20th Century & Contemporary Art & Design Day Sale Hong Kong, 26 November 2018 二十世紀及當代藝術和設計日間拍賣
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13. Yayoi Kusama 草間彌生
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37. Zao Wou-Ki 趙無極
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113. Piero Fornasetti 埃羅．佛納賽緹
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106. Angelo 安吉洛·萊利 00.Lelii artist
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27. KAWS 32. KAWS
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19. Tomoo00. Gokita artist五木田智央
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Executives.
Ed Dolman
Cheyenne Westphal
Chief Executive Ofcer +1 212 940 1241 edolman@phillips.com
Chairman +44 20 7318 4044 cwestphal@phillips.com
Š Brigitte Lacombe
20th Century & Contemporary Art.
Jean-Paul Engelen
Robert Manley
Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman +1 212 940 1390 jpengelen@phillips.com
Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman +1 212 940 1358 rmanley@phillips.com
Senior Advisors.
Hugues Jofre
Arnold Lehman
Ken Yeh
Senior Advisor to the CEO +44 207 901 7923 hjofre@phillips.com
Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com
Senior International Specialist +1 212 940 1257 kyeh@phillips.com
Deputy Chairmen.
Svetlana Marich
Jonathan Crockett
Peter Sumner
Miety Heiden
Alexander Payne
Vanessa Hallett
Vivian Pfeifer
Marianne Hoet
Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com
Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com
Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art +44 20 7318 4063 psumner@phillips.com
Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com
Deputy Chairman, Europe, Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com
Deputy Chairman, Americas, Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com
Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com
Deputy Chairman, Europe Senior Specialist, 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com
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20th Century & Contemporary Art. Hong Kong.
Isaure de Viel Castel
Sandy Ma
Charlotte Raybaud
Danielle So
Delissa Putri Handoko
Head of Department, Asia +852 2318 2011 isauredevielcastel@phillips.com
Head of Evening Sale +852 2318 2025 sma@phillips.com
Head of Day Sale +852 2318 2026 craybaud@phillips.com
Cataloguer +852 2318 2027 dso@phillips.com
Cataloguer +852 2318 2013 dhandoko@phillips.com
Scott Nussbaum
Rachel Adler Rosan
Kevie Yang
Amanda Lo Iacono
John McCord
Rebekah Bowling
Sam Mansour
Katherine Lukacher
Head of Department +1 212 940 1354 snussbaum@phillips.com
Senior Specialist +1 212 940 1333 radlerrosan@phillips.com
Senior Specialist +1 212 940 1254 kyang@phillips.com
Head of Evening Sale +1 212 940 1278 aloiacono@phillips.com
Head of Day Sale, Morning +1 212 940 1261 jmccord@phillips.com
Head of Day Sale, Afernoon +1 212 940 1250 rbowling@phillips.com
Head of New Now Sale +1 212 940 1219 smansour@phillips.com
Head of Online Sales +1 212 940 1215 klukacher@phillips.com
Jeannette van Campenhout
Annie Dolan
Olivia Kasmin
Carolyn Mayer
Maiya Aiba
Avery Semjen
Patrizia Koenig
Cataloguer +1 212 940 1288 adolan@phillips.com
Cataloguer +1 212 940 1312 okasmin@phillips.com
Cataloguer +1 212 940 1206 cmayer@phillips.com
Cataloguer +1 212 940 1387 maiba@phillips.com
Cataloguer +1 212 940 1207 asemjen@phillips.com
Researcher/Writer +1 212 940 1279 pkoenig@phillips.com
Nathalie Zaquin-Boulakia
Jonathan Horwich
Matt Langton
Rosanna WidĂŠn
Henry Highley
Tamila Kerimova
Senior Specialist +44 20 7901 7935 jhorwich@phillips.com
Senior Specialist +44 20 7318 4074 mlangton@phillips.com
Senior Specialist +44 20 7318 4060 rwiden@phillips.com
Head of Evening Sale +44 20 7318 4061 hhighley@phillips.com
Head of Day Sale +44 20 7318 4065 tkerimova@phillips.com
New York.
Specialist +1 212 940 1391 jvancampenhout@phillips.com
London.
