、變乾的速度和效果， 每件作品最終呈現的樣貌有著無限的差異： 「我的想法就是 不去觸碰畫布，不去畫它，而是將顏料潑下去，讓顏料自己 去掌控畫面。」 （斯蒂爾，引自菲利斯·圖赫曼， 《萬有引力 之虹：緊隨關鍵的展示，畫家帕特·斯蒂爾準備華盛頓特區 舉辦的大型展覽》 ，ARTnews，2019年7月30日，截自網路）。 《夏日瀑布》，以超過十年的時間創作而成，是一件捕捉了 溫暖的水流傾瀉感的超凡作品。對於為何將自己超過30年的 生命致力於瀑布系列的創作，斯蒂爾解釋說： 「這是在限定之 內的機會[...]比起結論它更傾向過程，這是一種令人難以置信 的自由。」 （引自希拉里·茜茲， 《帕特·斯蒂爾再次被發現》）， 《紐約時報》，2019年1月18日，截自網路）。不希望自己的作 品被簡單地定義為「抽象」，並借鑑中國文人畫家，他們 所追求的是個人的博學和表達，而非作品中的字面表現或 流於表象的美，斯蒂爾將其作品視作「非客觀」，而她自己 從根本上來說是一名觀念藝術的創造者： 「我好不容易成為一名藝術家，而且沒有人會告訴我什麼樣 的圖像是適合我的」 （帕特·斯蒂爾，引自希拉里·茜茲， 《帕特·斯蒂爾再次被發現》， 《紐約時報》，2019年1月18日， 截自網路）。 2018年 當她的《親和力瀑布》 （1992年）在富藝斯紐約以超過 220萬美元的售價成交，斯蒂爾躋身了一小撮作品在拍賣中 獲得七位數的精英女性藝術家的行列。斯蒂爾的作品被全 世界許多主要的公共機構所收藏，包括紐約的大都會藝術 博物館、現代藝術博物館、惠特尼美國藝術博物館、所羅 門·R·古根漢博物館、華盛頓國家美術館、倫敦泰特美術館、 明尼亞波利斯沃克藝術中心，以及 舊金山現代藝術博物館。
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32. Eddie Martinez
b. 1977
Almost Lost #4 signed with the artist’s initials and dated ‘EM.12’ lower lef oil and spray paint on canvas 182.9 x 152.4 cm. (72 x 60 in.) Executed in 2012. Provenance Zach Feuer Gallery, New York Private Collection, Miami Acquired from the above by the present owner
艾迪·馬汀尼茲 《幾乎迷失4號》 油彩 噴漆 畫布 2012年作 款識: EM.12（左下） 來源 紐約，Zach Feuer 畫廊 邁阿密私人收藏 現藏者購自上述來源
HK$ 1,000,000-1,500,000 US$ 128,000-192,000
Eddie Martinez is a contemporary American visual artist known for his monumental expressionist paintings. For almost two decades Martinez has created raw, energetic canvases infuenced as much by street art as by Abstract Expressionism and canonical art history. Like artistic icon Jean-Michel Basquiat, to whom he has been frequently compared, Martinez’s work efortlessly fuses painting and drawing, abstraction and fguration, historical references and modern media in original and electrifying ways. Martinez has been critically acclaimed for his “exceptional gifs as a painter and drafsman, which he exuberantly combines” (Roberta Smith, The New York Times, 11 February 2010, online). He has also cemented a reputation for being “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) - a declaration pursued throughout Martinez’s artistic practice, from his roots as a grafti artist to his cryptic subjects and unorthodox creative methods. Essentially self-taught, Martinez has spoken of his art as an extension of his innermost emotions and struggles: “Certainly, at times I can’t control how the anxiety and impatience and aggressive energy comes out” (the artist quoted in an interview with Artnet, ‘It’s Sort of Like a Boxing Ring in Here’: Watch Artist Eddie Martinez Wrestle His Way to a New Painting, 27 December 2018, online). Almost Lost #4 is testament to Martinez’s maturity as an artist. Layers of Martinez’s signature dark and complex iconography emerge in Almost Lost #4 – a sun and blue skies; the skeletal silhouette of a bird-like head and reddened lips; abstract gestures, objects and symbols piled atop each other. Simultaneously portrait, still life and landscape, Almost Lost #4 references the automatism of Surrealism, the cave paintings of art naïf and the rawness of art brut, executed with a subversive ease and lightness.
Martinez appears to funnel his inner impulses directly onto canvas like the Abstract Expressionist action painters Jackson Pollock and Willem de Kooning, but eschews the gestures and clichés of painterly abstraction for something more visceral and unsettling. Like Basquiat, Martinez’s work process is deceptively purposeful and considered. Drawing is central to Martinez’s work and he draws constantly – using a Sharpie pen on a small notepad, napkin, or whatever else might be to hand, enlarging and screen-printing the fnal image onto canvas before he begins painting. Almost Lost #4 showcases the vivid brushwork and bold, tactile contours which are hallmarks of Martinez’s work. His practice blends media such as oil, acrylic, enamel and spray paints, applied with an aerosol can or with thick impasto brushstrokes and further manipulated in a variety of ways: wiped, scraped, scratched both dry and wet - an intuitive process with the artist stepping towards and away from the canvas “like a boxer diving in and out of confrontation” (observed by Artnet, 27 December 2018). The textured, disfgured layers of paint testify to the passionate, even primal, nature of Martinez’s creative process: “It’s sort of like a boxing ring in here—it’s a very physical process. […] Maybe I’m a little addicted to that. It’s a real way for me to work things out, outside of just the actual painting.” (the artist quoted in an interview with Artnet, 27 December 2018) Martinez has been honoured with solo exhibitions at respected museums and institutions, including the Bronx Museum, New York (2018), the Drawing Center, New York (2017) and the Davis Museum, Wellesley (2017). His work now forms part of eminent public collections such as the Saatchi Collection in London and the Morgan Library in New York.
