PROVENANCE: JAPAN [Catalogue]

Provenance: Japan

New York, 8 & 10 November 2015

Nobuyoshi Araki Hisao Domoto Masahisa Fukase Toshimitsu Ima誰 Miyako Ishiuchi Kikuji Kawada Tatsuo Kawaguchi Tetsumi Kudo Daido Moriyama Sadamasa Motonaga Yoshishige Saito Kazuo Shiraga Kumi Sugai Shomei Tomatsu Lee Ufan Takeo Yamaguchi Jiro Yoshihara

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197. Masahisa Fukase

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27. Toshimitsu Ima誰

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195. Kikuji Kawada

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190. Sadamasa Motonaga

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20th Century & Contemporary Art Evening & Day Sales New York, 8 & 10 November 2015

20th Century & Contemporary Art Evening Sale

20th Century & Contemporary Art Day Sale

Auction & Viewing Location 450 Park Avenue New York 10022

Auction & Viewing Location 450 Park Avenue New York 10022

Auction 8 November 2015 at 7pm

Auction 10 November 2015 at 11am

Viewing 31 October – 8 November Monday – Saturday 10am – 6pm Sunday 12pm – 6pm

Viewing 31 October – 10 November Monday – Saturday 10am - 6pm Sunday 12pm - 6pm

Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010715 or 20th Century & Contemporary Art Evening Sale.

Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010815 or 20th Century & Contemporary Art Day Sale.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Head of Sale Kate Bryan +1 212 940 1267 kbryan@phillips.com

Head of Sale John McCord +1 212 940 1261 jmccord@phillips.com

Cataloguer Samuel Mansour +1 212 940 1219 smansour@phillips.com

Cataloguer Nicole Smith +1 212 940 1387 nsmith@phillips.com

Administrator Courtney Raterman +1 212 940 1392 craterman@phillips.com

Administrator Paula Campolieto +1 212 940 1255 pcampolieto@phillips.com

Provenance: Japan Curator Alison Bradley Coordinator Miyuki Hinton

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Provenance: Japan Highlighting the sublime quality of Japanese postwar art, Phillips is pleased to present a select sale of seminal works from the immediate aftermath of the war and into the late 1980s. Characterized by bold experimentation and a rogue artistic expression, the postwar artists responded to an altered and changing Japan, entering into an international dialogue of art–making and pioneering new aesthetics.

All coming from Japan, these masterworks have been assembled to celebrate the essence of what is unique and internationally engaging about Japanese postwar art.

The following painting, sculpture and photography broaden the ongoing introduction of modern and contemporary Japanese art to an international audience. Though the Osaka-based collective Gutai and the Mono-ha school have received attention through recent museum and gallery exhibitions, the remarkable work of many influential artists remains largely unknown in the West. The works on offer are meant to bring forward key artists who were essential to the formation of the avant-garde in Japan in these early decades of the postwar era.

Featuring introductions by two of Japan’s leading voices on the country’s postwar art, Kaneko Riyuchi, former Guest Curator and Founding Member of Tokyo Metropolitan Museum of Photography, Tokyo and Hajime Nariai, Curator, Tokyo Station Gallery and Adjunct Professor at Joshibi University of Art and Design, this catalogue also presents an in-depth contextualization of each work, providing new insight to the artists and their works.

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185. Kumi Sugai

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Upheaval and Experimental Change: Japanese Art from 1945 to the end of the 1970s

By Hajime Nariai Curator, Tokyo Station Gallery and Adjunct Professor at Joshibi University of Art and Design, Tokyo

In the summer of 2015, the phrase “the 70th year of the postwar era” appeared in all the Japanese newspapers. I wonder if there are any other nations that have been burdened with the term “postwar” for such a long time, in our case continuously since the end of World War II. According to Eiji Oguma, one of Japan’s most noted sociologists, “postwar” is not a term of periodization—rather its meaning, in Japan, is equivalent to “nation-building.” Indeed, the summer of 1945 saw the national structure of our country redesigned from the ground up.

It could be said that the first thirty years of “the history of Japanese postwar art,” which I will quickly survey in this essay, is a trajectory of very fresh artistic activities in a newly born (or re-born) country. During this period, Japan raced along at a high speed, beginning from a jump-start to a fast acceleration and then proceeding at a steady rate. The 1950s witnessed a new society arise from vast areas of scorched ground, the 1960s an era when Japan become an economic power through its incredible growth, and, in the 1970s, a maturation period, with the arrival of a fully developed consumer and informationbased society.

Along with this, Japan’s art underwent drastic changes and shifts. Emerging from the deeply engraved mark of 1945 as the beginning of the “contemporary”, artworks made during this period possess an enduring rawness and vitality, making them feel contemporary even today, decades after their creation.

In the first half of the “postwar” period, Japanese artistic practice grew with drastic changes, winding through new styles and bold gestures of experimentation. As a body undergoing intense growth spurts in a short period of time, these initial decades were characterized by unexpected twists and strains, aimed at destabilizing many previous and established conventions of art making and Japanese aesthetics.

Japanese society, and its artists, grappled with the conflicting experiences of liberation from the Imperial and intensely nationalistic governance and, at the same time, intense reactions towards Americanization and the occupation that characterized these initial decades after the war ended. What is surprising is that the identity of Japanese contemporary art remains elusive and shaky, despite these seminal forerunners’ pursuits. At present, we in Japan are still formalizing a fully authorized Japanese postwar art history and confronting our own contemporary art.

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1945 to the 1950s: Wound or Reset Sur-documentalism and Avant-garde After the Allied occupation from 1945, Japan finally recovered its sovereignty through the San Francisco Peace Treaty in 1952. Two main types of artists pioneered new directions in this highlycharged period: those who viewed Japan’s defeat as a wound and those who approached it as a reset.

Sur-documentalism, advocated by the writer and critic Kiyoteru Hanada as a new type of realism, applied aesthetics associated with Surrealism to paintings, shedding light on social injustices and revealing deeper layers of reality. Also known as its alias, “Reportage Paintings”, works by artists of this movement (Tatsuo Ikeda, Kikuji Yamashita, etc.) portrayed oppressed people and controversial incidents as caricature, based on their first-hand investigation of the dark sides of society.

In contrast, the avant-garde artists initiated artistic innovation through their unconventional methodologies. As inheritors of the pre-war generation of avant-garde painters, such as Yoshishige Saito and Takeo Yamaguchi who established the group Kyushitsukai (Ninth Room Association), these artists would form the mainstream of the early postwar Japanese art history; the groups Jikken Kobo (Experimental Workshop) in Tokyo and Gutai in Osaka. Formed around the critic Shuzo Takiguchi in 1951, Jikken Kobo was composed of members who were as curious as laboratory workers about experimentation, engaging in cuttingedge, all-encompassing, works of art, by incorporating industrial technologies, music, theater and different media. Gutai, formed in 1954, was different.

Responding to the proposition, “Do what no one has ever done before,” the favored dictum of its leader and chief proponent, Jiro Yoshihara, Gutai’s members invented radical ways of art making, such as painting with feet (Kazuo Shiraga) or calling an electric circuit a painting (Atsuko Tanaka). Yoshihara himself had been a member of Kyushitsukai (Ninth Room Association) and also made Surrealistic paintings and calligraphically-based abstractions.

Inviting the formless such as bodily actions and fluid materials to the notion of painting, Gutai works were described by Allan Kaprow as a precursor of Happenings, and positioned by Michel Tapié as a representative of Art Informel. It is possible to view Gutai paintings as works emancipated from all restraints associated with modern art, and with a kinship to their contemporaries such as Jackson Pollock and Robert Rauschenberg.

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1960s: Art Informel Sensation and Revelry The Escalation of Anti-Art Art Informel, a French term describing various styles of abstract painting that were gestural during the 1940s and 1950s, was associated with Gutai and possessed strong ties with Japan. Prior to the founding of Gutai, Japanese painters including Toshimitsu Imaï, Hisao Domoto and Kumi Sugai, were already associated with this movement in France and its creative resonance, as well as its break from tradition in modernism, was distinctively felt in Japan.

Introduced into Japan in the late 1950s, Art Informel advocated the materiality of paints and the act of painting itself and instigated the production of anarchistic works oozing intense emotions amongst the younger artists.

The Yomiuri Independent, an annual, unjuried and noncompetitive exhibition, became their platform, filled with odd, almost garbage-like works combined with movement and sound, often made of discarded everyday items and obsolete materials. Continuing until 1963, this annual exhibition produced many young stars, such as Ushio Shinohara, Tetsumi Kudo and Hi-Red Center, and ended when the self-destructive craze by radical artists, so-called “Anti-Art,” reached its peak in the early 1960s.

Anti-Art emerged as part of the globally erupting counterculture. Not only art, but also culture in general in Japan, saw an explosion of often brutal, savage or wild body performances as well as archaic and more traditional visuals. It was resistance against modernity, propelled by the complication of people’s mixed feelings: they loved and hated the postwar modernization, because what it actually meant to them was nothing short of full scale Americanization.

Cultural icons of this period include Tatsumi Hijikata’s Butoh dance focusing on the Japanese body, Juro Kara’s and Shuji Terayama’s Angura (Underground) Theatre and the signature blurry photographs (are, bure, boke) by Daido Moriyama and Takuma Nakahara, as well as kitsch posters

by Tadanori Yokoo. Even as the basic attitude of the artists was “anti-establishment,” this radical and festive mood was also intrinsically bound up with Japan’s elation, buoyed up by two enormous national events: the 1964 Summer Olympics (Tokyo) and Expo ’70 (Osaka).

Jiro Yoshihara and Michel Tapié at the International Art of New Era: Informel and Gutai exhibition at the Takashimaya department store, Osaka, April 1958 in front of work by Jackson Pollock on the left and Yoshihara on the right.

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1970s: The Calm after the Storm The Triumph of Mono-ha After the revelry comes repose. The hot resistance, which characterized the 1960s, gradually shifted to cool-headed questionings. After each and every existing institution and value related to art was challenged, the next target set upon was the artist’s intention. From this came a style of “not making,” later called “Mono-ha.” Artists who emerged in the late 1960s, such as Lee Ufan, who placed rocks on broken glass, and Kishio Suga, who, in a matter-of-fact way, leaned square pieces of timber against architecture, employed minimal materials and actions to explore primordial relationships with the world.

With Lee Ufan, well informed by both Eastern and Western philosophies, as its theoretical pillar, Mono-ha was not a group but a tendency of loosely interconnected artists, unintentionally coinciding with the contemporary ascetic practices such as Minimalism and Arte Povera. The ambiguity of the Japanese term “mono,” which covers various concepts such as “objects,” “materials,” “things,” and even “situations,” indicates their specific orientation. Staying away from articulate symbolization and objectification of the world, namely anthropocentrism, the Mono-Ha artists attempted to touch the intrinsic mystery of the world with no distinctions between objects and situations. Moreover, their practice of “not making” was interrelated with a new stream of conceptualism, in which works made solely of words emerged one after another, from artists like Jiro Takamatsu and Yutaka Matsuzawa. In stark contrast to the 1960s, art in the 1970s was nourished by such a style of rational contemplation.

At the same time, works using reproducible media blossomed, not only in the field of visual art but also in other genres such as anime, manga, illustration and graphic design, fueled by the growth of accessible technology such as video and in popular culture with the widespread availability of the TV and magazines. Such cultural activities, centered around consumer industries, functioned as an incubator for the genealogy of art after the 80s, in which glamour and flamboyance would be regained.

Lee Ufan, solo exhibition at Tokyo Gallery, 1973 Photo courtesy Tokyo Gallery+BTAP

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20th Century & Contemporary Art Evening Sale New York, 8 November 2015, 7pm

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Property from a Private Collection, Tokyo

27. Toshimitsu Imaï

1928-2002

Lava, 1957 oil on canvas 44 7⁄8 x 64 3⁄4 in. (114 x 164.5 cm) Signed and dated “IMAÏ俊 [Toshi] OCTOBRE 1957 一 九五七年拾月 [1957 October] 今井俊満作 [By Imaï Toshimitsu]” on the reverse.

Estimate $200,000-300,000 Provenance Galerie Stadler, Paris Collection Rodolphe Stadler, Paris Acquired from the above by the present owner Exhibited Paris, Galerie Stadler, IMAÏ, February 23 March 16, 1957 Osaka, The National Museum of Art, IMAÏ A RETROSPECTIVE 1950 - 1989, April 8 - May 23, 1989, then traveled to Tokyo, Meguro Museum of Art (June 3 - August 3, 1989), Fukushima, Iwaki City Art Museum (September 2 - October 1, 1989) Literature IMAÏ, exh. cat., Galerie Stadler, Paris, 1957 IMAÏ A RETROSPECTIVE 1950 - 1989, exh. cat., Toshimitsui IMAÏ Exhibition Executive Committee, 1989, p. 36, n. 24

今井俊満 Lava, 1957年 キャンバス、 油彩 裏にサインと年記 来歴 Galerie Stadler, パリ 個人蔵、 東京

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There are artists whose presence at certain moments in the history of art engender tectonic shifts, like Marcel Duchamp.

Toshimitsu Imaï was one, who not only achieved high acclaim as a painter dedicated to constantly bringing the new to the medium but also to changing the trajectory of avant-garde art movement in postwar Japan—by introducing Art Informel to his fellow Japanese artists and critics in the late 1950s.

By the early 1950s Imaï was one of the most promising artists in Japan. Ever curious, he moved to Paris in 1952 and attended the Académie de la Grande Chaumière and the Sorbonne to study medieval history and philosophy. He immediately became part of the dynamic international art scene in Paris and befriended Sam Francis, who introduced him to the critic and dealer Michel Tapié in 1955. After this Imaï’s earlier tentative abstraction, in the style of the Fauves, disappeared to make way for his passionate experimentation with the material of paint and the realm of the subconscious as visualized in the artist’s gestural engagement with the canvas. Art Informel was a catalyst for Imaï as it shed new light on the affinity between the postwar vanguard and the philosophies and calligraphic mode of expression of the East.

In 1956 Imaï was assigned by the artist Taro Okamoto, another key figure in postwar Japanese art, to help organize an exhibition to present the best of avant-garde art to the Japanese audience. The exhibition was entitled Sekai: Konnichi no bijutsu (The World: Today’s Art) and became the first instance in which actual works by such autre artists such as Jean Dubuffet, Jean Fautrier, Lucio Fontana, and Karel Appel, all selected from Tapié’s collection, reached Japanese soil, toured multiple cities, and prompted what was memorably termed “the Informel whirlwind.” In the summer of the following year, Imaï traveled back to Japan taking with him both the painter Georges Mathieu and Tapié. The trip was a triumphant homecoming for Imaï as, earlier that year in February, he had successfully opened his first solo exhibition in the legendary Galerie Stadler in Paris.