Dina Amin Head of Department +44 20 7318 4025 damin@phillips.com
International Specialist +44 20 7901 7931 nzaquin-boulakia@phillips.com
Simon Tovey
Kate Bryan
Lisa Stevenson
Charlotte Gibbs
Louise Simpson
Clara Krzentowski
Head of New Now Sale +44 20 7318 4084 stovey@phillips.com
Specialist +44 20 7318 4050 kbryan@phillips.com
Cataloguer +44 20 7318 4093 lstevenson@phillips.com
Cataloguer +44 20 7901 7993 cgibbs@phillips.com
Cataloguer +44 20 7901 7911 lsimpson@phillips.com
Researcher/Writer +44 20 7318 4064 ckrzentowski@phillips.com
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Design. Worldwide Head.
London.
Alexander Payne
Domenico Raimondo
Madalena Horta e Costa
Marcus McDonald
Sofa Sayn-Wittgenstein Nicola Krohman
Caroline Pedote
Deputy Chairman, Europe and Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com
Head of Design, Europe Senior International Specialist draimondo@phillips.com +44 20 7318 4016
Head of Sale mhortaecosta@phillips.com +44 20 7318 4019
International Specialist mmcdonald@phillips.com +44 20 7318 4095
Senior Specialist Senior Cataloguer ssayn-wittgenstein@phillips.com nkrohman@phillips.com +44 20 7318 4023 +44 20 7901 7926
Cataloguer cpedote@phillips.com +44 20 7901 4096
New York.
Meaghan Roddy
Cordelia Lembo
Kimberly Sørensen
Emily Fitzgerald
Senior International Specialist, Americas mroddy@phillips.com +1 212 940 1266
Specialist, Head of Department clembo@phillips.com +1 212 940 1265
Specialist ksorensen@phillips.com +1 212 940 1259
Cataloguer eftzgerald@phillips.com +1 212 940 1267
Client Advisory. New York.
Europe.
Philae Knight
Jennifer Jones
Liz Grimm
Yassaman Ali
Vera Antoshenkova
Client Advisory Director +1 212 940 1313 pknight@phillips.com
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Business Development Associate +1 212 940 1342 egrimm@phillips.com
Client Advisory Director +44 20 7318 4056 yali@phillips.com
Client Advisory Manager +44 20 7901 7992 vantoshenkova@phillips.com
Business Development. Americas. Europe.
Asia.
Vivian Pfeifer
Guy Vesey
Lilly Chan
Othniel Jai Prakash
Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com
Head of Business Development & Marketing, Europe +44 20 7901 7934 gvesey@phillips.com
Managing Director, Asia, Head of Business Development, Asia +852 2318 2022 lillychan@phillips.com
Senior Business Manager +852 2318 2034 othnieljaiprakash@phillips.com
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Giulia Campaner Mendes Associate Client Advisory Manager +44 20 7318 4058 gcampaner@phillips.com
Margherita Solaini Business Development Associate +39 02 83642 453 MSolaini@phillips.com
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International Specialists & Regional Directors. Asia.
Kyoko Hattori
Jane Yoon
Sujeong Shin
Wenjia Zhang
Alicia Zhang
Regional Director, Japan +81 90 8700 0570 khattori@phillips.com
International Specialist, 20th Century & Contemporary Art, Regional Director, Korea +82 10 7389 7714 jyy@phillips.com
Associate Regional Representative, Korea +82 10 7305 0797 sshin@phillips.com
Regional Director, Shanghai +86 13911651725 wenjiazhang@phillips.com
Associate Regional Representative, Shanghai +86 139 1828 6589 aliciazhang@phillips.com
Cindy Yen
Meiling Lee
Iori Endo
Christine Fernando
Senior Specialist, Watches & Jewellery, Taiwan +886 2 2758 5505 cyen@phillips.com
International Specialist, Taiwan +886 908 876 669 mlee@phillips.com
Regional Representative, Japan +44 20 7318 4039 iendo@phillips.com
Associate Regional Representative, Singapore +65 9128 6277 christinefernando@phillips.com
Cândida SodrÊ
Carol Ehlers
Lauren Peterson
Melyora de Koning
Regional Director, Consultant, Brazil +55 21 999 817 442 csodre@phillips.com
Regional Director, Specialist, Photographs, Chicago +1 773 230 9192 cehlers@phillips.com
Regional Representative, Chicago +1 310 922 2841 lauren.peterson@phillips.com
Senior Specialist, 20th Century Regional Director, Los Angeles & Contemporary Art, Denver +1 323 383 3266 +1 917 657 7193 bkoh@phillips.com mdekoning@phillips.com
Kaeli Deane
Valentina Garcia
Cecilia Lafan
Maura Smith
Silvia Coxe Waltner
Head of Latin American Art, Los Angeles +1 212 940 1352 kdeane@phillips.com
Specialist, Miami +1 917 583 4983 vgarcia@phillips.com
Regional Director, Consultant, Mexico +52 1 55 5413 9468 crayclafan@phillips.com
Regional Director, Palm Beach +1 508 642 2579 maurasmith@phillips.com
Regional Director, Seattle +1 206 604 6695 scwaltner@phillips.com
Americas.