‘It’s sort of like a boxing ring in here— it’s a very physical process. ...Maybe I’m a little addicted to that. It’s a real way for me to work things out, outside of just the actual painting.’ Eddie Martinez
美國當代視覺藝術家艾迪·馬丁尼茲，以其具有代表性的 表現主義繪畫而聞名。近二十年來，馬汀尼茲所創作之充滿 原始感和活力的布面作品，既受到抽象變現主義和正統 藝術史的影響，也受到來自街頭藝術的感染。就像經常被 提及與其做比較的藝術偶像尚·米榭·巴斯奇亞，馬汀尼茲 的作品以其新穎且叫人眼前一亮的形式將繪畫和素描、抽象 和具象、歷史引用和現代媒介毫不費力地融合在一起。 馬汀尼茲以其「超凡的創作手法和繪圖天賦，並將兩者華麗 地結合」而獲得廣泛的讚譽（Roberta Smith， 《紐約時報》， 2010年2月11日, 截自網路）。他還樹立了「專注於創作出完 全摒棄人們期望的作品」之盛名（引自數位紀錄片系列 《紐約特寫》中與Nick Ravich的訪談，Art21.org，2012年， 截自網路）——他從塗鴉藝術起家，到其神秘的創作主題和 非傳統的創作方法，這個不懈的宣言一直貫穿於他的藝術實 踐。作為一名實質上自學而成的藝術家，馬汀尼茲曾表述其 創作是自己內心深處情感和掙扎的一種延伸： 「當然，有時 我無法控制焦慮、煩躁和暴躁能量的散發」（引自藝術家與 Artnet的採訪， 《這裡有點像拳擊台：觀察藝術家艾迪·馬汀 尼茲擊向一幅新畫》，2018年12月27日, 截自網路）。 《幾乎迷失4號》證明了馬汀尼茲已然是一名成熟的藝術家。 馬汀尼茲標誌性的深色且複雜的圖像層層浮現在此件拍品 中——太陽與藍天；鳥一般的頭顱和紅唇的骨骼輪廓；抽象 的姿態馬物件和符號一一互相層疊。同時是肖像、靜物和 風景， 《幾乎迷失4號》對超現實主義的自發性、素人藝術 的洞穴壁畫和非主流藝術的原始性參照，以具有顛覆性的 自在和輕盈於創作中體現。就像抽象表現主義行動畫家傑克 遜·波洛克和威廉·德·庫寧那樣，馬汀尼茲彷彿將其內在的 衝動直接轉移到畫布上，同時又避開了抽象繪畫的姿態 和老套，並注入了更加本能和不安的元素。像巴斯奇亞 一樣，馬汀尼茲的創作過程有著精心考量的誤導性。素描對 馬汀尼茲的作品來說極其重要，並且他不停地在畫——使用 Sharpie記號筆在小記事本上、紙巾上或其他任何手邊的東 西上畫，然後將筆記在畫布上放大和絲網印刷成最終圖像， 再開始繪畫。 《幾乎迷失4號》展現了馬汀尼茲作品中標誌性的生動筆觸和 大膽醒目的立體輪廓。他在創作中將油畫顏料、壓克力彩、 瓷漆和噴漆等介質混合，使用氣霧罐或層層疊加厚重顏料 的筆觸，並用多種形式進一步操作：在顏料濕或乾的時候 進行擦拭、刮擦、劃痕——藝術家以一種直覺式的靠近或 退離畫布的過程， 「就像拳擊手在對抗中的躍入和跳出」 （引自Artnet, 2018年12月27日）。那些有著層層紋理的、 變形的顏料證明了馬汀尼茲的創作過程中充滿激情、甚至 野性的本質： 「這裏有點像個拳擊台——這是個充滿身體接觸的過程。 […] 或許我有一點點沈迷於此。這是在實際繪畫之外讓我能 夠尋找出路的真正方式。」（引自藝術家與Artnet的採訪， 2018年12月27日） 馬汀尼茲在許多著名的美術館和機構曾舉辦個展，其中 包括紐約的布朗克斯美術館（2018年）、紐約的繪畫中心 （2017年），以及韋爾斯利的戴維斯美術館（2017年）。他的 作品已成為一些著名公共收藏的一部分，其中包括倫敦的 薩奇美術館和紐約的摩根圖書館與博物館。
Property of an Important Southeast Asian Collector
33. Natee Utarit
b. 1970
King signed, titled and dated ‘Natee Utarit, 2011 “King”’ on the reverse oil on linen 200 x 320 cm. (78 3/4 x 125 7/8 in.) Executed in 2011, this work is accompanied by a certifcate of authenticity issued by Art Seasons Gallery. Provenance Art Seasons Gallery, Singapore Acquired from the above by the present owner Exhibited Singapore, Richard Koh Fine Art, God, King and Country, 12 – 15 January 2012 Literature Richard Koh Fine Art, Natee Utarit: Illustration of the Crisis, Kuala Lumpur, 2013, pp. 114, 115, 238 (illustrated)
重要東南亞私人收藏
納堤·尤塔瑞 《國王》 油彩 畫布 2011年作, 並附季節畫廊所簽發之保證書。 款識：Natee Utarit 2011《King》(畫背) 來源 新加坡，季節畫廊 現藏者購自上述來源 展覽 新加坡，Richard Koh Fine Art， 〈神、國王和國家〉 ， 2012年1月12-15日 出版 Richard Koh Fine Art， 〈納堤·尤塔瑞：危機圖畫〉 ， 吉隆坡，2013年，第114、115、238頁（圖版）
HK$ 1,000,000-1,500,000 US$ 128,000-192,000
Socio-political discourse in Thailand has profoundly infuenced the multifaceted practice of Natee Utarit, one of the most gifed contemporary artists in Southeast Asia. Utarit combines surrealism with a slick hyperrealism comparable to Salvador Dali, but a sharp and discerning take on global political, cultural and historical afairs underpins each of his complex and multilayered works. The present lot, King, is presented as a classical Western still life painting, which developed as a formal artistic genre in the Netherlands during the 16th and 17th centuries. Still life historically occupied the lowest rung of the hierarchy of genres in Western academic thinking owing to its superfcially decorative subject matter. However, its popularity amongst the ordinary Dutch middle classes - who gradually displaced the church and state as the principal patrons of art in the Netherlands grew from its ability to hide a multitude of religious and allegorical symbolism within its carefully chosen subjects, at a time when images of religious subjects were strictly forbidden. It is a genre which appeals to Utarit’s love of metaphors and hidden symbols, in an environment where overt criticism of religion and the monarchy are regarded as attacks upon the central, unassailably sacred tenets of contemporary Thai