Lava was created at this key moment in Imaï’s life. As one of the celebrated works in this debut solo exhibition, the gallery owner Rodolphe Stadler acquired the painting for his own personal collection. Imaï’s work of this time was particularly appreciated for its unique sense of color and his ability to evoke an expanding space through flying paints spreading like a spider web. In Lava Imaï appears to reference Wu Xing, or the Chinese philosophy of the Five Elements, a core concept of the Asian understanding of nature and ecology. According to this philosophy, each element corresponds with a component in nature: wood, fire, earth, metal, and water. And each of these elements is also associated with a particular color: green or blue for wood, red for fire, yellow for earth, white for metal, and black for water. All of these colors dance across the canvas in Lava creating a vision of a volcanic eruption and an ensuing formation of the primordial world—an appropriate tribute to Imaï’s own beginning as an internationally active artist.

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○

28. Jiro Yoshihara

1905-1972

Untitled, circa 1965 oil on canvas 19 5⁄8 x 24 in. (50 x 61 cm) Signed “Yoshihara” lower right.

Estimate $500,000-700,000 Provenance Private Collection, Aichi Private Collection, Tokyo

吉原治良 無題, 1965年推定 キャンバス、 油彩 右下にサイン、 日本洋画商協同組合鑑定登録証付 来歴 個人蔵、 愛知 個人蔵、 東京

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Jiro Yoshihara, the founder of the Gutai Art Association in 1954, was a self-taught avantgarde painter whose career crossed over from the prewar vanguard moment to the postwar art scene in Japan. An heir to a cooking oil wholesaler in Osaka, Yoshihara was groomed since childhood to possess the qualities of a leader and, in 1954, established Gutai with some fifteen young painters who gathered together around this charismatic vanguard figure. Yoshihara led the group until his death in 1972 with a motto of “doing what nobody has done before” and proclaimed in the group manifesto that Gutai pursued the essence of material, shedding all preconceived notion of art, matter, and man in his milieu.

As a painter, Yoshihara’s status had been solid in the Japanese art world since the 1930s. Solo exhibitions presenting his early paintings in the mode of Surrealism and geometric abstraction won critical acclaim not only in the Kansai region in western Japan but also in Tokyo, the center of the Japanese art world. The motif of the circle, which later became known as Yoshihara’s life’s work, had already appeared in some of the early compositions as one of the variation of forms he was investigating.

However, it was not until the mid-1960s that Yoshihara began his examination of the motif in earnest. For an exhibition catalogue of his solo exhibition in 1967, he wrote, “I have been painting circles, and circles only these days. They are convenient.” After years of experiments in style, composition, color, and texture, he purged all extraneous concerns and reached the simple line of a circle that can embody infinite potentials for expression.

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One of the first important instances in which the motif of the circle acquired a significant meaning for the artist, as well as to Gutai as a group, was the use of his 1962 circle painting as a sign for the Gutai Pinacotheca, a warehouse in Osaka converted into an exhibition space for the group artists’ works. Yoshihara’s decision to position this motif as such indicates the crucial importance of the circle for him. In fact, he began the series of circle paintings soon after the opening of Pinacotheca. Some of the early circle paintings carried over the touch of Art Informel characteristics; gestural as well as textual in rendition in oil on canvas. The surface and the line began to be smoothed out, approaching a more graphic sensibility in works after 1964.

In this sublime work, Untitled, the deep ochre circle starkly floats on the pitch dark background, representing one moment of sublimation of this motif in Yoshihara’s decadelong obsession with it. Upon close observation, one can clearly detect traces of brushstrokes within the thick line of this circle. Unlike the calligraphic movement in lines that Yoshihara used in his 1950s abstract experiments, this work exposes a much slower passage of time through the accumulation of strokes; Yoshihara was painting rather than writing. According to Mr. Koichi Kawasaki, former Director of the Ashiya City Museum of Art and History, Japan, and a leading authority on Gutai, the painting was executed circa 1965. It also carries a Certificate of Authenticity Registration issued by the Japan Art Dealers Association. As a number of his last works used stroke shapes of Japanese letters, mostly Kanji characters, one can only assume that in his last years Yoshihara was searching for the thin line between painting and writing.

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“In Gutai Art, the human spirit and matter shake hands with each other while keeping their distance. Matter never compromises itself with the spirit; the spirit never dominates matter. When matter remains intact and exposes its characteristics, it starts telling a story and even cries out.”

Jiro Yoshihara

Gutai members at Yoshihara’s studio, ca. 1959

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29. Kazuo Shiraga

1924-2008

Untitled BB64, 1962 oil on canvas 31 7⁄8 x 45 5⁄8 in. (81 x 116 cm) Signed “白髪 一雄 [Shiraga Kazuo]” lower left.

白髪一雄 無題BB64, 1962年 キャンバス、 油彩 左下にサイン 来歴 Gallery Stadler、 パリ Gallery Georg Nothelfer、 ベルリン 個人蔵、 東京

Estimate $2,000,000-3,000,000 Provenance Galerie Stadler, Paris Gallery Georg Nothelfer, Berlin Private Collection, Tokyo Literature Kazuo Shiraga, exh. cat., Gallery Georg Nothelfer, Berlin, 1992, p. 64

In 1955 Kazuo Shiraga wrote in the Gutai journal: In front of me lay an austere road to originality. Run forward, I thought, run and run, it won’t matter if I fall down… Let me do it with my hands, with my fingers. Then, as I ran, thinking that I was moving forward, it occurred to me: Why not feet? Why don’t I paint with my feet? 1 Kazuo Shiraga is one of the leading artists in the Gutai Art Association, founded by the painter Jiro Yoshihara (1905–1972) in 1954 in the area around Osaka and Hyogo prefectures in western Japan.

Gutai enlisted approximately sixty painter-members during its 18 years of existence and led the postwar Japanese art scene to avant-garde innovations truly contemporaneous to the spirit of experimentation shared by artists around the world. Shiraga became the poster-child of this group with his sensational action painting using his bare feet, a method he had already begun to experiment with prior to joining the group in 1955. Famously in that year, for the first Gutai group exhibition in the Ohara Kaikan Hall in Tokyo, Shiraga performed a work entitled Challenging Mud in front of curious media and confused critics. Although considered to be one of the key moments in the history of postwar Japanese art, this performance of wrestling mud as an act of painting and the Gutai credo of doing what nobody has done before received a cold shoulder from the art critics of the time. Serious critical consideration of the group grew, instead, outside Japan through the eyes of those who found affinity in the Gutai artists’ action-oriented expressions with postwar European and American art movements such as the French critic-dealer Michel Tapié.

1. Kazuo Shiraga, “Koi koso,” originally published in the journal Gutai, no. 3 (20 October 1955), p. 22. Reprinted in Alexandra Munroe, Scream Against the Sky: Japanese Art After 1945 (New York: Harry N. Abrams, 1994), p. 373.

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Untitled BB64 is an exemplary work from Shiraga’s mature period, a time when he achieved capturing the balance between the beautiful and the grotesque. His long-time interest in classic hero stories such as the action-filled Suikoden (Water

Margin), a fourteenth-century Chinese novel about 108 outlaws, formed his belief that painting must carry force and individualism as strong as those represented by the characters. The thick impasto of his painting was then created by the artist boldly stepping onto blobs of oil paint on an un-stretched canvas laid flat on the floor; after depositing a large amount of paint directly from paint tubes onto the canvas. Shiraga, then, holding onto a rope hung from the ceiling, swung around in the paint as it oozed out from under his feet. As he slipped and turned, his feet created a swoosh of calligraphic lines, turning the colors’ entanglement and merging with little care for human intention. In Shiraga’s work, the paint as material became both the subject of the work and an agent of the artist’s body reviving his presence in mind each time it is seen by the viewer.

In 1958 art critic Harold Rosenberg observed that the emergence of postwar American abstraction was a rediscovery of the canvas “as an arena in which to act” by the artists. Shiraga’s audacious act of stepping literally onto the canvas began in 1954 and anticipated this expansion of the field of painting.

Along with Shiraga, many of the early Gutai artists during the late 1950s to early-1960s placed a strong emphasis on tracing physical movements in their work. The tendency relates to Tachisme and Art Informel in Europe, and Abstract Expressionism in the United States, and arose contemporaneously to the activities of Gutai in Japan. In all these artistic movements it was the postwar angst exposed in existentialist philosophy that urged artists to grasp the reality by corporal action, textual concentration, and tackling the subject of exploration of the human subconscious. Part of Gutai, and most significantly Shiraga’s, uniqueness lies in an unfettered access to a playful approach to artistic mediums, which may have resulted fortuitously from Japan’s shorter history of engagement with the tradition of oil painting introduced to the country in the late 19th century.

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Property from a Private Collection, Tokyo

30. Yoshishige Saito

1902-2001

Work, 1963 oil on plywood, marked with electric drill 71 5⁄8 x 47 3⁄4 in. (181.9 x 121.2 cm) Signed and dated, “Y.Saito 63 斎藤義重 [Yoshishige Saito]” on the reverse.

Estimate $250,000-350,000 Provenance Tokyo Gallery, Tokyo Sotheby’s, New York, Japanese Works of Art, March 29, 1996, lot 42 Acquired at the above sale by the present owner Exhibited Lausanne, Palais de Rumine, Lausanne Cantonal Museum of Fine Arts, Premier Salon International de Galeries Pilotes, June 20 - September 22, 1963 Munich, Galerie Friedrich + Dahlem, Yoshishige Saito, April 15 - May 17, 1964 Oslo, Kunstnernes Hus, Internasjonal Kunst i Norsk Eie, November 6 - November 28, 1971 Tokyo, Tokyo Metropolitan Museum, Saito Yoshishige, February 9 - March 25, 1984, then traveled to Tochigi, Tochigi Prefectural Museum of Fine Arts (April 7 May 6, 1984), Hyogo, Museum of Modern Art Hyogo (May 19 - June 24, 1984), Okayama, Ohara Museum of Art (July 3 - August 5, 1984), Fukui, Fukui Fine Arts Museum (August 11 - September 2, 1984) Literature N. Yusuke (ed.), “Yoshishige Saito”, Mizue, July, no.

880, 1978, p. 39, no.110 Saito Yoshishige, exh. cat., Tokyo Metropolitan Museum, 1984, pp. 92-93, no.150

斎藤義重 作品, 1963年 合板、 油彩、 電気ドリルによるマーク 裏にサインと年記 来歴 東京画廊 1996年3月29日 Lot 42 サザビーズニューヨーク・日本美術 個人蔵、 東京

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Yoshishige Saito

“As I see it, abstract painting moves from the mind towards things. But Eastern painting isn’t mediated by things. On the contrary, it moves from things to ideas.”

Yoshishige Saito

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Yoshishige Saito was born at the cusp of the Meiji (1868–1912) and Taisho (1912–26) periods, two of the eras in early twentieth century Japan that marked the conclusion of the first phase of the country’s fervent Westernization and industrialization and the beginning of its embrace of decadent modernity.

Already as a teenager, Saito showed a great interest in art, particularly painting, and was exposed to a wide range of experimental visual and performing arts, literature, and film.

His encounter with Japan’s early avant-garde movement MAVO in 1923 was the first turning point in his formative years. Led by Tomoyoshi Murayama (1901–1977) who recently returned from Weimer Germany, MAVO proposed an explosive alternative to the tame academicism of Japanese modern art of the time. Their activities included the incorporation of everyday materials into art, experimental theater and happenings, as well as socially engaged design and architecture projects, all of which set a precedent for the postwar blossoming of the Anti-Art movement from the late 1950s. Saito was awe-struck

by Murayama’s uninhibited creative imagination and from the mid-1920s to around 1930 he nearly abandoned his practice in painting, spending much of his time on critical writing.

1. The Retrospective Exhibition of Saito Yoshishige (Tokyo: The Committee of the Retrospective Exhibition of Saito Yoshishige, 2003), p. 93.

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During the 1930s, inspired by Russian Constructivism, Saito resumed his work as an artist, producing relief paintings and sculptures whose geometric quality proved consistently important to the artist as it resurfaced repeatedly in his postwar creations like Work from 1963 and in many other installation works produced in his last years. However, in the decade imminently facing the start of World War Two, Saito’s unconventional three-dimensional works using plywood, strings, and plastic placed him against the conservatism of officially administrated exhibitions. Rather than compromising under the circumstances, the

challenge only encouraged him to embark on a lifelong search for the expression that lies between the realm of painting and sculpture.

Similar to his friend and contemporary Jiro Yoshihara (1905–1972), who founded the Gutai Art Association to lead a new generation of avant-garde artists in the postwar years, Saito was a crucial teacher to many younger artists and transmitted the legacy of prewar vanguard movements to the new era of avant-gardism. At the same time, Saito attained critical acclaim with a series of plywood-based works of the late 1950s to the 1960s. The momentum of this achievement came with the second turning point in his life—a trip to Italy for his participation at the thirtieth Venice Biennale in 1960. Saito discovered the works of Lucio Fontana that confirmed the global relevancy of Saito’s quest as an artist—to find the space where the distinction between the twodimensional and the three-dimensional is annihilated for the sake of a new time-space relation.

It was this absolute confidence in his own mission that led him to boldly cut into a surface of plywood with an electric drill. In contrast to their agitated appearances, the drill works that debuted in late 1960 were a sign of liberation from the conventions of art that he constantly fought against. As Saito clarified in later years, his focus was not on “an end product (mono)” but on “an event (koto)” of art making.1 In this series, Saito’s quest for the uncharted creative sphere finally merged with his early interest in the action-filled MAVO and his more recent engagement with the anti-Modernist works of Fontana. Lastly, but not least, his presence as a guiding light for the new generation of artists during the 1960s left an enormous impact on a group of artists who later formed Japanese conceptual art movement Mono-ha (School of Things).

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31. Tatsuo Kawaguchi

b. 1940

Stone and Light, 1971-89 stone and fluorescent light 19 3⁄4 x 93 1⁄4 x 14 1⁄8 in. (50.2 x 236.9 x 35.9 cm) Signed “Tatsuo Kawaguchi” on the stone element. This work is number 5 from an edition of 5 unique variants.

Estimate $150,000-250,000 Provenance Acquired directly from the artist by the present owner

河口龍夫 石と光, 1989 (1971年に石を制作、 89年に蛍光管の 設置、 点灯と共に作品が完成) 石、 蛍光管 石にサイン 5バージョンある作品中のバーション5 来歴 個人蔵、 東京

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Exhibited Tokyo, Tokyo Metropolitan Art Museum, 10th Contemporary Art Exhibition of Japan: Man and Nature, May 10 – May 30, 1971, later traveled to Kyoto, Kyoto Municipal Museum of Art (1971) (variant 1 exhibited) Paris, Centre Georges Pompidou, Japon des avant gardes, 1910-1970, 1986 (variant 1 exhibited) Tokyo, The National Museum of Modern Art, Unfinished Century: Legacies of 20th Century, January 6 - March 10, 2002 (variant 1 exhibited) Chiba, Chiba City Museum of Art, Relation - Tatsuo Kagaguchi, 1997 (variant 3 exhibited) Tochigi, Utsunomiya Museum of Art, Positions Towards Infinity: Works of Tatsuo Kawaguchi in the 1970s, June 12 - July 13, 2008 Seoul, Seoul National University, Museum of Art, Re: Quest Japanese Contemporary Art since the 1970s, 2013 (variant 4 exhibited) London, Simon Lee Gallery, FIVE DECADES, Sculpture and Works on Paper: Koji Enokura, Noriyuki Haraguchi, Tatsuo Kawaguchi, Noboru Takayama, June 9 – July 25, 2015 (variant 4 exhibited) Stone and Light (variant 1), 1971 is in the permanent collection of the Takamatsu City Museum of Art, Takamatsu.