Blake Koh
Europe.
Laurence Calmels
Maria Cifuentes
Laurence Barret-Cavy
Dr. Nathalie Monbaron Dr. Alice Trier
Carolina Lanfranchi
Maura Marvao
Kalista Fenina
Julia Heinen
Regional Director, France +33 686 408 515 lcalmels@phillips.com
Specialist, 20th Century & Contemporary Art, France +33 142 78 67 77 mcifuentes@phillips.com
Specialist, 20th Century & Contemporary Art, Paris +33 633 12 32 04 lbarretcavy@phillips.com
Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com
Regional Director, Italy, Senior International Specialist, 20th Century & Contemporary Art +39 338 924 1720 clanfranchi@phillips.com
International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain +351 917 564 427 mmarvao@phillips.com
Specialist, 20th Century & Contemporary Art, Moscow +7 905 741 15 15 kfenina@phillips.com
Specialist, 20th Century & Contemporary Art, Regional Director, Zurich +41 79 694 3111 jheinen@phillips.com
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Specialist, 20th Century & Contemporary Art, Germany +49 173 25 111 69 atrier@phillips.com
24/10/18 12:22
1. David Hockney 大衛．霍克尼
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20th Century & Contemporary Art & Design Day Sale Hong Kong, 26 November 2018, 10:30am 二十世紀及當代藝術和設計日間拍賣 Auction and Viewing Location Mandarin Oriental 5 Connaught Road Central Hong Kong
Sale Department
Auction 26 November 2018, 10.30am 20th Century & Contemporary Art Day Sale (Lots 1–85) Design (Lots 86-121)
Head of Department Isaure de Viel Castel +852 2318 2011 idevielcastel@phillips.com
Viewing 22-25 November Thursday-Friday 10am-6pm Saturday 10am-7pm Sunday 10am-6pm
Deputy Chairman, Asia Jonathan Crockett +852 2318 2023 jcrockett@phillips.com
Head of Evening Sale Sandy Ma +852 2318 2025 sma@phillips.com Head of Day Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com
Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010418 or 20th Century & Contemporary Art & Design Day Sale
Specialists Jane Yoon +82 10 7389 7714 jyyoon@phillips.com
Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com
Specialists, Design Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com
Meiling Lee +886 908 876 669 mlee@phillips.com
拍賣及預展 文華東方酒店 香港中環干諾道中5號 拍賣 2018年11月26日，上午10時30分 二十世紀及當代藝術和設計日間拍賣 日間拍賣 (拍品編號 1 –85) 設計拍賣 (拍品編號86 –121) 預展 2018年11月22日 上午10時 – 下午 6 時 2018年11月23日 上午10時 – 下午 6 時 2018年11月24日 上午10時 – 下午 7 時 2018年11月25日 上午10時 – 下午 6 時 拍賣名稱及編號 在遞交書面和電話競投表格或查詢拍賣詳情時， 請註明拍賣編號為 HK010418 或 拍賣名稱 二十世紀及當代藝術和設計日間拍賣。 委托競投及電話競投 電話+852 2318 2029 傳真+852 2318 2010 bidshongkong@phillips.com 拍賣部門
Sofa Sayn-Wittgenstein +44 75 5304 5679 ssayn-wittgenstein@phillips.com
亞洲副主席 陳遵文 +852 2318 2023 jcrockett@phillips.com
Cataloguers Danielle So +852 2318 2027 dso@phillips.com
部門主管 杜依舜 +852 2318 2011 idevielcastel@phillips.com
Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com
夜間拍賣主管 馬穎子 +852 2318 2025 sma@phillips.com 日間拍賣主管 雪鸞 +852 2318 2026 craybaud@phillips.com 專家 尹裕善 +82 10 7389 7714 jyyoon@phillips.com 李美玲 +886 908 876 669 mlee@phillips.com 專家, 設計部門 Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com Sofa Sayn-Wittgenstein +44 75 5304 5679 ssayn-wittgenstein@phillips.com 圖錄編輯 蘇琬婷 +852 2318 2027 dso@phillips.com 黃琴慧 +852 2318 2013 dhandoko@phillips.com 行政員 汪慧華 +852 2318 2024 mang@phillips.com
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Ο
1. David Hockney
b. 1937