culture: “Oddly enough, it is the pictorial language of Western painting of centuries past and its obligation to answer such basic questions as who? what? where? how? that can more accurately depict the murky, complex atmosphere that surrounds the events of the present.” (Natee Utarit, quoted in Richard Koh Fine Art, Natee Utarit: Illustration of the Crisis, Kuala Lumpur, 2013, p. 9) Central to the story of King is King Rama IV (18041868), a major cultural reformer who embraced Western innovations and was known as Thailand’s “father of science and technology”. His eforts at modernising the country even came to be immortalised in the Broadway musical and Hollywood flm The King and I. He is represented by a small golden statue of Phra Siam Devadhiraj, the guardian deity of Thailand, which was commissioned by Rama IV around 1860. The statue peers through a telescope (astronomy being one of Rama IV’s well-known interests) at a colourful anatomical model of a cow, and perches upon an empty set of scales atop a stack of books – knowledge and the rule of law supporting his reign rather than the weapons of outmoded regimes. A toppled representation of a crown references Thailand’s proud status as the only Southeast Asian country to have evaded Western colonisation.
To Rama’s lef stands a life-sized marble statue of the French Enlightenment philosopher Voltaire, who gestures to a pamphlet in his hand, one of the 2,000 books and texts he wrote in his lifetime arguing for freedom of thought and civil liberties. Voltaire championed religious tolerance and for an end to absolutist religious and monarchical authority in favour of a constitutional monarchy, which was implemented in Thailand in 1932. Rather fttingly, Rama turns away from a golf trolley disguised as a cannon, an ominous allusion to the potentially fawed infuence of Western sof power in the East perfectly encapsulated by reference to a sport dogged by accusations of elitism since its introduction to Thailand. A tableau that reproduces a veritable ‘slice of life’ and unravels some of the complex history and culture behind contemporary Thai society, King is the second work in the tripartite series God, King and Country (2011). This phrase was a key mantra of Thai mentality until the early twentyfrst century. Originating in England and introduced to Thailand by Rama IV, it came to represent the belief that Thai citizens were united through loyalty to the king, the revered father of the nation, who brought prosperity and legitimacy to the nation through protection and support for Buddhist institutions. The intrinsic interrelationship of these three institutions is symbolised by Thailand’s tricolour fag: red for nation, white for religion and blue, just as in the West, for monarchy. The deep blue velvet curtain that dominates the background of King, through which a sliver of white curtain is glimpsed (literally and metaphorically), is foregrounded by a candle-snufer, the Buddhist notion of impermanence taking precedence above all. Its function mirrors the Western momento mori of still life vanitas paintings, for example Hans Holbein the Younger’s The Ambassadors, an acclaimed portrait of two young noblemen surrounded by symbols of their wealth and education, which is dominated by an anamorphic skull. Heir to Eastern and Western painting traditions, but unafraid to radically reinvent the pictorial language of today, Utarit has been honoured with recent solo exhibitions at the National Gallery of Indonesia and Singapore Art Museum, as well as inclusion in acclaimed public collections such as the Bangkok University, Bangkok, Queensland Art Gallery and Gallery of Modern Art, Brisbane, Singapore Art Museum, Singapore, as well as private collections in Europe and Asia.