Stone and Light (variant 2), 1976 was commissioned by the the Louisiana Museum of Modern Art, Humlebæk, Denmark.

Stone and Light (variant 3), 1989 is in permanent collection of the Chiba City Museum of Art, Chiba.

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“I do not try to convey my ideas through my works. Thoughts emerge from the works. It is the viewers that make them emerge. Therefore, I am not in the background of the works but together with the viewers in front of the works.�

Tatsuo Kawaguchi

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“I don’t think visual art is necessarily just about the sense of vision… I am making the invisible darkness even more invisible, thereby making a breakthrough in the artistic discourse that prioritizes the issue of vision.” 1 Tatsuo Kawaguchi

A graduate of Tama Art University in Tokyo, Tatsuo Kawaguchi is best known for works that incorporate a variety of materials ranging from stones and seeds to metal and light. Despite his initial training in painting, he has been critically rethinking the role of art as an agent of paradigm shift—from art as representation to art as relation—since the 1960s.

In 1965, along with eight other artists, Kawaguchi formed Group I in his hometown of Kobe in Hyogo Prefecture. One of the most iconic works and the de facto manifesto of Mono-ha (School of Things) came out of this group was Phase—Mother Earth (1968) by his fellow artist Nobuo Sekine (b. 1942).

Phase was an outdoor happening in which the group artists, including Kawaguchi, collectively dug a deep cylindrical hole on the ground in a park as they simultaneously built a cylinder in the exact same shape above the ground next to the hole using the soil from the hole. After completion, the artists promptly returned the soil back into the hole essentially erasing the act of making. The experience of taking part in this outdoor ephemeral installation left a lasting influence on how Kawaguchi would later approach his art making.

For example, in 1970 he created an important series of twenty-four photographic records of an outdoor installation Land and Sea that examined what may be called relational existentialism. The four wooden planks were laid neatly on the beach with each plank’s one end clinging to the sand beach while the

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other end submerged into the edge of water. The photographs recorded the passage of time as it is revealed to our eyes as the ebb and flow. Land and Sea visualized the ocean’s tidal shifts, a phenomenon of a cosmic grandeur that is constantly occurring, in a scale perceivable by man.

This relational thinking continued in the creation of another iconic work by Kawaguchi, Stone and Light.

As a sculpture, it opens up a new perspective into the world by the stark contrast between the stillness of the stone and the constant electric current inside the fluorescent tube that pierces through the stone.

The choice of the materials was a result of the artist’s skepticism in painting to effectively capture the concept of time. By juxtaposing the immobile dark presence of the stone and the ephemerality of light, Kawaguchi produced a kind of visualization device that allows us to sense a series of extreme ends in the spectrum of the environment in which we exist— stillness and movement, darkness and brightness, the ancient and the new.

Kawaguchi has constantly expressed in his work his strong sense of balance in all existence in the world.

“Relation” is, to him, a “very effective word to dissect the worldly phenomena.”2 The essence of Stone and Light is not so much in its material nature but more in its function as a generator of a new relation between art and our sphere of living.

1. http://www.tatsuokawaguchi. com/relations/future.htm 2. Originally in Kawaguchi Tatsuo— Sealed Time, exh. cat. (Mito Art Tower, 1998), republished in http:// www.tatsuokawaguchi.com/ relations/01.htm.

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Tatsuo Kawaguchi

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32. Lee Ufan

b. 1936

From Line, 1979 oil and mineral pigment on canvas 36 x 46 in. (91.4 x 116.8 cm) Signed and dated “L. UFAN 79” lower right; further signed and titled “From line No. 790147 L. Ufan” on the reverse.

Estimate $400,000-600,000 Provenance Private Collection, Korea Private Collection, Japan

李禹煥 From Line, 1979年 キャンバス、 油彩、 岩彩 右下にサインと年記、 裏にもサインとタイトル “From line No. 790147 L. Ufan” 来歴 個人蔵、 韓国 個人蔵、 日本

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Prolific as a critic, Lee Ufan played a key role in the late 1960s as an ideologue for the artists who came to be identified with Mono-ha (School of Things), an artistic movement that emerged from the examination of a relationship between man and matter. Lee established his unique theoretical point of view and artistic methodology based on his inquiry into Eastern philosophical traditions combined with his study of Western philosophy and contemporary structural theories. His polemics articulated an aspect of the Mono-ha artists’ pursuit of a critique of modern rationalism that proclaimed a hierarchical relationship between man as the author and material as his subject. In contrast to this classical human-centered worldview, Lee proposed that the realization of constant change in one’s state of being in relation to his/her surroundings was the catalyst to a world dominated by illusory representational art.

From the early 1970s this conviction informed his painting series From Line and From Point, both concentrating on the method of repetition.

The composition of From Line literally reflects the artist’s presence in front of the canvas with brushstrokes faithfully recording his tactile handle of rigidity and fluidity at once rather than an image of the world as viewed and processed by his mind. His disciplined hand senses and follows subtly and gradually the changing tension from the brush as it leaves ink onto the surface.

Lee possesses such a sophisticated skill as his calligraphic practice began when he was a child, growing up in a Confucian household in Korea.

His work resonates with the main method of this discipline, which includes repeatedly writing simple dots and lines and copying the masters’ handstrokes until the movement becomes one’s own gestural and mental repertoire.

Lee’s understanding of material characteristics of mineral pigments—their granular nature and the intrinsic sheen they create when applied onto a surface—derives from his early artistic training in Nihon-ga (Japanese-style painting) which traditionally utilizes ink and mineral pigments on paper or silk. This complex process and texture kept evolving over the years and, as Lee himself states, the series From Point and From Line reached the height of their raison d’être around 1978.

While Lee reached his critical position through his dual understanding of Eastern and Western philosophies, these series of paintings, particularly From Line, mark the beginning of his search for painterly absolution from representational images by way of the inspiration he found in Barnett Newman. Newman, whose “zip” paintings Lee encountered during his visit to New York in 1971, indicated the possibility of revealing both the painting’s materiality and a metaphysical space beyond that materiality. The minimalist and vertical constitution of Newman’s paintings led Lee to face the canvas with a limited palette, either blue or red, and with a systemic gesture of vertical strokes by his brush.

Theoretically, Lee’s paintings from the 1970s, along with his many critical essays such as “In Search of Encounter” (Deai o motomete), cultivated a field in which the dichotomy of East and West is brought to a close examination so that the mysticism often associated with the image of East is debated as a construct of modernist imagination as the other. The stoic simplicity of his work from this period is more closely related to the artist’s investigation of materialism than to any spiritual or religious traditions.

“It goes without saying that the entire world, whether wilderness and natural objects or urban space and industrial products, is already concealed by images that have lost their exteriority. Generally speaking, we can see gesture as an artistic act that cuts into and opens up holes in the systemized fiction of the everyday environment determined by assumed values.”

Lee Ufan

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20th Century & Contemporary Art Day Sale New York, 10 November 2015, 11am

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Property from a Private Collection, Tokyo

185. Kumi Sugai

1919-1996

KAGURA (Sacred Music and Dance), 1958 oil on canvas 54 3⁄8 x 44 7⁄8 in. (138 x 114 cm) Signed and dated “汲 [Kumi] SUGAÏ” lower right; further signed, titled and dated “SUGAÏ 58 ‘KAGURA’” on the reverse.

Estimate $250,000-350,000 Provenance Galerie Stangl, Munich Christie’s, London, Contemporary Art, December 3, 1992, lot 3 Private Collection, Japan Exhibited Hannover, Kestner-Gesellschaft, Kumi Sugai, September 12 – October 20, 1963 Hyogo, Museum of Modern Art Hyogo, KUMI SUGAÏ, April 8 – June 4, 2000, then traveled to Tokyo, Museum of Contemporary Art Tokyo, June 24 – August 20, 2000 Literature Kumi Sugai, exh. cat., Kestner-Gesellschaft, Hannover, 1963, no. 22 SUGAI 1952 – 1975, exh. cat. Bijutsu Shuppan-sha, Tokyo, 1976, p. 177, no. 27.

KUMI SUGAÏ, exh. cat., Museum of Modern Art Hyogo and Museum of Contemporary Art Tokyo, 2000, no. 21

菅井汲 KAGURA (Sacred Music and Dance),1958年 キャンバス、 油彩 右下にサインと年記、 裏にもサイン、 年記、 タイトル 来歴 Galerie Stangl、 ミュンヘン 1992年12月3日Lot 3 クリスティーズロンドン・コンテ ンポラリーアート 個人蔵、 日本

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Cats, birds, and goblins—these were some of the characters that took the center stage of Kumi Sugai’s 1950s paintings. In 1952 Sugai moved from Kobe, Hyogo Prefecture, to Paris where the legacy of Surrealism was the focus of critical discussion. There he found himself landing on the most fitting artistic platform. Back home, he was already exploring figurative abstraction, finding affinity with the fantastical visions of Paul Klee and Max Ernst, and inspired by movements embodied in the works of Jackson Pollock and Alexander Calder. However, realizing that the painterly tradition of the West and that of the East could complement each other, he chose to situate himself in an unfamiliar environment in order to find his individualism. In Paris, Sugai discovered his raison d’être as an artist, to search for the closest point of encounter between the art of the East and the West.

Rather than relying on the then-popular philosophy of Zen Buddhism to explain his artistic inclination, Sugai turned to Japan’s primordial nature and the graphic dynamism of Japanese written letters. KAGURA is a collage of various forms stacked on top of each other to create a form that resembles a human figure or an architectural structure.

Literally meaning “music dedicated to gods,” KAGURA is an early form of Shinto religious music and dance.

Sugai’s use of a thick horizontal line in red against white background echoes the colors of a costume originating from the Heian period (794–1185) associated with dancers who are female shamans. Meanwhile, the trapezoidal form embracing a circle standing on the triangular bottom simulates a balance of an early Shinto shrine structure.

The coarse brushstrokes building up the thick lines are a gesture to the trend of Art Informel, influential at the time in Paris, but Sugai’s hand is well controlled, without any burst of emotive energy. This is a quality that distanced him from Informel artists such as Georges Mathieu, who had made a splashy debut in Japan in 1957 with his calligraphic painting performances.

Besides the illusory effects that are at work in the Surrealist mode, KAGURA presents Sugai’s attempt to create his own creative typography. Referencing the pictographic origin of Kanji characters (letters adopted from Chinese characters), he transposes the dancerlike motif into a sign that brings abstraction and writing infinitely closer. In many of his late 1950s works, Sugai made use of this linguistic strategy, playing with the relationship between signifiant (signifier) and signifié (signified). As the artist’s own formal invention, KAGURA becomes an empty signifiant that is infinitely open-ended and malleable to allow for any number of meanings. While many European and American artists in Paris, working contemporaneously with Sugai, concerned themselves with the visual affinity between gestural abstraction and Asian calligraphy, Sugai cultivated a completely new field of encounter between East and West in the structuralist linguist mode of thinking.

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Kumi Sugai

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186. Kazuo Shiraga

1924-2008

Untitled, 1961 oil on canvas 21 1⁄4 x 25 5⁄8 in. (54 x 65 cm) Signed in Japanese and dated “白髪一雄 [Shiraga Kazuo] 1961” lower left. Further signed and dated “昭和36年5月 [May, Showa 36] 白髪一雄 [Shiraga Kazuo]” on the reverse.

Estimate $250,000-350,000 Provenance Private Collection, Osaka (acquired from the artist, 1961) By descent to the current owner

白髪一雄 無題, 1961年 キャンバス、 油彩 左下にサインと年記、裏にもサインと年記 来歴 個人蔵、 大阪 （1961年に作家から購入） 個人蔵、 日本

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187. Toshimitsu Imaï

1928-2002

Work, 1964 enamel on paper 31 1⁄4 x 43 1⁄8 in. (79.4 x 109.5 cm) Signed lower right and dated “Imai ‘64.”

Further signed, dated and inscribed “1997 1964年作品 紙にアルキコート東京で制作 (フ タル酸樹脂塗料) [1997, this work was made in 1964 in Tokyo] IMAI俊 [Toshi] Tokyo le 16 June 小生の作品に間違いない事を証明します 今井俊満 [I hereby certify that this is indeed a work that I have made Imai Toshimitsu]” on the reverse.

Estimate $12,000-18,000 Provenance Private Collection, Japan

今井俊満 作品, 1964年 紙、 エナメル 右下にサインと年記、裏にもサイン、年記、制 作方法の記載有 来歴 個人蔵、 日本

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188. Lee Ufan

b. 1936

With Winds, 1987 oil and mineral pigment on canvas 18 x 20 7⁄8 in. (45.7 x 53 cm) Signed and dated “L. Ufan 87” lower right; further signed twice, titled, dated and inscribed “with winds 1987-10 Lee Ufan M. Martine Matyas 19. dec 1987 Lee Ufan” on the reverse.

Estimate $40,000-60,000 Provenance Martine-Amice Matyas, Paris, acquired directly from the artist, 1987 Private Collection Christie’s, New York, First Open: Post-War and Contemporary Art, March 8, 2013, lot 58 Private Collection

李禹煥 With Winds, 1987 年 キャンバス、油彩、岩彩 右下にサインと年記、裏にもサインと年 記、タイトル、以下記載有“with winds 1987-10 Lee Ufan M. Martine Matyas 19. dec 1987 Lee Ufan” 来歴 Martine-Amice Matyas、パリ （ （1987年 に作家から購入） 個人蔵 2013年3月8日Lot 58 クリスティーズニュ ーヨーク・コンテンポラリーアート 個人蔵

“One can say that, in any age, artistic expression must take up a problem that engenders discussion to incite an awakening.”

Lee Ufan

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Property from a Private Collection, Tokyo

189. Tetsumi Kudo

1935-1990

Untitled, 1967–1972 birdcage, cotton, plastic, polyester, adhesive, thermometer, artificial soil and plant 12 1⁄4 x 14 1⁄2 x 8 3⁄4 in. (31.1 x 36.8 x 22.2 cm) Signed and dated “Tetsumi KUDO 67-72” on the underside.