The Arrival of Spring in Woldgate, East Yorkshire in 2011- 4 May signed and dated ‘David Hockney 2011’ lower right; further numbered ‘17/25’ lower lef iPad drawing printed on paper 140 x 105 cm. (55 1/8 x 41 3/8 in.) Executed in 2011, this work is number 17 from an edition of 25. Provenance Galerie Lelong, Paris Acquired from the above by the present owner Exhibited New York, Pace Gallery, David Hockney: The Arrival of Spring, 5 September – 1 November 2014, pp. 66-67 (another example exhibited and illustrated) Literature Richard Benefeld, Lawrence Weschler, Sarah Howgate and Gregory Evans, David Hockney A Bigger Exhibition, San Francisco, 2013, no. 177, p. 151 (another example illustrated) David Hockney A Bigger Picture, exh. cat., Royal Academy of Arts, London, 2012, no. 119.36, p. 236 (another example illustrated)
大衛．霍克尼 《春日降臨沃爾德蓋特，東約克郡 - 2011年5月4日》 iPad繪畫印刷 紙本 2011年作，共有25版，此為第17版。 款識：David Hockney 2011（右下） ；17/25（左下） 來源 巴黎，勒隆畫廊 現藏者購自上述來源 展覽 紐約，佩斯畫廊， 〈大衛·霍克尼：春日降臨〉 ， 2014年9月5日-11月1日，第66-67頁（同系列他版作品） 出版 Richard Benefeld，Lawrence Weschler，Sarah Howgate 與Gregory Evans著， 〈大衛·霍克尼：一場更大的展覽〉, 三藩市, 2013年, 圖版177, 第151頁（同系列作品圖版） 〈大衛·霍克尼：更大的圖景〉，展覽圖錄，英國皇家美術學院， 倫敦，2012年，圖版119.36， 第236頁（同系列作品圖版）
HK$ 300,000-500,000 US$ 38,500-64,100
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2. Jonas Wood
b. 1977
Dad’s Study 2 signed with the artist’s initials, titled and dated ‘“DAD’S STUDY 2” JBRW 2008’ on the reverse gouache and coloured pencil on paper 33 x 32.4 cm. (13 x 12 3/4 in.) Executed in 2008. Provenance Shane Campbell Gallery, Chicago Private Collection, Los Angeles Acquired from the above by the present owner
喬納斯．伍德 《爸爸的書房之二》 水粉 彩色鉛筆 紙本 2008年作 款識： 《DAD’S STUDY 2》JBRW 2008 (畫背) 來源 芝加哥，Shane Campbell 畫廊 洛杉磯私人收藏 現藏者購自上述來源
HK$ 280,000-350,000 US$ 35,900-44,900
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3. Eddie Martinez
b. 1977
Dead Flowers signed, initialled and dated ‘Martinez EM. 15’ on the reverse oil, enamel and spray paint on canvas 76.3 x 101.6 cm. (30 x 40 in.) Executed in 2015. Provenance Private Collection, Asia Acquired from the above by the present owner
艾迪．瑪汀尼茲 《枯萎的花朵》 油畫 瓷漆 噴漆 畫布 2015年作 款識：Martinez EM.15（畫背） 來源 亞洲私人收藏 現藏者購自上述來源
HK$ 150,000-250,000 US$ 19,200-32,100
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4. Ugo Rondinone
b. 1964
Pink, Blue, Yellow Mountain signed, titled and dated ‘Ugo Rondinone 2015 “pink, blue, yellow mountain”’ on the underside painted stones on concrete base 32.7 x 18.5 x 18.4 cm. (12 7/8 x 7 1/4 x 7 1/4 in.) Executed in 2015. Provenance Private Collection (acquired directly from the artist) Christie’s, New York, 28 September 2017, lot 202 Acquired at the above sale by the present owner
烏戈．羅迪納 《粉紅色、藍色、黃色山谷》 著色石 混凝土底座 2015年作 款識：Ugo Rondinone 2015 《pink, blue, yellow mountain》(底部) 來源 私人收藏 (直接購自藝術家本人) 紐約，佳士得，2017年9月28日，拍品編號202 現藏者購自上述拍賣
HK$ 150,000-250,000 US$ 19,200-32,100
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© Yoshitomo Nara
5. Yoshitomo Nara
b. 1959
Attention signed and dated ‘Nara [in Japanese] ‘97’ lower lef colour pencil on paper 22.8 x 15.2 cm. (8 7/8 x 5 7/8 in.) Executed in 1997, this work is accompanied by a certifcate of authenticity issued by Opera Gallery. Provenance Opera Gallery, Hong Kong Acquired from the above by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-1997-089, p. 109 (illustrated)
奈良美智 《注意》 彩色鉛筆 紙本 1997年作，並附Opera畫廊之保證書。 款識：奈良（日文） ‘97（左下） 來源 香港，Opera畫廊 現藏者購自上述來源 出版 Noriko Miyamura與Shinko Suzuki編， 〈奈良美智作品全集 1984 - 2010〉，東京，2011年， 圖版編號 D-1997-089，第109頁 (圖版)