LEFT: Nicolas de Largillière Portrait of Voltaire, circa 1724 左: 尼古拉斯·德·拉吉萊勒 《伏爾泰肖像》 ，約1724年作 RIGHT: Hans Holbein the Younger The Ambassadors, 1533 Collection of the National Gallery, London 右: 小漢斯·霍爾拜因 《大使們》 ，1533 年作 倫敦，國家美術館收藏
身為東南亞最具天賦的當代藝術家之一，納堤·尤塔瑞 對泰國社會政治語境的多元化藝術實踐，有著深刻的影響。 尤塔瑞對超現實主義與華麗的超級寫實主義之結合堪比薩 爾瓦多·達利，而他對全球政治、文化和歷史議題的尖銳 且獨到之見解又為他的每一件作品奠定了豐富與多層次的 基礎。 本拍品《國王》以古典西方靜物畫的形式呈現。此類型 畫作在16世紀和17世紀的荷蘭發展成為一種正式的藝術 類型。由於其流於表面的裝飾性題材，靜物畫在歷史上 只佔據西方學術思想流派中最低等級的位置。然而，它在 普通荷蘭中產階級中的普遍接受度——並逐漸取代了教會 和國家，成為藝術在荷蘭的主要贊助人——在當時宗教 題材圖像被嚴厲禁止的環境下，隨著它能夠將多種宗教和 寓言象徵意義隱藏在其小心選擇的題材背後而不斷增長。 宗教和君主制在當代泰國文化中屬於至高無上的信條， 對其公開的批評會被視為對中央政權的攻擊，在這樣的 環境中，這種藝術類型對偏愛隱喻和隱藏象徵意義的 尤塔瑞來說極具吸引力： 「奇怪的是，過去幾個世紀的西方繪畫以及它對何人？ 何事？何地？如何？等基本問題做出回答的義務反而將 圍繞著當下事件混濁而又複雜的氛圍描繪得更加準確。 」 （納堤·尤塔瑞，摘自Richard Koh Fine Art， 《納堤·尤塔瑞： 危機圖解》，吉隆坡，2013年，第9頁） 《國王》一作中故事的中心人物國王拉瑪四世（18041868年） ，是一位大力主張西方革新的文化改革家， 且被視作泰國的「科學和技術之父」。他為實現國家的 現代化所做的努力甚至在百老匯的音樂劇和好萊塢的電影 《國王與我》中被呈現出來，讓人們永懷不忘。作品中的 國王以拉瑪四世在1860年委託打造的一小樽泰國守護神 Phra Siam Devadhiraj之金色雕像的形象出現。雕像透過 望遠鏡（眾所周知天文學是拉瑪四世的一大興趣）看向一 頭彩色的牛解剖模型，並站立在一張放置於一堆書籍上方 的量秤之上——代表他憑藉知識與法律治國，而非運用過 時的政權手段。對王室這一顛覆性的呈現指涉著泰國作為 東南亞唯一一個未曾被西方殖民統治的國家之驕傲地位。
拉瑪的左邊是一座真人大小的法國啟蒙時代哲學家伏爾泰 的大理石雕像，指著一本手中的小冊子，他畢生所著的 主張思想自由和公民自由之2,000本典籍中的一本。伏爾 泰倡導宗教寬容，反對宗教專制和君主專制，主張君主立 憲制，而君主立憲制亦在1932年在泰國實行。更應景 的是，拉瑪背對著的一輛偽裝成大砲的高爾夫球車，作為 西方軟實力在東方的影響力所存在的潛在缺陷之不祥 預兆，被完美地涵括在對這一自從被引入泰國後便一直 被指責為代表精英主義之運動的指涉中。 作為一場對「真實的再現」和對當代泰國社會背後複雜的 歷史和文化之揭示， 《國王》是《神、國王和國家》 （2011年） 三部曲系列中的第二件作品。這個短語直到二十一世紀初 一直都是對泰國人普遍心態的概括。起源於英格蘭， 並由拉瑪四世引入泰國，它代表著這樣一種信念：對國王 的忠誠讓泰國民眾團結在一起，國王是人民尊崇的國父， 是他通過對佛教機構的保護和支持，為國家帶來了繁榮 和法治。泰國的三色國旗象徵著這三個機構之間的根本 關係：紅色代表國家、白色代表宗教，而藍色，就像在 西方一樣，代表了君權。透過覆蓋《國王》畫作背景的深藍 色天鵝絨簾幕，可以（既是名副其實，也是隱喻）瞥見一片 白色簾幕，前景是一隻滅燭罩，代表了一切皆為無常。 這也是對西方靜物繪畫中「虛空派」的「一切終將逝去」的 概念之寫照，例如小漢斯·霍爾拜因的《大使們》，這幅 著名的肖像描繪了兩個年輕的貴族男子，周圍是他們財富 和博學的象徵，但畫面卻被用投影法畫上去的人類骷髏 所主導。 繼承了東西方繪畫的傳統，但並不懼怕徹底重塑當今的 繪畫語言，尤塔瑞最近在印度尼西亞國家美術館和新加坡 美術館都舉辦了個展，並且他的作品還被曼谷大學、 布里斯本的昆士蘭藝術博物館與現代藝術博物館、新加坡 美術館等著名的公共機構，以及歐洲和亞洲的私人所收藏。
34. Handiwirman Saputra
b. 1975
Menahan 2 signed with the artist’s initials and dated ‘HWS 2007’ lower right; further signed, titled and dated ‘Handiwirman Saputra “Menahan 2” 2007’ on the reverse acrylic on canvas 165 x 165 cm. (64 7/8 x 64 7/8 in.) Painted in 2007. Provenance Valentine Willie Fine Art, Kuala Lumpur Private Collection, Asia Borobudur Art Auction, Singapore, 11 October 2009, lot 165 Acquired at the above sale by the present owner Exhibited Kuala Lumpur, Valentine Willie Fine Art, Cilukba! (Peekaboo!): An exhibition by Kelompok Seni Rupa Jendela (Jendela Art Group), 26 May - 16 June 2007, pp. 16-17 (illustrated, p.17)
漢迪維曼·沙普塔 《忍耐2號》 壓克力 畫布 2007年作 款識: HWS 2007 （右下); Handiwirman Saputra 《 Menahan 2 》2007 (畫背) 來源 吉隆坡, Valentine Willie 藝術畫廊 亞洲私人收藏 新加坡, 寶福德藝術拍賣, 2009年10月11日, 拍品編號165 現藏者購自上述拍賣 展覽 吉隆坡，Valentine Willie 藝術畫廊， 〈躲猫猫! : 珍德拉藝術集團展覽〉 ，2007年5月26日-6月16日， 第16-17頁 (圖版第17頁)
HK$ 1,400,000-2,000,000 US$ 179,000-256,000
‘When it comes to media and form, I choose the object as my interlocutor to build a perception of my own imagination when dealing with objects or observing an object.’ Handiwirman Saputra
Yogyakarta-based Handiwirman Saputra is one of the most acclaimed Indonesian contemporary artists who conveys his visual ideas by creating a new fssure within the realms of still-life painting and abstract surrealism. Presenting at the Venice Biennale in Italy in 2019, Saputra is the third Indonesian artist to be invited to the esteemed art event. His gaining international recognition and noteworthy exhibitions are partly attributed to his adept skill as a sculptor and painter, and distinct ability to straddle two- and three-dimensional mediums comfortably to put forth artistic concepts that question the audience’s perception of the world around them.