Estimate $60,000-80,000

工藤哲巳 無題, 1967–1972年 鳥かご、 コットン、 プラスチック、 ポリエステ ル、 接着剤、 温度計、 人工の土と植物 底面にサインと年記 来歴 1988年6月17日Lot 61 P. Cornette De Saint-Cyr、 パリ 個人蔵、 日本

Provenance Kashiwagi Gallery, Tokyo P. Cornette De Saint-Cyr, Paris, June 17, 1988, lot 61 Private Collection, Japan Exhibited Osaka, The National Museum of Art, Your Portrait: A Tetsumi Kudo Retrospective , November 2 – January 19, 2013, then traveled to Tokyo, The National Museum of Modern Art, February 4 – March 30, 2014 and The Aomori Museum of Art, April 12–June 8, 2014 Literature Your Portrait: A Tetsumi Kudo Retrospective, exh. cat., The National Museum of Art, Osaka, Daikin Foundation for Contemporary Arts, 2013, no 87, P260

The artist of provocation, Tetsumi Kudo was part of the emerging Anti-Art sentiment during the late 1950s to the early 1960s in Japan. Although educated at the prestigious Tokyo University of the Arts, Kudo’s unbridled experimentalism led him to incorporate a broad range of unconventional materials into his sculptures and installations. Often charged with socio-political critique and tabooed sexual connotations, his work pushed the limit of postwar Japanese art to a new level of imagination. It was, in fact, Kudo’s work Proliferous Chain Reaction in X-style Basic Substance submitted to the 12th Yomiuri Independent Exhibition in 1960 that led the art critic Yoshiaki Tono to use the term Han-geijutsu, or Anti-Art, for the first time in artistic discourse of Japan. The work was a mysterious mass made of ropes, metal, vinyl tubes, and tawashi (Japanese scrubbing brushes) and inaugurated Kudo’s abject aesthetics that continued to underline his works in the following decades.

Active within the context of Anti-Art with the Surrealist sensitivity, Kudo destroyed all residual gentility detected in the European art autre movement while maintaining its base desire for the absurd.

1. National Museum of Art Osaka. Tetsumi Kudo: Contestation/Création (Osaka: National Museum of Art Osaka, 1994), p. 14.

Despite the scandalous reputation he gained through a series of entries in the Yomiuri Independent Exhibitions, Kudo remained outside of the short-lived avant-garde group Neo Dada

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Organizers formed in Tokyo by his friend-artist Ushio Shinohara in 1960. By 1962, the year he moved to Paris, Kudo’s independent stance allowed him to fully formulate a unique theory that he called “impo philosophy” (impotent philosophy): the ultimate purpose of the human cerebral activities, physiology, and the mechanism of society and history is preservation of species; therefore, man can never be free from the laws of biology no matter how intensely he tries to rebel against them. Disillusionment and pessimism in autonomous human creativity lingering in his theory reflected a larger generational psyche of the post-Hiroshima/Nagasaki era. Many of Kudo’s sculptural objects bear quasi-scientific titles like Proliferous Chain Reaction that mimic the composition of post-nuclear industrial world.

In his mind, the only way to escape from the biological bind—now monstrously mutated—was to destroy everything by an endless proliferation of nightmare.

Although the title did not survive in record for the 1967–72 sculpture, it embodies all the key characteristics of Kudo’s enigmatic work: a cage as an allusion to a controlled environment of experiments, disembodied hands as a hand of god or of a mad scientist turned his own subject of experiments, electrified colors that are antithetical to subdued shades of stereotypically Japanese wabi-sabi aesthetic, and repetition of patterns or shapes suggesting uncontrolled cellular divisions like that of a cancer cell. After his move to Paris, Kudo constantly challenged the traditional humanism of the European cultural environment, producing numerous objects and performances.

When asked if his work expressed a sadistic nightmare, he answered about his visions: They are not a dream any longer; they are the reality. They are the portrait of our existence, dissolving in the polluted nature and the ocean of technology. The “dissolution of mankind” does not mean our death. It signifies a process of mutation and thereby “being given life again.” My duty is to visualize this process in my work as a model for you to see.1

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190. Sadamasa Motonaga

1922-2011

Work, 1961 acrylic and oil on paper, laid on board 14 x 10 1⁄4 in. (35.6 x 26 cm) Signed “S Motonaga” lower right.

Estimate $50,000-70,000 Provenance Gallery Yamaguchi, Osaka Galerie Humanite, Nagoya

元永定正 作品, 1961年 紙、 油彩、 アクリル、 板 右下にサイン 来歴 ギャラリーヤマグチ、 大阪 ギャルリーユマニテ、 名古屋

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“The universe never ceases for a single instant to change and we experience this.

Transformation is nothing other than renewal, so it is only natural that we should try to create new phenomena or that we discover these with astonishment.�

Sadamasa Motonaga

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Sadamasa Motonaga exhibition, 1961.

Photo courtesy Tokyo Gallery + BTAP Artwork © Motonaga Nakatsuji Etsuko

A self-taught artist, Sadamasa Motonaga was a key member of the Gutai Art Association from 1955 to 1971.

He initially used natural materials like water and rocks but later developed an interest in industrially produced materials. One of the most memorable works by Gutai was Motonaga’s monumental site-specific installation Work (Water) using plastic as well as water, which was created for the 1956 outdoor exhibition of the group in a pine grove park in Ashiya, Hyogo Prefecture: a series of clear plastic tubes with colored water inside weighing them down in the mid-point, crisscrossing at various height and tied to trees in the park produced a mesmerizing visual effect. What appeared to be dabs of floating colors in the air, Work (Water) was an experiential installation that people walked through and around.

Ever a keen-eyed colorist, Motonaga’s two-dimensional use of color in painting also springs with a sense of wonder and playfulness. Organic shapes painted with drips and spatters of colors in Work from 1961 show how the artist layered wet paint, one layer over another, a method he adopted from traditional tarashikomi (dripping in) technique used in Nihon-ga (Japanese-style painting). Splashes of lighter colors, energizing the tips of strangely anthropomorphic bulbous pillars, add action to the palette. In fact, Gutai’s early phase from 1954 to 1961 is characterized by the member artists’ strong focus on action and texture, and Motonaga was at the forefront of the many painterly experiments in this regard.

While drawing inspiration from the painting method of Japanese art from the past, Motonaga, along with certain fellow Gutai artists, looked to the future generations, namely children, as a mirror of unfettered creatively and imagination. For example, a series of paintings he created in the mid- to late-1950s for the children’s journal Kirin show the artist’s careful consideration for a simple visual vocabulary friendly to its young readers, but at the same time, challengingly abstract to encourage mindful observation and understanding. In Work, Motonaga embraces this same kind of simplicity and whimsy, two of the most important qualities that describe his best works.

1. Motonaga Sadamasa, untitled essay originally published in French in Notizie: Arti figurative 2, no. 8 (April 1959), p. 15.

Reprinted in Ming Tiampo and Alexandra Munroe, Gutai: Splendid Playground (New York: The Solomon R. Guggenheim Foundation, 2013), p. 283.

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Motonaga repeatedly experimented with colorful splashes and blobs in his paintings, sometimes more fluid than others. At the core of the experiments was his constant interest in the ever-changing state of matters; from liquid to solid, solid to gas, and so forth. Work is another manifestation of Motonaga’s continuing examination of the state of liquid which appeared earlier as the color dabs he suspended in the mid air in his 1956 outdoor installation. In 1959, he succinctly stated, “The universe never ceases for a single instant to change and we experience this. Transformation is nothing other than renewal, so it is only natural that we should try to create new phenomena or that we discover these with astonishment.”1

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191. Hisao Domoto

1928-2013

Untitled, 1960 oil on canvas 47 1⁄4 x 23 1⁄2 in. (120 x 59.7 cm) Signed, dated and inscribed in English and Japanese “DomoTo 1960-22, JAPON 堂本尚郎 [Domoto Hisao]”on the reverse.

Estimate $80,000-100,000 Provenance Umi Gallery, Japan

堂本尚郎 無題, 1960年 キャンバス、 油彩 裏にサイン、 年記 来歴 海画廊、 日本

“It’s a matter of wanting to raise up the negative and the positive until they’re on the same level. In the line works I painted until around 1964 as well, at first I was painting striped bars, but they would get painted over, because of the paint. As an action, applying paint is a positive action. Ultimately, though, what’s left is a negative thing floating over the positive...”

Hisao Domoto

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Born to a family of artists in Kyoto, Hisao Domoto established himself as a Nihon-ga (Japanese-style painting) artist in his early 20s. In 1952 he had his first-hand exposure to the world outside Japan when he accompanied his uncle and respected painter, Domoto Insho to Europe for a sixmonth-long sojourn. During the visit he became acquainted with the Paris-based Japanese painters Toshimitsu Imaï (1928–2002) and Kumi Sugai (1919–1996). Inspired by original master European paintings in museums, previously known to him only as reproductions in books and catalogues, and by the fresh experience of using oil paint, Domoto returned to Paris for further study in 1955. In Paris he soon became associated with Art Informel, a movement led by critic and dealer Michel Tapié whom he met through Imaï’s introduction. Domoto, in turn, introduced Tapié to the Gutai Art Association by showing him the group’s journal Gutai. Domoto’s affiliation with Tapié’s circle ended in 1962 as he came to realize the impossibility of the movement’s objective— complete rejection of past tradition. In Domoto’s case, this was a denial of the tradition of Nihon-ga.

action popularly called “abstraction chaud” (hot abstraction) and reveals the artist’s interpretation of an expansive field of painting based on his unique view of cosmology and his belief in man’s potential to capture it in painting. The stark contrast between light and dark in this painting creates a push-and-pull visual effect in space, while the gentle curve dividing the picture plane into two invokes the cosmic relationship of the Moon and space or, more metaphysically, a link between ying and yang.

Domoto’s unique stance within the context of Art Informel is visible in Untitled, executed while he was still part of that movement in 1960. Never one to simply follow the group’s aesthetic principle of denying the past, Domoto instead pursued his way of merging Western tradition of oil painting and Eastern sensibility toward subdued lyrical abstraction. He not only experimented often with painting mediums but also fluidly changed compositional temperament.

In some works he mixed oil paints and mineral pigments. Compositionally, he brought a new sense of calm order that stood out from emotive gestural abstractions of Informel artists. Untitled represents this turn away from the dominance of

Just as he walked away from the circle of Art Informel, which was creating a whirlwind sensation in Paris and back home in Japan since its introduction there in 1956, Domoto famously turned down an invitation to join the Gutai Art Association from its founder Jiro Yoshihara (1905–1972). His resolve to stand on an equal ground with Yoshihara as an artist (Yoshihara was over twenty years his senior) won that much more respect from Yoshihara, who, indeed, encouraged younger artists to follow no one. Despite the enormous role he played in the encounter of East and West in the postwar art, Domoto remained an independent artist, forever a maverick in both Japan and Europe.

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In this painting, Domoto reaches beyond the action as a physical movement. The lightness of touch transmitted through Domoto’s brushwork brings him closer to the tradition of calligraphy or ink painting as a way to visualize one’s mindscape than to his brief exploration in heavier tactility of oil painting. The narrow vertical orientation also reminds us of the East Asian format of hanging scroll paintings. The inclination toward geometry suggested in this composition later manifested in more orderly presentation of texture in the series he began in 1963 entitled Solution of Continuity.

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Hisao Domoto

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Property from a Private Collection, Tokyo

192. Takeo Yamaguchi

1902-1983

Sequence of Squares, 1956 oil on board, in artist’s frame 23 7⁄8 x 17 7⁄8 in. (60.7 x 45.5 cm) Signed, titled and dated in Japanese “連続した 四角 一九五六年一〇月 山口長男 [Sequence of Squares 1956 October Yamaguchi Takeo]” on the reverse.

Estimate $100,000-150,000 Provenance Mudo Gallery, Tokyo Acquired from the above by the present owner Literature Yamaguchi Takeo Sakuhin-Shu, Tokyo, 1981, no. 121

山口長男 連続した四角, 1956年 板、 油彩、 作家による額 裏にサイン、 年記、 タイトル 来歴 Mudo ギャラリー、 東京 個人蔵、 日本

Takeo Yamaguchi’s life followed an exemplary trajectory of a modern artist in 20th century Japan. Born in Seoul under Japanese rule in 1902, Yamaguchi returned to Japan when he was nineteen years old. While studying at the Tokyo Art School (today’s Tokyo University of the Arts) in the 1920s, he immersed himself in Yo-ga, or Western-style painting using oil paint and canvas. During these formative years, he became well versed in various European modernist styles such as the semi-abstraction of Fauvism and Cubism. A turning point came when, after graduating in 1927, he moved to Paris and became acquainted directly with the works of Picasso, Braque, Modigliani, and other prominent artists of the time.

Yamaguchi also frequented the studio of painter and sculptor Ossip Sadkine who taught him abstract sculpture.

After returning to Tokyo in 1931 Yamaguchi became a key artist in the vanguard art scene in Japan, eventually joining a circle of cutting-edge artists such as Jiro Yoshihara (1905– 1972; the founder of the Gutai Art Association in the 1950s) to establish an artist association Kyushitsu-kai (Ninth Room Association) in 1938. At this time the political atmosphere was heading fast toward xenophobic totalitarianism and eventually, all avant-garde art activities came to a halt during World War II. The postwar recovery of Japan in the field of art was fast , yet tentative, in regards to modern art. In the immediate aftermath of the devastation brought on by the war in the later half of the 1940s, artists started again with the recollection of prewar European artistic movements.

From the 1950s, however, the generation of artists who already had experience with European modernism, particularly Yoshihara, Taro Okamoto (1911–1996), and Yamaguchi, became a solid bridge between the prewar and postwar avant-garde art and spearheaded fostering the next generation and internationalization of Japanese art.

In Yamaguchi’s case, his postwar abstraction, which evolved out of his longtime interest in Cubism, attests to the artist’s resolve in the search for pure form and experimentation. His signature style of geometric forms, built up with layers of paint applied by a palette knife against black background, reached its maturation in the mid-1950s. Sequence of Squares is highly representative of this style. Slightly awkward and disjointed ochre colored rectangles have more sculptural weight than a painterly touch, reflecting Yamaguchi’s prewar practice in Cubist sculpture while the crisscross pattern creating relief-like depth reminisces another Cubist technique of collage. When the gestural movement and rugged surface of Art Informel was just starting to cause a whirlwind trend in Japan, Yamaguchi remained true to his commitment to pure form and singularly created his own language of post-Cubist minimalism.

1. Alexandra Munroe. Scream Against the Sky: Japanese Art after 1945 (New York: Harry N. Abrams, 1994), p. 309.

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Yamaguchi’s individualism was duly commended in the year this painting was created: he was selected as a representing Artist of Japan for the 28th Venice Biennale.

As he clarified in his own statement two years earlier in 1954, the way of the avant-garde was always driving him forward with an innate “Eastern longing for ‘essence, the tangible presence of forms.’”1

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∆

193. Lee Ufan

李禹煥

b. 1936

From Point No. 78023, 1978 oil and mineral pigment on canvas 9 1⁄2 x 13 in. (24.1 x 33 cm) Signed and dated “L. Ufan 78” lower right; further signed and dated “From Point No. 78023 L. Ufan” on the reverse.