HK$ 300,000-500,000 US$ 38,500-64,100
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© Yoshitomo Nara
6. Yoshitomo Nara
b. 1959
Cloud Shrouded coloured pencil and crayon on paper 42 x 29.5 cm. (16 1/ 2 x 11 5/8 in.) Executed in 2007. Provenance Private Collection Sotheby’s, Hong Kong, 4 April 2011, lot 988 Sotheby’s, London, 13 February 2014, lot 352 Acquired at the above sale by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-2007-026, p. 56 (illustrated)
奈良美智 《籠罩著雲》 彩色鉛筆 蠟筆 紙本 2007年作 來源 私人收藏 香港，蘇富比，2011年4月4日，拍品編號988 倫敦，蘇富比，2014年2月13日，拍品編號352 現藏者購自上述拍賣 出版 Noriko Miyamura與Shinko Suzuki編， 〈奈良美智作品全集 1984 - 2010〉，東京，2011年， 圖版編號 D-2007-026，第56頁 (圖版)
HK$ 700,000-1,000,000 US$ 89,700-128,000
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7. Ayako Rokkaku
b. 1982
Untitled signed and dated ‘2009 Ayako Rokkaku [in Japanese]’ lower right acrylic on canvas 100.7 x 100.6 cm. (39 5/8 x 39 5/8 in.) Painted in 2009. Provenance Gallery Delaive, Amsterdam Private Collection, Asia Acquired from the above by the present owner
六角彩子 《無題》 壓克力 畫布 2009年作 款識：2009 六角彩子 (日文) (右下) 來源 阿姆斯特丹，Delaive畫廊 亞洲私人收藏 現藏者購自上述來源
HK$ 150,000-250,000 US$ 19,200-32,100
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8. Takashi Murakami
b. 1962
Flower collaboration with MADSAKI signed and dated ‘TAKASHI 2017’ on the overlap acrylic on canvas mounted on aluminium frame 141.3 x 120 cm. (55 5/8 x 47 1/4 in.) Painted in 2017. Provenance Galerie Perrotin, Hong Kong Acquired from the above by the present owner
村上 隆 《Flower collaboration with MADSAKI》 壓克力 畫布 裱於鋁畫框 2017年作 款識：TAKASHI 2017 (畫布邊緣) 來源 香港，貝浩登畫廊 現藏者購自上述來源
HK$ 2,000,000-3,000,000 US$ 256,000-385,000
‘Although the works may appear to have a generic grafti air to them, their surfaces exude MADSAKI’s peculiar brand of sorrow, which I appreciate.’ Takashi Murakami
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© 2017 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved
When they frst met in person, Murakami found Madsaki “overly friendly and loud-mouthed”(Takashi Murakami, ‘Madsaki: Here Today, Gone Tomorrow.’ in A Message from Takashi Murakami, 2017, online). Growing up a Japanese immigrant in suburban New Jersey, Madsaki developed a tough, boisterous personality, which is clear in his work. He appropriates and transgresses the conventions of classical painting in all the ways one would expect from a Banksy-generation artist. Having learnt the ropes of street art as part of the NYC collective Barnstormers, utilizing aspects of ‘lo-f’ aesthetics in his practice is something Madsaki has in common with Murakami. Now colleagues at Kaikai Kiki, Murakami’s own modern day Warhol factory, Murakami claims that despite their cultural diferences, once they began to work together he fell “in love with [the] part of [Madsaki] that is an artist”(Takashi Murakami, ‘Madsaki: Here Today, Gone Tomorrow.’ in A Message from Takashi Murakami, 2017, online). On a bold red background, Murakami’s daisies are painted by Madsaki in stark white. Madsaki’s signature smiley faces appear on each one, patterning the canvas with drips of paint, conveying the frenetic energy of grafti. This work is recognizably Neo-Pop, whilst still highlighting each artists’ individual style. This aesthetic cohesiveness is a testament to the chemistry between these collaborators.