生活於日惹的漢迪維曼·沙普塔是印尼最受讚譽的當代 藝術家之一，他通過在靜物畫和抽象超現實主義領域創造 新的裂痕，來傳遞他的視覺想法。 參加2019年的意大利 威尼斯雙年展，蘇普塔拉是第三位受邀參加這一備受尊崇 的藝術活動之印尼藝術家。他所獲得的國際認可和所舉辦 的值得關注之展覽，部分原因出自他作為雕塑家和畫家 的嫻熟技巧，以及他出色的在二維和三維媒介之間跨越 自如的能力，並由此發出質疑觀眾對他們周圍世界看法的 藝術觀念。
Saputra is co-founder of the Kelompok Seni Rupa Jendela (Jendela Group Art Collective), one of Indonesia’s most acclaimed contemporary art collectives. Ofen seen as ofering a counterpoint to their peers working with politicised themes, the Jendela artists provoke formalist readings by collectively adopting commonplace materials as a basis for artistic exploration and following their own instinct and intuition while addressing their individual concerns.
沙普塔是印尼最受讚譽的當代藝術團體之一，Jendela 的聯合創始人。經常被視為他們同時代的，創作政治主題 的藝術家之對立面，Jendela小組的藝術家通過集體採用 平凡無奇的材料，作為藝術探索的基礎，並遵循自己 的本能和直覺，同時去關注他們的個人問題，從而激起 形式主義的探索。
Menahan 2 is a captivating work in nature, executed in a restrained colour palette of predominantly white tones. A white humanoid form foats against a white background, starkly contrasted with the black and broken yellow rubber band or string that ties around a part of the undefnable object. We are immediately drawn to the mere evocation of the presence of human features: a faceless head with a mouth held tight with a piece of string. Through the image, we begin to notice our thresholds of automatic symbolic association, yearning to fnd meaning behind the visual evocation to show that these forms resemble or represent something. The title ‘Menahan’ itself suggests ‘to bear’, ‘to retain’ or ‘hold in’ and prompts an introspective evaluation of the eternal confict between internality and externality, alluding to words or sentiments that are unrevealed and unspoken. Saputra navigates the human process of emotional constraint through the paradigms of surrealist aesthetics, and imbues the painting with such delicate emotional frequency, that calls us to embrace its inevitable beauty as such. Saputra uses regular everyday materials including cotton, human hair, plastic wrap, wood, which he then repositions in a manner contrary to convention, almost in the same vein as the French-American artist Marcel Duchamp would through transforming readymade objects into works of art. Menahan 2 is the result of the three-step process where Saputra carefully assembles foreign objects in actual three dimensions in his studio, photographs the new composition, then paints the object in enlarged scale onto canvas, a foating landscape of pure white. This system efectively serves to separate and remove the product from its origins, generate a new context, and incite fresh perspectives within the viewer to answer the paradigm of meaning in the work freely and independently. As such, his allure lies in composing artworks almost devoid of any artistic pretension. His paintings, an extension of the still-life genre, stay true to the thematic emphasis on the issue of perception and ways of seeing. He digs deep into the relationship between the extraordinary and the commonplace, and more specifcally, how the power of perception can seize the imagination and alter one’s impression of the ordinary. The ambiguity of his works is ofen heightened by a shif in scale, transforming the banal into the monumental ofen with a sense of wonderment and absurdity, that is matched with his hallmark technical rigour and captivating realist techniques.