Estimate $100,000-150,000

From Point No. 78023, 1978年 キャンバス、 油彩 右下にサインと年記、 裏にもサイ ンとタイトル、 年記 来歴 自由が丘画廊、 東京 個人蔵、 名古屋

Provenance Jiyugaoka Gallery, Tokyo Private Collection, Nagoya

Lee Ufan is one of the representative artists of the Mono-ha (School of Things) artistic phenomenon of late 1960s to early 1970s Japan. When the influence of American Abstract Expressionism and European Art Informel was waning and the visual saturation of Pop Art was dominant in Japan, Lee, along with a handful of artists from Tokyo’s Tama Art University began presenting a new artistic sensibility that called for a revelation of material nature and man’s relationship to it. Using various unconventional materials including earth, rocks, wood, steel, cotton, paper, as well as painting in Lee’s case, these artists created works that challenged Eurocentric modernism and proposed an alternative relationship between the subject and the object.

Lee’s rigorous discourse on art as a critical writer and his monochrome paintings clarified Monoha as a subversion of the canonical art history established from the Eurocentric viewpoint.

Lee’s work negates the distinction between the thinking subject (the artist) and the object (objectified by the artist as a representation) and the series of paintings From Point and From Line exemplifies his method of minimizing the making of the artwork by the artist. Such anti-anthropocentrism has much to do with his upbringing in Korea under strict Confucian principles, which included many hours of practicing calligraphy. Drawing lines and dots on paper with a brush and ink repeatedly was the way to articulate and master the handling of the tools and materials. The experience prepared him for his future artistic career and also gave him a deep understanding of the importance of the interconnectivity between calligraphy and painting in East Asian visual art.

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Ultimately, this innate duality in East Asian ink painting, or mark making by a brush, gave birth to a series of paintings starting in late 1972.

Entitled From Point the series consists of rows of square dabs gradually fading out to nothing, from left to right, top to bottom, as Lee’s brush runs out of the paint. The austerity emerges from his firm handling of the brush and his conceptual determination and concentration that one can sense from visual observation. The deep contemplation, moreover, reveals the physical relationship between the artist, the material of the painting, and the passage of time—each left as a mark of undeniable existence and made perpetually continuous in one’s imagination.

In this small jewel-like painting, Lee provides a glimpse of the world, both physical and metaphysical, that continues into infinity out of bound, as implied by the successive rows of dots and the gradually disappearing and reappearing color blue, wave-like in its halation and limitless as the sky.

Lee Ufan also played a key role in articulating this loosely-bound group’s ideas in many of his critical writings published during the late 1960s to the early 1970s as well as through his works.

Most importantly, he identified the fellow artist Sekine Nobuo’s monumental outdoor installation titled Phase—Mother Earth (1968) as the point of paradigmatic shift in which visual representation was replaced by its sheer physical presence embodying his declaration of being here and now. Today Mono-ha in the history of postwar Japanese art is considered to be the blossoming of Japan’s conceptual art movement and is frequently compared to Italy’s Arte Povera and America’s Minimalism.

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200. Daido Moriyama

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A Brief Introduction to Japanese Postwar Photography of the 1950s, 60s and 70s

By Riyuchi Kaneko Independent Curator and Scholar Former Guest Curator and Founding Member of Tokyo Metropolitan Museum of Photography, Tokyo

Situated in a unique position within the sphere of photographic practices worldwide, Japanese artistic photography has been the focus of intense international attention of late. Here, in brief and perhaps insufficient in content to give it justice, I would like to articulate the key characteristics and important phases of the history of Japanese photography. Crucial to its history and significance, this art form has been defined by the country’s geographical and political conditions: the facts that Japan is located in the Far East and was never colonized by any Western country.

Photography in Japan developed more or less as it did in the West, with certain chronological gaps and delays. Introduced in the form of daguerreotypes in the 1840s, at the end of the Edo period, it initially remained only in experimental form amongst some researchers. Actual photographic practice began with the wet collodion process; with which Japanese people began to experience photography from both sides: “capturing” and “being captured.” After the Meiji Restoration (1868), riding the tide of the country’s so-called “civilization and enlightenment,” photography became fully integrated with life and society.

Influenced by England, photography as an artistic expression was fully established in the 1880s. In parallel to its development in Western Europe, modern photographic practices in Japan, based on photography’s materiality and the camera itself, had been explored since the late 1920’s, and had generated internationally prominent works. There followed a blossoming of avant-garde photography influenced by Surrealism, and reportage photography linked to journalism. However, by the late 1930’s, due to the rise of militarism, diverse modern photography practices had converged into the form of propaganda on behalf of national policies.

In 1945, as the Pacific War ended with the country’s defeat, a new era began with the American occupation. Postwar Japan emerged from the ruins of many of its big cities, which had been devastated and burnt down by air raids. In 1950, the first peak of Japanese postwar photography was reached with the photo-realism movement, involving a wide range of amateur photographers led by Ken Domon and Ihei Kimura, who had been engaged with wartime propaganda as press photographers. Reflecting their remorse towards the fact that photographs were used only as propaganda during the war, the movement’s attitude of looking directly at social realities cast a decisive influence on photographers of the time. For these photographers importance was placed on the fact that photographs be printed in large amounts and circulated widely

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“Mr. Steichen characterizes the Japanese photographs as the most important contribution by a single country in recent years. Though not imitative of traditional Japanese art forms, he says there is a similar regard for subtle balance, delicate mood and fine craftsmanship. These pictures demonstrate that this country, long noted for its camera and lens, can also use these instruments to make beautiful Photographs.”

Excerpt from the Museum of Modern Art, New York press release announcing the exhibition Photographs from the Museum Collection, November 26, 1958

throughout the society, as opposed to the act of creating unique prints and exhibiting them as artistically significant.

The Photo Realists of this era aimed to break ties with the obsolete framework of artistic photography. This radical way of conceiving the image delivered a unique and extraordinary development of photographic works through the pages of camera magazines and photo books, which would later be inherited by, and highly evident in, the photography of the 1970s. It is also of note that this is the reason most vintage prints from the 1950s to the 1970s were created only as original plates for publications.

The predominant mode of Japanese postwar photography is a style of documentary comprised of snapshots. Indeed, the key photographers emerging in the late 1950s, who began working after the war, such as Shomei Tomatsu, Ikko Narahara, Eikoh Hosoe, and Kikuji Kawada , employed a variety of visuals such as montage, theatrical rendition, high contrast, blurriness and grainy prints. Yet what lies at the core of their works is the principle of documentary; Narahara calls his Human Land (1956) a “personal document,” Hosoe calls his Kamaitachi (1968) a “document of my memories,” Tomatsu calls his Okinawa series (1970s) “reportages for the subjects,” and Kawada calls his works up to The Map (1965) “symbolic documents.” By their founding of VIVO in the 1960’s these photographers can be seen as the critical successors to the modern photography established in the 1930’s. The principle that the essence of photography lies in documentary, is carried over and pronounced in the extreme presentation of the grainy, blurry, and out-of-focus—known in Japanese as “are, bure, boke”—style of imagery featured in the coterie photography magazine PROVOKE—Provocative Materials for Thought.

Takuma Nakahira, the leading ideologue of the magazine,

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which emerged as if cutting through the homogeneity of the urban landscapes created by the rapid economic growth of the 1960’s, relentlessly insisted that documentation is the essence of photography, drawing on photo documents by obscure photographers in the Meiji era. At the same time Daido Moriyama, one of the coterie’s members, published a personal magazine called Record.

In contrast to the social documentary practice of photography is a traditional genre of Japanese literature called Shishosetsu (private novels), also known as Watakushi-shosetsu (I-Novel).

It embodies the idea that the essence of literary expression lies in the raw depiction of the author’s mental struggle in their daily, private life. Through his self-published photo book Sentimental Journey (1971), which consists of snapshots of his own honeymoon, the legendary photographer Nobuyoshi Araki claimed that the essence of photography lies in the documentation of one’s life, revealing the potential of “private photography,” which radically challenged what had been considered as important: the aspect of society in photography.

While linked to the tradition of Shishosetsu, Araki’s attitude shook the foundation of the framework called “photography,” as established by modern photographic practices through his purely personal and private gaze. Evident as well in the photographic practice of Masahisa Fukase, also known as an “incurable egoist,” and who worked in varying visual ways, are the series that captures his everyday life with his wife Yoko as well as his relentless pursuit of ravens as an absolute symbol of his own self. This attitude was a key inheritance for subsequent photographers such as Miyako Ishiuchi, who emerged in the 1970s, who used the self to expand the potentials of “photography,” rather than as a way to retreat into the private self.

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194. Shomei Tomatsu 1930-2012 Untitled [Yokosuka] (from the series Chewing Gum and Chocolate), 1966 (print date 1974) gelatin silver print mounted onto card 20 x 22.8 cm (7 7⁄8 x 8 7⁄8 in.)

Signed in pencil with negative date and print date on the reverse.

Estimate $15,000-20,000 Provenance Private Collection, Japan (acquired directly from the artist) Exhibited San Francisco Museum of Modern Art, Shomei Tomatsu: Skin of a Nation, May 13 - August 13, 2006 (another example exhibited) London, The Barbican, Everything Was Moving: Photography from the 60s and 70s, September 13, 2012 - January 13, 2013 (another example exhibited) Literature S. Tomatsu, Nippon (Japan), Tokyo, 1967 (illustrated) S. Yamagishi, ed., Japan: A SelfPortrait, New York, International Center of Photography, 1979.

S. Phillips and A. Munroe, Daido Moriyama: Stray Dog, exh. cat., San Francisco Museum of Modern Art , 1999, fig.7 L. Rubinfien, et al., Shomei Tomatsu: Skin of the Nation, New Haven, 2004, plate 29 L. Rubinfien, Chewing Gum and Chocolate, New York, 2014, pp. 66-67

東松照明 Untitled [横須賀], 1966 シリーズ「チューインガムとチョコレート」 1966年（1974年のプリント） ゼラチンシルバープリント、厚紙にマウント 裏に鉛筆でサイン、撮影年、プリント年記 来歴 個人蔵、日本

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195. Kikuji Kawada

b. 1933

Lucky Strike, from the series The Map, 1962 gelatin silver print image 8 1⁄2 x 12 3⁄4 in. (21.6 x 32.4 cm) sheet 11 x 14 in. (27.9 x 35.6 cm) Blind stamped “KIKUJI KAWADA PHOTOGRAPHED” lower right. Signed, titled and dated “The Map Lucky Strike Kikuji Kawada ’86” on the reverse.

This work is a printing proof.

Estimate $12,000-18,000 Provenance Private Collection, Japan

川田喜久治 ラッキー・ストライク シリーズ 「地図」 より, 1962年 （1986年のプ リント） ゼラチンシルバープリント 右下にエンボススタンプ、 裏にもサイン、 年 記、 タイトル、 スタンプ 本作品は作家により印刷原稿として1986 年にプリントされた。 来歴 個人蔵、 日本

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196. Masahisa Fukase

1934-2012

Kanazawa, (SP-025), 1977 ferrotype vintage gelatin silver print image 7 3⁄4 x 11 1⁄4 in. (19.7 x 28.6 cm) sheet 10 x 12 in. (25.4 x 30.5 cm) Signed “深瀬昌久 [Masahisa Fukase]” on the reverse.

Estimate $12,000-18,000 Provenance Estate of the Artist Literature M. Fukase, Karasu (Ravens), Yokohama, 1986, p. 71

深瀬昌久 金沢 (SP-025) シリーズ 「鴉 より, 1977年 フェロタイプ・ビンテージゼラチンシルバー プリント 裏にサイン 来歴 作家エステート蔵、 日本

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194. Shomei Tomatsu Shomei Tomatsu is one of the great photography masters in postwar Japan. While first involved in the photo-realism movement while a university student, he had overcome simple realist aesthetics by the late 1950s, using various visual expressions with a powerful documentary spirit to create numerous works capturing social realities of postwar Japan.

Portraying American military bases throughout Japan, the series Occupation was presented in Asahi Camera and Chuokoron magazines in 1960, with the epigram, “A strange reality that was thrust upon us, that is what I call occupation.” It is a work created at the very intersection of Tomatsu’s own experience of growing up near an American base and his awareness of social contradictions invoked by postwar Japan’s national security policies. Developed further through Okinawa Okinawa Okinawa in 1969, Tomatsu’s pursuit of this direction proceeded until his very latest works.

“If I could, I would want to see everything.... My eyes are infamously greedy...to me, the stuff other photographers subsitute for seeing is nothing but a kind of pessimism.”

Shomei Tomatsu

On the occasion of his exhibition What Now: Japan Through the Eyes of Shomei Tomatsu (which toured through 30 venues in Japan from 1981 to 1984), the series Occupation was renamed as Chewing Gum and Chocolate.

The renaming of the series’ title signifies Tomatsu’s segue to the Mandala series, created during the period from 2000–2007, in which Tomatsu revisited and regrouped his lifetime’s archive of images, reorganizing his photographs by where they were made, into five key areas important to his photography. The reedited photographs were entitled Mandala with the names of the areas Tokyo, Okinawa, Nagasaki, Kyoto, and Aichi, and then exhibited at museum venues in these specific locations. Tomatsu’s work from this period indicates the photographer’s shift towards seeing history that is formulated through a personal consciousness which is easily lost to History with a capital H.

Cover of Shomei Tomatsu, Nippon, 1967

First presented in the photo book Nippon (published in 1967), also appearing under the title, Occupation, to which it is still referred, Yokosuka, 1966 is one of Tomatsu’s most representative photographs. The work presented here has been shown on various occasions outside Japan, such as the exhibition Skin of the Nation (San Francisco Museum of Modern Art, 2006) and the photo book Chewing Gum and Chocolate (Aperture, 2004). This print was made in 1974, the year Tomatsu began teaching together with fellow photographers such as Daido Moriyama and Nobuyoshi Araki in their own, self-managed school called Workshop Photography School. It is mounted on the original cardboard he used to show it to students during his lectures. This print is quite rare and important, as few vintage works remain and in the last years of his life, Tomatsu revisited his past works by promoting them digitally.

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195. Kikuji Kawada This work was included in Kawada’s groundbreaking photo book, published in 1965, The Map, a book renowned worldwide for its superior quality of photographic expression using the photo book format. The book was made in a very special format, where all the pages are gatefold with full-bleed images. As a result of the editing that was specific to this unique book format, most of the works from this series, when looked at as prints, have different features from their versions in the book, in terms of cropping and/or tonality. This print, made in 1986, has been cropped with a slight difference to its published counterpart; however, unlike other prints made later, the image is not rotated.