《忍耐2號》是一件引人入勝的作品，其創作限制於白色 之主色調上。一個白色人形生物漂浮在白色背景之上， 與黑色和折斷的黃色橡皮筋，又或是系在那無法將其界定 的物體上的細繩，形成鮮明對比。我們立即被其人類特徵 的存在所吸引：一個沒有臉的頭，嘴巴緊緊地含著一根 繩子。通過這個圖像，我們開始注意到自己對符號自動作 出聯繫的反應，渴望在視覺印象中尋找含義。 「忍耐」這個 標題本身就暗示著「克制」， 「保持」或「保留」，並促使人 們對內在性與外在性之間的永恆衝突進行內省式評估。 蘇普塔拉通過超現實主義美學的範例，去探索人類對 情感進行約束的過程，為這幅繪畫注入了如此微妙的情感 頻率，召喚著我們去擁抱它那無法抵抗的美。 沙普塔使用常規的日常材料，包括棉花、頭髮、保鮮膜 和木材，然後按照與慣例相反的方式將它們重新擺放， 這幾乎與法裔美國藝術家馬塞爾·杜尚將現成的物品轉變 為藝術品一樣。《忍耐 2號》是三步過程的結果，沙普塔 給新的構圖拍下照片，然後用放大後的比例將其繪製到 畫布上，形成純白色的浮動景觀。該系統有效地將成品 從其起源中分離出來，將其拋至一個新的現實中， 並在觀者的內在激起新的視角，讓他們自由和獨立地去 回答作品中的意義範式。如此，他的魅惑力在於構建幾乎 沒有任何在藝術上自詡的作品。他的繪畫作為靜物畫題材 的一種延伸，忠於其在主題上對感知和觀看方式的強調。 他深入研究了非凡與平凡之間的關係，更具體地說， 是感知的力量如何抓住想像力，並改變人們對平凡事物 的印象。他的作品通常會因尺幅的改變而變得更加模稜 兩可，將平庸的事物轉變成充滿驚異與荒誕的偉大事物， 這與他標誌性的嚴謹和引人入勝的現實主義技巧相匹配。
Guide for Prospective Buyers Buying at Auction The following pages are designed to ofer you information on how to buy at auction at Phillips. Our staf will be happy to assist you. Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller. Bidders should also read the Important Notices immediately following this Guide for Prospective Buyers. Buyer’s Premium Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$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. The purchase price payable for any lot is the sum of the hammer price plus the buyer’s premium plus any applicable taxes and charges. 1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +852 2318 2000, +41 22 317 8181, +44 20 7318 4010 or +1 212 940 1240. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate upon Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in Hong Kong dollars, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of the property, as well as the exhibition history and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the
identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property. While condition reports are prepared honestly and carefully, our staf are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of signifcant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verifed and approved by a qualifed electrician. Deposit If you wish to bid on a lot designated with the symbol * (a “Premium Lot”), Phillips may require you to pay a deposit of HK$2,000,000 or such higher amount as Phillips in our sole discretion deems appropriate and to provide such fnancial references, guarantees and/or other security as Phillips may require in our sole discretion as security for the bid. Phillips will also require you to complete the Premium Lot pre-registration prior to the date of the auction at which the Premium Lot will be ofered for sale. Upon our receipt of the deposit and a completed pre-registration form, Phillips will provide you with a numbered Premium Lot paddle for identifcation purposes. The auctioneer will usually only accept bids on Premium Lots made with the Premium Lot paddle or by its registered bidder. This applies to saleroom, telephone and absentee bids. Payment of the deposit may be made by wire transfer or credit card acceptable to Phillips for the prospective purchase. If you are not the successful bidder on a Premium Lot and do not owe Phillips or any of our afliated companies any debt, the deposit will be refunded to you by wire transfer (in the same currency in which you paid the deposit) or credit card
refund, as the case may be, the refund will be processed within seven days afer the date of the auction. Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. If there are competing bidders third party guarantors may also bid above any written bid.
In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the lot. Δ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.
•
No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. Ж
Property subject to US Import Tarifs Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.
∑ Endangered Species Lots with this symbol have been identifed at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. * Premium Lots Lots with this symbol carry a low pre-sale estimate of HK$8,000,000 or more and are referred to by Phillips as Premium Lots. Prospective buyers who wish to bid on Premium Lots must complete the pre-registration form and pay the Premium Lot deposit, as described more fully in this Paragraph 1 of the Guide for Prospective Buyers. ▼ Restricted Importation Lots with this symbol may be subject to importation restriction in the US. Please refer to the Important Notices which appear in this catalogue immediately following this Guide for Prospective Buyers. 2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identifcation may be required, as may an original signature. We may also require that you furnish us with a bank reference. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staf members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least HK$8,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium, which we can execute on your behalf in the event we are unable to reach you by telephone. To arrange a telephone bid please contact the Hong Kong bids department at +852 2318 2029. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on
our website at www.phillips.com.The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe Flash Player. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the Auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. HK$1,000 to HK$2,000 HK$2,000 to HK$3,000 HK$3,000 to HK$5,000
by HK$100s by HK$200s by HK$200, 500, 800 (i.e., HK$4,200, HK$4,500, HK$4,800) HK$5,000 to HK$10,000 by HK$500s HK$10,000 to HK$20,000 by HK$1,000s HK$20,000 to HK$30,000 by HK$2,000s HK$30,000 to HK$50,000 by HK$2,000, HK$5,000, HK$8,000 HK$50,000 to HK$100,000 by HK$5,000s HK$100,000 to HK$200,000 by HK$10,000s HK$200,000 to HK$300,000 by HK$20,000s HK$300,000 to HK$500,000 by HK$20,000, 50,000, 80,000 (i.e., HK$320,000, HK$350,000, HK$380,000) HK$500,000 to HK$1,000,000 by HK$50,000s Above HK$1,000,000 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 buyer’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 buyer’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. (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. (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 14 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. US Import Tarifs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol lots which may be subject to additional US import tarifs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking. Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf by Phillips. Please contact the department organising the auction for further details. 13 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. 14 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 14, 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.
Authorship Warranty 15 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. 16 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 buyer’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. 17 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 buyer’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.
Paddle Number
Please indicate in what capacity you will be bidding (please select one):
As a private individual On behalf of a company Sale Title
• 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. • 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$30,000,000.
Sale Number Sale Date
Title First Name
• PRIVATE PURCHASES Proof of identity in the form of governmentissued identification and proof of address will be required. • COMPANY PURCHASES If you are buying under a business entity, we require a copy of government-issued identification (such as the certificate of incorporation) as well as proof of owners and directors to verify the status of the company.
Please select the type of bid you wish to make with this form (please select one):
In-person Absentee Bidding Telephone Bidding
14/F St. George’s Buidling, 2 Ice House Street, Central, Hong Kong
Surname
Company (if applicable) Account Number
• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.
Address
• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.
City
State/Country
Post Code Phone
Mobile
Fax
• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. • If we receive identical bids, the first bid received will take precedence.
Phone number to call at the time of sale (for Phone Bidding only) 1.
2.
Language to be used (for Phone Bidding only) Please complete the following section for telephone and absentee bids only Lot number Brief description Maximum bid price in HK$* In Consecutive Order
Absentee Bids Only
• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by email to bidshongkong@phillips.com or by fax at +852 2318 2010 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone, please call +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
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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。 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。 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。 拍賣前預展 拍賣前預展乃免費並對外公開，我們的專家可於預展或預約 時提供意見及品狀報告。
電子及機械性拍品 所有帶有電子及或機械性能之拍品均只供以其裝飾價值出 售，並不代表可運作。如有特別運作上的用途，其電子系統必 須經認可電子技術人員檢測及通過授權使用。 保證金 如欲競投標有*記號之拍賣品 (高額拍賣品)，富藝斯或要求閣 下交付港幣2,000,000元或其他由富藝斯 決定之更大金額的 保證金及任何財務狀況證明，擔保及/或其他由富藝斯可全權 酌情決定要求的抵押作為參加富藝斯競投的保障。富藝斯亦 會要求閣下於該高額拍賣品拍賣日前完成高額拍賣品預先登 記。當我們確認收到保證金及已填妥之預先登記表格後，閣 下將獲發高額拍賣品競投牌以資識別。拍賣官一般只接受以 高額拍賣品競投牌或其登记競投人士作出之競投。此亦適用 於拍賣現場、電話及書面競投。閣下可以電匯或富藝斯可接 受之信用卡繳付保證金。如閣下未有成功競投高額拍賣品， 於富藝斯或我們任何附屬公司亦無任何欠款，保證金將以電 匯(與閣下繳付保證金時相同之貨幣)或信用卡退還，視乎個 別情形，本公司將安排於拍賣日期後7天內安排退還保證金。 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。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。 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。 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。
Δ 富藝斯擁有業權權益之拍賣品 拍賣品標有Δ符號代表富藝斯擁有該拍賣品之全部或部分業 權，或在拍賣品中擁有相等於業權權益之經濟利益。
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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。 Ж 須繳付美國進口關稅的拍賣品 標有這個符號的拍賣品在進口美國時可能需要額外繳付關 稅。請參閱《業務規定》第12段。
∑ 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。
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。
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。
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。
競投價 每次喊價之遞增金額 1,000-2,000 港元 100港元 2,000-3,000港元 200港元 3,000-5,000港元 200, 500, 800 港元 (例 4,200, 4,500, 4,800港元) 5,000-10,000港元 500港元 10,000-20,000港元 1,000港元 20,000-30,000港元 2,000港元 30,000-50,000港元 2,000, 5,000, 8,000港元 (例 32,000, 35,000, 38,000港元) 50,000-100,000港元 5,000港元 100,000-200,000港元 10,000港元 200,000-300,000港元 20,000港元 300,000-500,000港元 20,000, 50,000, 80,000港元 (例 320,000, 350,000, 380,000 港元) 500,000-1,000,000港元 50,000港元 1,000,000港元或以上 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。
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。 (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。富藝斯保留用酬金支 付介紹佣金予一個或多個協助拍品於拍賣會中售出的第三 方之權利。 (b) 除非另有協議, 否則買家須於拍賣後立即繳款, 與有任何 意圖獲得該拍賣出口或進口許可證或其他執照無關。 付款 須由發票抬頭人,以港元及按照發票上之詳細銀行資料以電 匯方式支付。 (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14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。
(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。 14 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14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。 15 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。
12 美國進口關稅 有意把拍賣品進口美國的買家必須注意，美國海關可能在進 口 (i) 在中國大陸製造或創作的產品及(ii) 於英國或德國印製 的印刷材料（包括相片、印刷品、平版印刷、書籍及設計）時 徵收額外的進口稅。 在富藝斯知情下，我們將在需要額外繳付美國進口關稅的拍 賣品上標示符號。然而，請注意：我們標示這些符號只是為了 方便準買家。富藝斯概不就任何錯誤負責，包括未能準確標 示拍賣品或未有作出任何標示。 買家必須注意，他們有責任為所付運或由富藝斯代其付運的 拍賣品支付所有與出口及進口相關的費用、關稅與稅款。 如要了解詳情，請聯絡拍賣會的主辦單位。 13 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。
16 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。
17 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。
香港中環雪廠街2號聖佐治大廈14樓
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如閣下以商業實體名義購買，請提供由政府發出的公司證明文件(如公司
請選擇此表格之競投方式(選一項)：
註冊證書)之副本及擁有人及董事的證明文件，以核實有關公司。
現場競投 書面競投 電話競投
競投牌號碼
• 業務規定 所有投標的處理及執行、及所有拍品的成交及購買均按照圖錄所載之業 務規定執行。請於參與競投前細閱業務規定，並細閱第4段之內容。 • 如閣下未能出席拍賣會，本公司樂意代表閣下進行保密的書面競投。
請選擇閣下是次競投名義(選一項)：
• 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