Together with fellow photographers Shomei Tomatsu, Ikko Narahara, and Eikoh Hosoe, Kikuji Kawada took part in the three landmark exhibitions comprising the Eyes of Ten (1957–58) and was a founding member of the photo group/collective VIVO (1959–61), turning Japanese postwar photography towards a different direction. Overcoming press photography, with its supposed objectivity, he brought both a more subjective viewpoint and a diverse visual expression to the field of documentary, opening up a new horizon unique to Japan. During the late 1960s, Kawada continually unveiled many controversial works, such as Sacré Atavism (published in 1971), which explores a baroque-like European world; Los Caprichos (1968–86), visualizing the everyday through a surrealistic perspective; and Last Cosmology (1969–96), which suggests a cosmological apocalypse. Kawada has remained ever active as one of Japan’s leading photographers.

With photographs of stains on the inner walls of Hiroshima Peace Memorial as its basic tone, and making full use of various signs and symbols, The Map is a defining series that aimed to shed light on the various forms of criminality in the history of postwar Japan. This ambitious project was begun in 1961 and published as a photo book in 1965. In between the works were exhibited in 1961 and subsequently printed in several photography magazines during this period.

Symbolizing the historical reality of postwar Japan, which began with the US military occupation and the collision with American culture and mores, Lucky Strike is an important work that constitutes the core of the series.

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196. Masahisa Fukase Published as page 71 in the legendary photo book Karasu (Ravens), 1986. Fukase chose the location of Kanazawa, a city in the northwestern part of Japan, hometown of his ex wife Yoko, for this most seminal work.

Born in a family that was running a photo studio in Bifuka, a small town in Hokkaido, the northernmost of Japan’s four main islands, Masahisa Fukase studied photography in Tokyo and then commenced his career as a commercial photographer. In 1960, his solo exhibition entitled Kill the Pigs, which consisted of color photographs taken during his frequent visits to a slaughterhouse and monochrome photographs capturing slices of his private life with his live-in pregnant girlfriend, garnered much attention. Nobuya Yoshimura, a then up and coming photography critic, applauded this exhibition, describing it as an attempt to “visualize, through the contrast between its two parts, the most cruel and extreme situations that life could ever confront.”

However, in 1962, after the birth of their child and just before their marriage, the woman he had been living with disappeared from his life. It came to him as a great shock, but then he met his future wife Yoko, interactions with whom lit a new creative fire within him. Their marriage in 1964 was, however, not the beginning of peaceful and happy days, but that of daily, violent collisions of love and hate. His continuous severe observation of their daily struggles resulted in the series Yoko, which was later shown as part of the exhibition New Japanese Photography, whose co-curator Shoji Yamagishi positioned Fukase as an “autobiographic photographer.”

After the life with Yoko began to collapse, Fukase repeatedly traveled to his native Hokkaido, visits out of which the series The Solitude of Ravens came into being. The photographs in the series present the solitude of the photographer who had no means to lead a life but by taking photographs while his personal life was falling apart. It is a significant work in that it represents “private photography,” a very important stream of Japanese photography during the 1970s.

There is a yellow round mark on the upper right corner of this ferrotyped print, made by Fukase himself as a sign of “OK” for printing.

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“The ravens themselves weren’t really the point. I myself had become a raven.”

Masahisa Fukase

197. Masahisa Fukase

1934-2012

Noboribetsu Hot Spring, (mFv75), 1977 ferrotype vintage gelatin silver print image 7 1⁄2 x 11 in. (19.1 x 27.9 cm) sheet 10 x 12 in. (25.4 x 30.5 cm) Signed “深瀬昌久 [Masahisa Fukase]” and numbered on the reverse.

Estimate $12,000-18,000 Provenance Estate of the Artist Literature M. Fukase, Karasu (Ravens), Yokohama, 1986, p. 15

深瀬昌久 登別温泉 (mFv75) シリーズ 「鴉より, 1977年 フェロタイプ・ビンテージゼラチンシルバ ープリント 裏にサインとナンバー(mFv75) 来歴 作家エステート蔵、 日本

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∆

198. Miyako Ishiuchi

b. 1947

Apartment #20, 1978 vintage gelatin silver print mounted onto board 19 3⁄4 x 24 3⁄4 in. (50.2 x 62.9 cm) Signed, titled and dated “Ishiuchi Miyako ‘Apartment 20’ 1978” on the reverse.

Estimate $12,000-18,000 Provenance The Third Gallery Aya, Osaka Literature M. Ishiuchi, Apartment, Tokyo, 1978, p.20

石内都 Apartment ＃20、 横浜 シリーズ 「APARTMENT」 より, 1978年 ビンテージゼラチンシルバープリント、 厚紙にマ ウント 裏にサイン、 年記、 タイトル 1978年に個展 「アパート APARTMENT」 のため に二枚ずつ制作されたプリントからの一枚。 来歴 個人蔵、 日本

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∆

199. Miyako Ishiuchi

b. 1947

Apartment #35, 1978 vintage gelatin silver print 19 3⁄4 x 24 3⁄4 in. (50.2 x 62.9 cm) Signed, titled and dated “Ishiuchi Miyako ‘Apartment’ 1978” on the reverse.

Estimate $12,000-18,000 Provenance The Third Gallery Aya, Osaka Literature M. Ishiuchi, Apartment, Tokyo, 1978, p.35

石内都 Apartment ＃35、 横浜 シリーズ 「APARTMENT」 より, 1978年 ビンテージゼラチンシルバープリント 裏にサイン、 年記、 タイトル 1978年に個展 「アパート APARTMENT」 のために 二枚ずつ制作されたプリントか らの一枚。 来歴 個人蔵、 日本

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197. Masahisa Fukase Published as page 15 in the photo book Karasu (Ravens), 1986, this is a rare vintage work from this most seminal series, entitled The Solitude of Ravens.

It was exhibited in the landmark show Japan: A SelfPortrait (International Center of Photography, NY, 1979). The location for this photograph is Hokkaido, the northernmost of Japan’s four main islands, and specifically Noboibetsu, famous for its hot springs.

The first presentations of The Solitude of Ravens took place in the October 1976 issue of Camera Mainichi magazine as well as in the solo exhibition entitled Karasu (Ravens), also held in the same month and year. Following this, the series, named by the editor Shoji Yamagishi, was published seven more times in Camera Mainichi until the October 1982 issue and exhibited in four more solo exhibitions held in 1979, 1981, 1982 and 1985, respectively. As a culmination of all this exposure, the photo book Karasu (Ravens) was published in 1986.

Begun during a trip to Hokkaido, The Solitude of Ravens developed through Fukase’s pilgrimages, whose destinations included Kanazawa, the birthplace of his ex-wife Yoko; the housing complex in Kusaka, Saitama, which was the site of their love-hate struggle; and Harajuku, Tokyo, where his office was located at the time. The photography critic Kotaro Iizawa describes the series as Fukase’s monologue marked by “the depth of his solitude of this time,” where “filled with a consistent tone of icy desolation, captured images materialize his solitude itself, through a combination of images of ravens, presented as his alter ego, and those of landscapes, objects, and humans, inserted in-between.”

His ex-wife Yoko calls Fukase an “incurable egoist”, which suggests the “karma” of the photographer, who entwined his own life with his photography; for him, both love and hate existed solely for photographing. This series marks a sublime moment of transcendence where the photographer’s extreme sense of solitude becomes at one with his art.

The print is ferrotyped and was certainly made by Fukase himself, because a ferrotyped surface is a testimony of the photographer’s direct involvement in its printing. This was also a common printing process by established photographers in Japan in the 1970s.

Moreover, the fact that it is signed unequivocally demonstrates that Fukase considered it as extremely important among his self-printed photographs.

198. Miyako Ishiuchi Look! New chromosome arrangements. Grains are words. In an irrationally hot and dark manner, they address to us that photographs are…nothing but photographs. —Shomei Tomatsu Printed on the obi (a Japanese traditional belt associated with kimono, but also used, in this instance, to belt around a book) attached to APARTMENT, the first photo book by Miyako Ishiuchi, the above text was written by the legendary photographer Shomei Tomatsu as an homage to Ishiuchi’s work. These words clearly indicate the starting point of Ishiuchi, launching her career as a photographer in the 1970s.

While majoring in weaving in Tama Art University, Miyako Ishiuchi took part in the radical student activism of the time, eventually dropping out of school in 1970. A set of darkroom equipment, including an enlarger, which she happened to obtain around that time, motivated her to take up photography. Fascinated by the beauty of the rough black and white grains that photography creates in a darkroom, she was drawn into taking photographs of everyday scenery in her environment. In 1975, Ishiuchi exhibited her work for the first time, taking part in an exhibition called Shashin Koka 3 1, organized by a group of photographers led by Taku Yada. That was when her work first attracted the attention of Shomei Tomatsu.

In 1976, she began documenting Yokosuka, the town where she spent her childhood and adolescence, and held her first solo exhibition entitled Cry, Yokosuka Story in 1977, which made her name as a budding young photographer. In the same year, she began a series called Apartment, and in 1978 published a photo book with the same title, with which she won the prestigious Kimura Ihei Award. During the 1970s, in addition to these earlier series, she worked on Endless Night (first exhibited in 1981), photographing abandoned buildings in former prostitution quarters all over Japan. Today, this early trilogy of works is considered to be the point of origin of Ishiuchi’s artistic pursuit, spanning over three decades.

The Apartment series was exhibited in JAPAN: A Self Portrait (International Center of Photography, NY, 1979), a seminal exhibition that introduced Japanese contemporary photography to the United States.

This print was made in 1978, one of two made for the purpose of exhibition in the year in which her second solo exhibition, Apartment, was held. Her vintage works, printed by the artist, are crystals of the photographic reality she created through her persistent working process in the darkroom.

1. Shashin is the Japanese word for photography.

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199. Miyako Ishiuchi

“Photographs are my creations.

I create them, brooding in the darkroom, immersed in chemicals.”

Miyako Ishiuchi

Cover of Miyako Ishiuchi, Apartment, 1978

Just like her debut work Cry, Yokosuka Story, this series is drawn from Miyako Ishiuchi’s personal memories. While not being an especially happy time, the period of her youth spent with her family in a cramped six-tatami one-room [called Rokujyohito-ma] apartment in Yokosuka is integral to her personal, primordial, psychology and led to the creation of this series, one in her early trilogy.

This particular piece captures people living in an apartment room, however, Ishiuchi’s intent was not to document their life. Rather, humans, in this photograph, are treated as near equivalents to the walls, furniture or other elements that constitute the room and it’s architecture.

While works by Miyako Ishiuchi in the early trilogy and those by Daido Moriyama have rough and grainy aesthetics in common, Ishiuchi’s oeuvre does not include any blurry images whereby the photographic subject is unclear. Nevertheless, it seems antithetical to her aesthetics featured in the many series spanning from 1·9·4·7 (1990) to Chromosome XY (1995) to Mother’s (2005) through Hiroshima (2008), where the detailed texture of each subject’s surface is accurately reproduced.

This seeming difference of artistic methodologies, however, is not due to Ishiuchi’s change. As Michiko Kasahara writes: “Ishiuchi’s consistent theme has been the memory inherent in the postwar Japanese reality, as it is manifested in the tremendous changes taking place in the consciousness of contemporary Japanese women” (from the catalogue of the exhibition, Mother’s 2000–2005: Traces of the Future).

Created in the space between loss and restoration of both personal and public memories, Ishiuchi’s work forms quite an important phase in the course of Japanese photography after the 1970s.

Holding an irreplaceable position in the history of photography, Apartment is considered a seminal body of work not only because it is a precursor to the basic structure of her later series but also due to it’s undeniable importance in creating the “memory” of postwar Japan.

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200. Daido Moriyama

b. 1938

Kamakura, 1966 vintage gelatin silver print 12 x 10 in. (30.6 x 25.4 cm) Signed and dated in pencil on the reverse.

Estimate $8,000-12,000 Provenance Private Collection, acquired directly from the artist Literature Nippon Gekijō Shashinchō (Japan: A Photo Theater), Tokyo, 1968

森山大道 鎌倉 シリーズ 「にっぽん劇場写真帖」 より, 1966年 ビンテージゼラチンシルバープリント 裏に鉛筆でサインと年記 来歴 個人蔵

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201. Daido Moriyama

b. 1938

How to Create a Beautiful Picture 3: Tiles of Aizuwakamatsu, 1987 vintage gelatin silver print image 13 1⁄8 x 19 3⁄4 in. (33.4 x 50.3 cm) sheet 17 7⁄8 x 22 in. (45.5 x 55.9 cm) Signed and inscribed “17 TILE Daido Moriyama” on the reverse.

Estimate $12,000-15,000 Provenance Taka Ishii Gallery, Tokyo

森山大道 会津若松 シリーズ 「美しい写真の作り方」 より, 1987年 ビンテージゼラチンシルバープリント 裏にサインと“17 TILE Daido Moriyama” と記載有 来歴 タカ・イシイギャラリー、 東京

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202. Nobuyoshi Araki

b. 1940

Five works from the Theater of Love Series, circa 1965 vintage gelatin silver prints each 5 x 6 in. (12.7 x 15.2 cm) (i) Signed and inscribed “11-27 Nobuyoshi Araki” on the reverse. (ii) Signed and inscribed “3-13-20 Nobuyoshi Araki” on the reverse. (iii) Signed and inscribed “27-22 Nobuyoshi Araki” on the reverse. (iv) Signed and inscribed “5-4 Nobuyoshi Araki” on the reverse. (v) Signed and inscribed “3-13-21 Nobuyoshi Araki” on the reverse.

Estimate $18,000-22,000 Provenance Taka Ishii Gallery, Tokyo Exhibited Taka Ishii Gallery, Tokyo, Nobuyoshi Araki: “Theater of Love,” February 18 - March 26, 2011 Literature Nobuyoshi Araki: “Theater of Love,”exh. cat., Taka Ishii Gallery, Tokyo, February 18 - March 26, 2011 (image “i” illustrated) (ii)

(i)

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荒木経惟 シリーズ 「愛の劇場」 より5点, 1965年頃 ビンテージゼラチンシルバープリント5点、 ユニークプリント (i) 裏にサインと“11-27 Nobuyoshi Araki”と記載有 (ii) 裏にサインと“3-13-20 Nobuyoshi Araki” と記載有 (iii) 裏にサインと“27-22 Nobuyoshi Araki”と記載有 (iv) 裏にサインと“5-4 Nobuyoshi Araki”と記載有 (v) 裏にサインと“3-13-21 Nobuyoshi Araki” と記載有 来歴 タカ・イシイギャラリー、 東京

(iii)

(iv)

(v)

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200. Daido Moriyama

“I was drawn increasingly into Shomei Tomatsu’s world and into the world of photography. I was deeply influenced by Tomatsu, even devoted to him. But, somewhere beyond that devotion, I was also preparing for a powerful rebellion.”

Daido Moriyama

This is one of the seven photos printed in the July 1966 issue of Camera Mainichi magazine, collectively entitled Kamakura, one of the earliest series from photographer Daido Moriyama. The subjects are a mother, her daughter, and the daughter’s baby, visiting Tsurugaoka Hachimangu, a massive shrine located in Kamakura, for Miyamairi, a traditional Shinto rite of passage for newborns.