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Sale Information Auction & Viewing Location
JW Marriott Hotel Hong Kong 88 Queensway, Admiralty, Hong Kong Auction
Sunday, 24 November 2019, 6pm Viewing
22 – 24 November Friday – Sunday 10am–6pm Saturday 10am–7pm Sale Designation
When sending in written bids or making enquiries please refer to this sale as HK010319 or 20th Century & Contemporary Art Evening Sale. Absentee and Telephone Bids
tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com
Deputy Chairman, Asia Jonathan Crockett +852 2318 2023 jcrockett@phillips.com Head of Department Isaure de Viel Castel +852 2318 2011 idevielcastel@phillips.com Head of Evening Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Head of Day Sale Danielle So +852 2318 2027 dso@phillips.com
Head of Online Sales Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Specialists Clara Rivollet +33 6 42 09 97 39 crivollet@philliips.com Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Meiling Lee +886 908 876 669 mlee@phillips.com
Auctioneer Jonathan Crockett Photographers Arnold Lee Etta Kwok Jean Bourbon Kent Pell Mark Babushkin Alex Braun Charlie Sheldon Peter Schälchli Kei Miyajima Kim Sang Tae Lin Yu-Shyang Matt Kroening Peter Lee Ricky Wan Special Thanks Anastasia Salnikow Beatrice Yu Xing Zhao Luisa Ku
Sandy Ma +852 6192 9166 sma@phillips.com
Catalogues catalogues@phillips.com HKD400/$50/€35/50CHF +852 2318 2000
Senior Administrator/Cataloguer Marian Ang +852 2318 2024 mang@phillips.com
Client Accounting clientaccountslondon@phillips.com +852 2318 2000
Administrator Katy Li +852 2318 2025 kli@phillips.com Senior Business Manager Othniel Jai Prakash +852 2318 2034 othnieljaiprakash@phillips.com
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
Front Cover Lot 8, Jean-Michel Basquiat, Thermopolae
Back Cover Lot 12, Zao Wou-Ki, 29.05-31.10.68 (detail)
© The estate of Jean-Michel Basquiat / ADAGP, Paris - SACK, Seoul, 2019
Zao Wou-Ki, 29.05-31.10.68, oil on canvas, 1968. © 2019, ProLitteris, Zurich
20th Century & Contemporary Art New York Evening Sale 14 November 2019, 5pm Public viewing 1 – 12 November at 450 Park Avenue, New York Enquiries Amanda Lo Iacono aloiacono@phillips.com +1 212 940 1278
KAWS UNTITLED acrylic on shaped canvas on panel 56 1/8 x 116 1/8 in. (142.6 x 295 cm.) Painted in 2014. © 2019 KAWS
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Index Basquiat, Jean-Michel 8
尚·米榭·巴斯奇亞 8
Chadwick, Lynn, R.A. 29
林恩·查德維克 29
Chu, Teh-Chun 13, 14
朱德群 13, 14
Condo, George
24
Figgis, Genieve
1
喬治·康多 24 珍尼維·菲吉斯 1
Frankenthaler, Helen
15
海倫·弗蘭肯塔爾 15
Frize, Bernard
18
貝爾納·弗里茨 18
Gokita, Tomoo
5
五木田智央 5
Katz, Alex
4
阿歷克斯·卡茨 4
KAWS 23
KAWS 23
Kusama, Yayoi 27, 28
草間彌生 27, 28
Liang, Yuanwei 17
梁遠葦 17 9
Lichtenstein, Roy
羅伊·李奇登斯坦 9
Liu, Wei 19
劉韡 19
Liu, Ye 7
劉野 7
MADSAKI 2
MADSAKI 2
Martinez, Eddie 32
艾迪·馬汀尼茲 32
Murakami, Takashi 22, 25
村上隆 22, 25
Nara, Yoshitomo
26
奈良美智 26
Richter, Gerhard
11
格哈特·里希特 11
Saputra, Handiwirman 34 Shiraga, Kazuo
16
漢迪維曼·沙普塔 34 白髮一雄 16
Steir, Pat 31
帕特·斯蒂爾 31
Stingel, Rudolf 30
魯道夫·斯丁格爾 30
Taylor, Henry 3
亨利·泰勒 3
Utarit, Natee 33
納堤·尤塔瑞 33
Wang, Guangle 20 Whitney, Stanley
10
王光樂 20 斯坦利·惠特尼 10
Yue, Minjun 21
岳敏君 21
Zao, Wou-Ki 12
趙無極 12
Zeng, Fanzhi 6
曾梵志 6
Watches Hong Kong Now The Hong Kong Watch Auction: NINE ‘FIRST’ Evening Session Nov 25, 6:30pm The Hong Kong Watch Auction: NINE Day Session Nov 26, 12:00pm Viewing 22 – 25 November JW Marriott Hotel Hong Kong 88 Queensway, Admiralty Enquiries Thomas Perazzi Head of Watches, Asia WatchesHK@phillips.com +852 2318 2031 Patek Philippe, ref 866/2. An exceptional and unique gold openface watch with enamel miniature signed by M. Bischof afer a painting by Salomon van Ruysdael, with original certifcate of origin, hang-tag and presentation box, 1975. Estimate HKD 1,300,000 - 2,500,000
Rolex, ref 6265. An extremely rare, attractive and well-preserved stainless steel chronograph wristwatch with “Paul Newman” dial, “tropical” outer minute track and bracelet, 1972 Estimate HKD 2,200,000 - 4,000,000
phillips.com/watches Auctioneers since 1796.
19. Liu Wei 劉韡
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00. artist
5. Tomoo Gokita 五木田智央
17. Liang Yuanwei 梁遠葦
1. Genieve Figis 珍尼維·菲吉斯
16. Kazuo Shiraga 白髮一雄
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