In 1961, having served as an assistant for the photographer Takeji Iwamiya in Osaka, Moriyama, with a reference letter from his master, knocked on the door of VIVO’s office in Tokyo. Unfortunately, the photographic cooperative had just been dissolved; however Eikoh Hosoe, one of its ex-members, hired Moriyama as his personal assistant to help with his then new series, Ordeal by Roses, which he had just begun to shoot. During this period, Moriyama began to seek his own artistic direction. A series of Moriyama’s photographs, taken in Yokosuka, caught the eye of Shoji Yamagishi, an editor of Camera Mainichi magazine. With the publication of Yokosuka by the magazine, Moriyama had his debut in the photography world.

Yamagichi was an important figure and driving force for Japanese photography after the dissolution of VIVO. He discovered young photographers such as Yutaka Takanashi, Masahisa Fukase and Kishin Shinoyama. Yamagishi later co-curated New Japanese Photography (Museum of Modern Art, 1974) with John Szarkowski and Japan: A SelfPortrait (International Center of Photography, 1979) with Cornell Capa. Following Yokosuka, Yamagishi had Camera Mainichi publish more series by Moriyama; Kamakura (1966), Atami (1966), Nippon Gekijo (1967) and ACTOR—Shimizu Isamu (1967), all of which would form the core of the photo book Nippon Gekijo Shashincho (Japan: A Photo Theater), published in 1968.

This exceedingly rare and early print is representative of Moriyama’s unique photographic expression, formed alongside, yet distinct from, the influences of the older generation of influential photographers such as Shomei Tomatsu and Eikoh Hosoe. This vintage work also indicates how Moriyama was printing in this earliest stage of his career. His vintage prints of this period are highly treasured items; almost entirely collected by Tokyo Polytechnic University, they rarely appear on the market.

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201. Daido Moriyama This work was first printed in the February 1987 issue of Shashin Jidai magazine (published by Byakuya-Shobo). According to Moriyama’s text that accompanied the work, sometime during the fall of 1986 he drove to the area of Higashiyama hot spring in Aizuwakamatsu, Fukushima, wanting to see autumn foliage, and photographed a bathroom of the Japanese-style inn where he stayed.

In 1968, with his first photo book Nippon Gekijo Shashincho (Japan: A Photo Theater), Daido Moriyama came to public light in Japan as a noted new photographer. That year also saw the first issue of the photography magazine PROVOKE— Provocative Materials for Thought. Moriyama joined the coterie from the second issue (1969) and became an immediate cause célèbre with his extremely grainy, blurry, and out-of-focus aesthetics. It was an attempt to challenge the framework established by modern photography from its very foundation.

This attitude became even more radical in his 1972 publication entitled Bye, Bye Photography. Having raced like wind through this initial period of creative work that fragmentized reality, and relying only on his own gut-level sensitivities, Moriyama lost his creative bearings and faced a serious crisis both mentally and physically (in the late 1970s). By 1981 he had staged a comeback, beginning a new series of photographs entitled Light and Shadow for the newly-founded photography magazine Shashin Jidai. It was his attempt to return to the starting line and seize back “photography,” which he himself had deconstructed. In this period Moriyama’s creativity gushed forward as he flung himself into various new works, one after another, including Memories of a Dog (1982–83) and A Journey to Nakaji (1984–85), continuing until today.

This series, How to Create a Beautiful Picture, marks Moriyama’s second phase. The close up of the bathroom tiles is the perfect expression of Moriyama’s gut-level sensitivity, reflecting the consistent basis of his work from the 1980s until today. Furthermore, here, the photographer’s desires towards style and form are quite visible. In this respect, it can also be said that this work is a milestone for understanding Moriyama’s artistic practice from the 1980s to the present.

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202. Nobuyoshi Araki I found a cabinet sized box labeled “Theater of Love”. I opened it to find about 150 prints. It’s from around ’65. Back then I used to click away with my Olympus Pen F, making these patchy prints using thermal development on purpose; the woman, the era, and the place are all photographed there, it’s all expressed. —Nobuyoshi Araki, 2010 In 1963, Nobuyoshi Araki graduated from Faculty of Engineering, Chiba University, and started working as an in-house cameraman for the advertising agency Dentsu. From around 1964, he began to radically experiment with photography and printing, hand-making photo books with original prints glued inside, self-publishing Xerox-copied books, holding exhibitions at a ramen restaurant, and other projects. In 1971, with Sentimental Journey, a self-published photo book which consists of candid snapshots taken during his own honeymoon with his wife Yoko, Araki set his artistic direction based on the idea that the essence of photography lies in “private photography,” a photographic version of Shi-shosetsu (private novel) or Watakushi-shosetsu (I-Novel). Today, with over 400 photo books published and numerous exhibitions of varying size held, Araki remains the most influential Japanese photographer, holding an unshakable position in the international scene.

In February 2011, an exhibition entitled Theater of Love was held as the opening show of Taka Ishii Gallery Photography/Film (Roppongi, Tokyo). The exhibited photographs had never been shown in any of the previous exhibitions, including major retrospectives. In conjunction with the exhibition, a new photo book limited to 1000 copies with the same title was published, containing plates of all 119 exhibited photographs, which had previously never been printed except for one work (a photograph of a statue of an elephant). An example of the typical style of Araki in the 1960s, Theater of Love is a conceptual series randomly combining various methodologies, such as reusing images from his family albums, printing a number of 35mm halfframes on a single sheet of photographic paper, and utilizing stains resulting from thermal development as a visual element.

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Contributing Authors

Ryuichi Kaneko Independent Photo Historian and Curator A graduate of Rissho University’s faculty of Geography in 1972, he began to collect photography books and photo historical documents in the 1970s and to write as a critic in photography magazines such as Camera Mainichi and Nippon Camera during the 1980s.

Kaneko was one of the founding members of the Tokyo Metropolitan Museum of Photography, and also held the position of Guest Curator there, from 1990 to 2015. In addition to his work as a curator on countless exhibitions and exhibition catalogues, including Masterpieces of Japanese Pictorial Photography, 2011, and 1968—Japanese Photography, 2013, he co-curated the landmark exhibition, The History of Japanese Photography, with Anne Wilkes Tucker, at The Museum of Fine Arts, Houston in 2003, his publications include Teihon Kimura Ihee (Ihee Kimura: Authorized Edition), Ueda Shoji: Watakushi noshashin saho (Ueda Shoji: My Photography Technique), and The History of Japanese Photography, and Japanese Photobooks of the 1960s and 70s.

Kaneko was awarded the Photographic Society of Japan’s Award in 2010 for Distinguished Research and Curatorial Work, and in 2015 he received the Kikuchi Toyo Award by The Society of Photography and Imaging of Japan for his outstanding work in the field of photo historical education, curation and publishing.

Hajime Nariai Curator, Tokyo Station Gallery and Adjunct Professor at Joshibi University of Art and Design, Tokyo Since 2012 Nariai has been Curator at the Tokyo Station Gallery. Prior to this position Hajime was a Curator at the Fuchu Art Museum, Tokyo from 2005 and is a graduate of Hitotsubashi University, Tokyo, where he studied Language and Society.

Specialized in historical research of Japanese postwar avant-garde art and popular culture, Nariai has curated several exhibitions including The World of ISHIKO Junzo: From Art via Manga to Kitsch, 2011-12, Fuchu Art Museum, SHOJI UEDA: Process and Creation, 2013-14, Tokyo Station Gallery, and Discover, Discover Japan, 2014, Tokyo Station Gallery. His publications include Experimental Field 1950’s, published by The National Museum of Modern Art, Tokyo, and Japanese Art History, published by Bijutsu Shuppan-sha.

Additional contributors: A Brief Introduction to Japanese Postwar Photography of the 1950s, 60s and 70s English translation by Yuki Okumura English proofreading by Linda Dennis

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Acknowledgements

Phillips would like to express heartfelt thanks to the many people who were so generous with all their knowledge, contacts and research for this project and catalogue, both in Japan, Europe and in the US. Here below are some, but defnitely not all, of those who have been so important to the success of this project.

For their kind cooperation and knowledge, we would especially like to thank Alison Bradley, Miyuki Hinton, Assistant to Alison Bradley, for her research, particularly on the history of Japanese Photography in the Museum of Modern Art; Mr. Hozu Yamamoto, Mr. Yukihito Tabata and Mr. Hiroyuki Sasaki, Tokyo Gallery; Dr. Miwako Tezuka, Independent Curator and Scholar; Manabu Yahagi; Takayuki Fujii, Taka Ishii Gallery New York; Russet Lederman, 10x10 Photobooks; David Solo; Ryan Haley, Librarian, Art & Architecture Collection, Zulay Chang, Specialist, Photography Collection, and David G. Christie, Specialist, Spencer Collection, New York Public Library; Ms. Deirdre Donohue, Stephanie Shuman Librarian International and Mr. Matthew P. Carson, Associate Librarian & Archivist, International Center of Photography.

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Guide for Prospective Buyers Buying at Auction The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you.

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Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff 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 $1,000. 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 and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

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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 FlashPlayer. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter 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 firewalls may cause difficulties 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 confidential. Bids must be placed in the currency of the sale. Our staff 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 and any applicable taxes. 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 affiliated 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. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e., $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 The Auction Conditions of Sale 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.

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 are agreed with Phillips in writing in advance of the sale. Payment must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

Credit Cards As a courtesy to clients, Phillips will accept American Express, Visa and Mastercard to pay for invoices of $100,000 or less. A processing fee will apply.

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. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 Park Avenue, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots.

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 will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States 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 licenses or permits. The denial of any required license 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

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 beneficiary 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.

of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country.

Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government

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 offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low presale estimate. In the absence of a bid at that level, the auctioneer will proceed

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regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

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Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

1 Introduction Each lot in this catalogue is offered 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 (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 affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial 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 offered 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 satisfied 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 identification 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

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revised from time to time by Phillips in our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the presale 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 and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff 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 $1,000. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after 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 final 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 ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state 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

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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 affiliated 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 D 8QOHVV RWKHUZLVH LQGLFDWHG E\ WKH V\PERO ɘ HDFK ORW LV RŐ¤ HUHG VXEMHFW WR D UHVHUYH which is the confidential 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-offer a lot for sale (including after 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 after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated 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 offered 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 US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling 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,â€? “withdrawn,â€? “returned to ownerâ€? or “bought-in.â€? (g) Any post-auction sale of lots offered 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 and any applicable sales tax (the “Purchase Price�). The buyer’s premium is 25% of the hammer price up to and including $100,000, 20% of the portion of the hammer price above $100,000 up to and including $2,000,000 and 12% of the portion of the hammer price above $2,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

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(c) 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 US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 Park Avenue during regular weekday business hours. (ii) Personal checks and banker’s draft s are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s draft s should be made payable to “Phillips.� If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 Park Avenue, New York, NY 10022 and make sure that the sale and lot number is written on the check. Checks or banker’s draft s drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips Account no.: 58347736 Please reference the relevant sale and lot number. (d) As a courtesy to clients, Phillips will accept American Express, Visa and Mastercard to pay for invoices of $100,000 or less. A processing fee of 3.5% will apply. (e) 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 identification has been provided, and any earlier release does not affect 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 affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1Â 212 940 1372 or +1 212 940 1373 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. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York.

All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips will upon request transfer on a biweekly basis purchased lots suitable for hand-carry back to our premises at 450 Park Avenue, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) seven days after the auction. 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 will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips. Any such instruction, whether or not made at our recommendation, 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. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup.

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(d) Phillips will require presentation of government issued identification 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 $10 per day for each uncollected lot. Additional charges may apply to oversized lots. 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 affiliated 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 at the same rates as set forth in Paragraph 8 (a) above; (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 notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated 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 affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips 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 off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated 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) As security to us for full payment by the buyer of all outstanding amounts due to Phillips and our affiliated companies, Phillips retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated 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 affiliated company by way of pledge.

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’s election to rescind the sale, the

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buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the US 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. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license 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 Data Protection (a) In connection with the supply of auction and related services, or as required by law, Phillips may ask clients to provide personal data. Phillips may take and retain a copy of government-issued identification such as a passport or driver’s license. We will use your personal data (i) to provide auction and related services; (ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks; (iv) to implement and improve the management and operations of our business and (v) for other purposes set out in our Privacy Policy published on the Phillips website at www.phillips.com (the ‘Privacy Policy’) and available on request by emailing dataprotection@phillips.com. By agreeing to these Conditions of Sale, you consent to our use of your personal data, including sensitive personal data, in accordance with the Privacy Policy. The personal data we may collect and process is listed, and sensitive personal data is defined, in our Privacy Policy. Phillips may also, from time to time, send you promotional and marketing materials about us and our services. If you would prefer not to receive such information, please email us at dataprotection@phillips.com. Please also email us at this address to receive information about your personal data or to advise us if the personal data we hold about you is inaccurate or out of date. (b) In order to provide our services, we may disclose your personal data to third parties, including professional advisors, shippers and credit agencies. We will disclose, share with and transfer your personal data to Phillips’s affiliated persons (natural or legal) for administration, sale and auction related purposes. You expressly consent to such transfer of your personal data. We will not sell, rent or otherwise transfer any of your personal data to third parties except as otherwise expressly provided in this Paragraph 12. (c) Phillips’s premises 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.

13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our affiliated 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 affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our affiliated 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 fitness for purpose, are

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Authorship Warranty specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips, any of our affiliated 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 subparagraph (a) above, whether such loss or damage is characterized 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 affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified 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 effect. 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.

16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules.

Phillips warrants the authorship of property in this auction catalogue described in headings in bold or CAPITALIZED type for a period of five years from date of sale

by Phillips, subject to the exclusions and limitations set forth below. (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 gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict 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 scientific 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 notified 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 saleroom 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 after 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 affiliated 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 affiliated 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.

(b) Phillips, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York 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. (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 New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips.

17 Sales Tax Unless the buyer has delivered a valid certificate evidencing exemption from tax, the buyer shall pay applicable New York, California, Colorado or Florida sales tax on any lot picked up or delivered anywhere in the states of New York, California, Colorado or Florida.

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Executive Management Chairman & CEO Edward Dolman

President

Senior Advisors to Chairman & CEO

Chairman, UK & Europe

Michael McGinnis

Arnold Lehman

Hugues Joffre

Francesco Bonami

Chief of Staff

Chief Creative & Marketing Officer

Senior Directors

Deputy Chairman, International

Lisa King

Damien Whitmore

Jean-Paul Engelen

Svetlana Marich

Alexander Payne Peter Sumner Chief Financial Officer

Chief Communications and PR Officer

Sam Hines

Deputy Chairmen, Europe & Asia

Annette Schwaer

Michael Sherman

Vanessa Kramer Hallett

Matt Carey-Williams

Henry Allsopp

Finn Schouenborg Dombernowsky

Jean-Michel Placent Chief Counsel

Chief People Officer

Richard Aydon

Irina Shifrin

Olivier Vrankrenne

Deputy Chairmen, Americas David Georgiades August O. Uribe

Chief Operating Officer,

Chief Operating Officer, Americas

Senior Consultant

International Business Directors

UK Europe & Asia

Sean Cleary

Aurel Bacs

Bart van Son, 20th Century & Contemporary Art

Frank Lasry

Myriam Christinaz, Jewelry, Watches, & Business Development

Associate to the Chief of Staff

Directors

Business Manager

Caroline Conegliano

Alex Heminway

Kyla Sullivan, 20th Century &

Cary Leibowitz

Contemporary Art

Kelly Troester Associate General Counsel Jonathan Illari

Martin Klosterfelde Nazgol Jahan Paul Maudsley Zach Miner

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International Specialists Berlin Martin Klosterfelde Director and International Specialist, Contemporary Art +49 177 628 4110 Brussels Olivier Vrankenne Co-Head Contemporary Art, Europe +32 486 43 43 44 Denver Melyora de Koning Senior Specialist, Contemporary Art +1 917 657 7193 Geneva Dr. Nathalie Monbaron Business Development Director, Watches +41 22 317 81 83 Geneva Oksana Katchaluba Specialist, Contemporary Art +41 22 906 80 00 Hong Kong Sam Hines International Head of Watches +852 2318 2000

Istanbul Deniz Atac Consultant +90 533 374 1198 London Svetlana Marich Co-Head Contemporary Art, Europe +44 20 7318 4010 Milan Carolina Lanfranchi Consultant +39 33 8924 1720 Paris Maria Cifuentes Caruncho Specialist +33 142 78 67 77 Portugal Maura Marvão Consultant, Contemporary Art +351 917 564 427 Zurich Niklaus Kuenzler Specialist, Contemporary Art +41 79 533 90 00

Worldwide Offices London 30 Berkeley Square London W1J 6EX, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011

New York 450 Park Avenue New York, NY 10022, USA tel +1 212 940 1200 fax +1 212 940 1378

Berlin Kurfürstendamm 193 10707 Berlin, Germany tel +49 30 887 297 44

Istanbul Meclisi Mebusan Caddesi Deniz Apartmani No. 79/8 Beyoglu 34427, Istanbul, Turkey tel +90 533 374 1198

Brussels rue Jean Baptiste Colyns 72 1050 Brussels, Belgium tel +32 486 43 43 44 Geneva 23 quai des Bergues 1201 Geneva, Switzerland tel +41 22 906 80 00 fax +41 22 906 80 01 15 quai de l’Ile 1204 Geneva, Switzerland fax +41 22 317 81 80 Hong Kong Room 1301-13/F, York House, The Landmark Building, 15 Queen’s Road Central, Hong Kong tel +852 2318 2000 fax +852 2318 2002

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Moscow Nikolskaya Str 19–21, 5th floor, 109012 Moscow, Russia tel +7 495 225 88 22 fax +7 495 225 88 87 Paris 46 rue du Bac, 75007 Paris, France tel +33 1 42 78 67 77 fax +33 1 42 78 23 07 Zurich Restelbergstrasse 89, 8044 Zurich, Switzerland tel +41 79 533 90 00

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Specialists and Departments Contemporary Art Hugues Joffre, Worldwide Head of 20th Century Art +44 20 7318 7923 Jean-Paul Engelen, Worldwide Head of Contemporary Art +1 212 940 1390 David Georgiades, Senior International Specialist +1 212 940 1280 August O. Uribe, Senior International Specialist +1 212 940 1208 Bart Van Son, International Business Director +44 20 7318 7912 New York Kate Bryan, Head of Evening Sale John McCord, Head of Day Sale Rebekah Bowling, Head of New Now Sale

+1 212 940 1267 +1 212 940 1261 +1 212 940 1250

Jean-Michel Placent Zach Miner Rachel Adler Rosan Katherine Lukacher

+1 212 940 1263 +1 212 940 1256 +1 212 940 1333 +1 212 940 1215

Kyla Sullivan Karen Garka-Prince Samuel Mansour Nicole Smith Courtney Raterman Paula Campolieto Annie Dolan

+1 212 940 1204 +1 212 940 1219 +1 212 940 1219 +1 212 940 1260 +1 212 940 1392 +1 212 940 1255 +1 212 940 1288

London Peter Sumner, Head of Contemporary Art, London Henry Highley, Head of Day Sale Tamila Kerimova, Head of New Now Sale Matt Langton Iori Endo

+44 20 7318 4063 +44 20 7318 4061 +44 20 7318 4065 +44 20 7318 4074 +44 20 7318 4039

Simon Tovey Hannah Tjaden Alex Dolman Ava Carleton-Williams Chiara Panarello

+44 20 7318 4084 +44 20 7318 4093 +44 20 7901 7911 +44 20 7901 7904 +44 20 7318 4073

Latin American Art Henry Allsopp, Worldwide Head Kaeli Deane, Head of Sale Natalia C. Zuluaga Carolina Scarborough

+44 20 7318 4060 +1 212 940 1401 +1 305 776 4439 +1 212 940 1289

Isabel Suarez

+1 212 940 1222 +1 212 940 1221

New York Jannah Greenblatt Audrey Lindsey Jeffrey Barton-Kang

+1 212 940 1332 +1 212 940 1322 +1 212 940 1238

+44 20 7318 4075 +44 20 7318 4042 +44 20 7318 4077 +44 20 7318 4079 +44 20 7318 4069

Jewels Nazgol Jahan, Worldwide Director

+1 212 940 1283

New York Kristen Dowling Christina Alford

+1 212 940 1302 +1 212 940 1365

London Lane Clements McLean

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+44 20 7318 4052

New York Alex Heminway, New York Director Meaghan Roddy Cordelia Lembo Kimberly Sorensen Jillian Pfifferling

+1 212 940 1268 +1 212 940 1266 +1 212 940 1265 +1 212 940 1259 +1 212 940 1268

London Madalena Horta e Costa, Head of Sale

+44 20 7318 4019

Domenico Raimondo Marine Hartogs Marcus McDonald Marta De Roia Lisa Stevenson Sofia Sayn-Wittgenstein

+44 20 7318 4016 +44 20 7901 7913 +44 20 7318 4095 +44 20 7318 4096 +44 20 7901 7925 +44 20 7318 4023

Photographs Vanessa Hallett, Senior Director and Worldwide Head, Photographs New York Sarah Krueger, Head of Sale Caroline Deck Rachel Peart Marijana Rayl Kelly Van Ingen London Lou Proud, Head of Photographs, London Yuka Yamaji Alexandra Bibby Sophie Busby

+1 212 940 1243

+1 212 940 1225 +1 212 940 1247 +1 212 940 1246 +1 212 940 1386 +1 212 940 1245

+44 20 7318 4018 +44 20 7318 4098 +44 20 7318 4087 +44 20 7318 4092

Chicago Carol Ehlers

+1 773 230 9192

Watches Sam Hines, International Head of Watches

+85 26 77 39 315

Geneva Aurel Bacs, Senior Consultant Bacs & Russo Livia Russo, Senior Consultant Bacs & Russo Dr. Nathalie Monbaron Virginie Liatard-Roessli Diana Ortega Justine SĂŠchaud

+41 22 317 81 85 +41 22 317 81 86 +41 22 317 81 83 +41 22 317 81 82 +41 22 317 8187 +41 22 317 8188

+1 212 940 1227

Modern and Contemporary Editions Cary Leibowitz, Worldwide Co-Director Kelly Troester, Worldwide Co-Director

London Robert Kennan, Head of Sale Anne Schneider-Wilson Ross Thomas Rebecca Tooby-Desmond Eliza Allan

Design Alexander Payne, Senior Director and Worldwide Head, Design

London Paul David Maudsley Kate Lacey

+44 20 7901 7916 +44 20 7901 2907

New York Paul Boutros Leigh Zagoory

+1 212 940 1293 +1 212 940 1285

Hong Kong Jill Chen Joey Luk Angel Ho

+852 9133 0819 +852 2318 2032 +852 2318 2031

+44 20 7318 4010

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Exhibitions Brittany Lopez Slater Edwin Pennicott Sponsorships Lauren Shadford Cecilia Wolfson Private Sales Susanna Brockman

+1 212 940 1299 +44 20 7901 2909

Office of the President Elizabeth Anne Wallace +1 212 940 1257 +1 212 940 1258

+44 20 7318 4041

Private Client Services New York Philae Knight Sara Tayeb-Khalifa London Dawn Zhu Adam Clay Lily Atherton Hanbury Fiona M. McGovern

Office of the Chairman and Chief Executive Officer Mariangela Renshaw +1 212 940 1207, +44 207 318 4029

+1 212 940 1313 +1 212 940 1383

+44 20 7318 4017 +44 20 7318 4048 +44 20 7318 4040 +44 20 7901 7901

Communications and Marketing Michael Sherman, Chief Communications and Public Relations Officer +1 212 940 1200 Kimberly French, Worldwide Head of Communications & PR +1 212 940 1229 Trish Walsh, Marketing Manager +1 212 940 1224 Emma Miller Gelberg, Marketing and Catalogue Coordinator +1 212 940 1240 Charlotte Adlard, Marketing Co-ordinator +44 207 901 7905 Alex Godwin-Brown, Head of Press and Events, Europe +44 20 7318 4036 Georgia Trotter, Events Manager +44 20 7318 4085 Creative Services Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production

+1 212 940 1326 +1 212 940 1281

New York Jeff Velazquez, Production Artist Christine Knorr, Graphic Designer James Reeder, Graphic Designer Justin Waldstein, Graphic Designer

+1 212 940 1211 +1 212 940 1325 +1 212 940 1296 +1 212 940 1378

London Eve Campbell, Creative Services Manager Moira Gil, Graphic Designer Laurie-Ann Ward, Graphic Designer Proposals Lauren Zanedis

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+1 212 940 1303

+44 20 7901 7919 +44 20 7901 7917 +44 20 7901 7918

+1 212 940 1271

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450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com OHDVH UHWXUQ WKLV IRUP E\ ID[ WR RU HPDLO LW WR ELGVQHZ\RUN#SKLOOLSV FRP DW OHDVW 3 KRXUV EHIRUH WKH VDOH. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company.

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ɘ &RQGLWLRQV RI 6DOH 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.

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É&#x2DC; $UUDQJLQJ DEVHQWHH DQG WHOHSKRQH ELGV LV D IUHH VHUYLFH 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 willful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. É&#x2DC; 3OHDVH VXEPLW \RXU ELGV WR WKH %LG 'HSDUWPHQW E\ ID[ DW +1 212 924 1749 or scan and email to bidsnewyork@phillips. com at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the %LG 'HSDUWPHQW E\ SKRQH SOHDVH FDOO É&#x2DC; $EVHQW SULRU SD\PHQW DUUDQJHPHQWV SOHDVH SURYLGH D EDQN reference. Payment can be made by cash (up to $10,000), credit card (up to $100,000), money order, wire transfer, bank check or personal check with identification. Please note that credit cards are subject to a surcharge. É&#x2DC; /RWV FDQQRW EH FROOHFWHG XQWLO SD\PHQW KDV FOHDUHG DQG DOO charges have been paid.

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Installation view ʻIn Search of 0,10 – the Last Futurist Exhibition of Paintingʼ at Fondation Beyeler; from left to right Kazimir Malevich, Black Cross, 1915, Kazimir Malevich, Black Square, 1929

Art. Design.

Futurist.

Now. Phillips is proud to be a Partner of The Beyeler Foundation’s landmark exhibition IN SEARCH OF 0,10 – THE LAST FUTURIST EXHIBITION OF PAINTING Fondation Beyeler 4 October 2015 – 10 January 2016

phillips.com fondationbeyeler.ch

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Sale Information 20th Century & Contemporary Art Evening Sale

20th Century & Contemporary Art Day Sale

Auction & Viewing Location 450 Park Avenue New York 10022

Auction & Viewing Location 450 Park Avenue New York 10022

Auction 8 November 2015 at 7pm Admission to this sale is by ticket only.

Please call +1 212 940 1236 or email tickets @phillips.com

Auction 10 November 2015 at 11am

Viewing 31 October – 8 November Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010715 or 20th Century & Contemporary Art Evening Sale.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Contemporary Art Department Head of Sale Kate Bryan +1 212 940 1267 kbryan@phillips.com Cataloguer Samuel Mansour +1 212 940 1219 smansour@phillips.com

Viewing 31 October – 9 November Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010815 or 20th Century & Contemporary Art Day Sale.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Auctioneers Hugues Joffre - 2028495 August Uribe - 0926461 Sarah Krueger - 1460468 Henry Highley - 2008889 Catalogues Emma Miller Gelberg +1 212 940 1240 catalogues@phillips.com $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Buyer Accounts Ritu Kishore +1 212 940 1371 Darrell Thompson +1 212 940 1338 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Carol Mangan +1 212 940 1320

Contemporary Art Department Head of Sale John McCord +1 212 940 1261 jmccord@phillips.com Cataloguer Nicole Smith +1 212 940 1387 nsmith@phillips.com Administrator Paula Campolieto +1 212 940 1255 pcampolieto@phillips.com

Administrator Courtney Raterman +1 212 940 1392 craterman@phillips.com

Provenance: Japan Curator Alison Bradley Coordinator Miyuki Hinton

Property Manager Ryan Falkowitz +1 212 940 1376 rfalkowitz@phillips.com Photography Kent Pell Matt Kroenig Jean Bourbon Marta Zagozdzon

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Masahisa Fukase, Noboribetsu Hot Spring, (mFv75), 1977, lot 197 © 2015 Masahisa Fukase Archives Toshimitsu Imaï, Lava, 1957, lot 27 (detail) © Imai Norio Kikuji Kawada, Lucky Strike, from the series The Map, 1962, lot 195 (detail) © 2015 Kikuji Kawada Sadamasa Motonaga, Work, 1961, lot 190 (detail) © Motonaga Nakatsuji Etsuko Kumi Sugai, KAGURA (Sacred Music and Dance), 1958, lot 185 (detail) © Kumi Sugai Jiro Yoshihara and Michel Tapié, Artwork © 2015 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York; © Yoshihara Shinichiro Lee Ufan exhibition, 1973 Artwork © 2015 Artists Rights Society (ARS), New York / ADAGP, Paris Daido Moriyama, Kamakura, 1966, lot 200 (detail) © Daido Moriyama Daido Moriyama, How to Create a Beautiful Picture 3: Tiles of Aizuwakamatsu, 1987, lot 201 (detail) © Daido Moriyama

23/10/15 09:20

Index Araki, N. 202 Domoto, H. 191 Fukase, M. 196, 197 Ima誰, T. 27, 187 Ishiuchi, M. 198, 199 Kawada, K. 195 Kawaguchi, T. 32 Kudo, T. 189 Moriyama, D. 200, 201 Motonaga, S. 190 Saito, Y. 30 Shiraga, K. 29, 186 Sugai, K. 185 Tomatsu, S. 194 Ufan, L. 31, 188, 193 Yamaguchi, T. 192 Yoshihara, J. 28

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