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村上隆是戰後亞洲藝術最成功的當代創作者之一。 由於引領了21世紀日本的超扁平藝術（Superfat）運動， 村上隆通過將日本漫畫和動漫帶入藝術的語境，從而模糊 了高級藝術和通俗藝術之間的界線。這一拍品中，他與 Madsaki合作，以塗鴉式的方式呈現他的標誌性花朵。 兩位藝術家的合作開始是一個真正充滿了當代性的故事， 他們在社交媒體Instagram上互相關注一段時間之後， 最終是Madsaki的《「想成為」馬蒂斯》一作（以噴繪形式 用笑臉改造了馬蒂斯名作《舞蹈II》）讓村上隆聯繫了他。 當時村上隆想要買下那件作品，而不久之後他又買下了 Madsaki近50件作品。 當他們第一次見面時，村上隆覺得Madsaki「過於友好 且說話大聲」(村上隆： 「Madsaki: 今天這裡, 明天消失。」 截自：來自村上隆的信息, 2017年網路文章)成長於美國 新澤西州郊區的一個日本移民家庭，Madsaki個性強硬 且活潑，而其個性在作品中也顯而易見。他對古典繪畫 作品的挪用和惡搞，其手法達到人們認為在班克斯這一輩 的藝術家作品中才有的老練。最初作為紐約的街頭藝術 集團Barnstormers中的一員，學會了街頭藝術的基本， 並將「lo-f」(低保真)美學的各方面運用到其作品中， Madsaki在這方面與村上隆有著共通之處。 如今兩人在村上隆現代版的類似安迪·沃荷的「工廠」 －Kaikai Kiki有限公司成為同事，村上隆稱儘管他與 Madsaki之間有著文化上的差異，一旦開始合作， 他便「愛上Madsaki作為藝術家的那一部分了」 (村上隆「 Madsaki: 今天這裡, 明天消失。 」 截自：來自 村上隆的信息, 2017年網路文章。) 以大膽的紅色做 背景，上面是Madsaki用鮮明的白色繪製的村上隆 雛菊。Madsaki的標誌性笑臉出現在每一朵雛菊上， 顏料在畫布上滴流下來，傳達出一層塗鴉的狂熱能量。 這件新波普作品極具辨識性，同時也突出了兩位藝術家 各自的風格。這種美學上的凝聚力證明了兩位合作者 之間的化學反應。
© 2017 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved
Takashi Murakami is one of the most successful contemporary artists to emerge from Post-War Asia. Credited with leading the Superfat movement of the early 2000s, Murakami blurs the line between high and low art by bringing Japanese manga and anime into a fne art context. In this lot, he collaborates with Madsaki on a grafti-esque rendition of his iconic fowers. In true contemporary fashion, the tale of these two artists begins on Instagram. Having followed each other on social-media for a while, it was Madsaki’s ‘Wannabie’ Matisse (a spray-painted, smiley-faced reworking of Dance II) that fnally lead Murakami to reach out. Murakami wanted to purchase this piece, and before long he would acquire close to 50 more of Madsaki’s works.
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9. Yayoi Kusama
b. 1929
Pumpkin signed, titled and dated ‘“Pumpkin [in Japanese]” yayoi kusama 1990’ on the reverse acrylic on canvas 22.7 x 15.8 cm. (8 7/8 x 6 1/4 in.) Painted in 1990. This work is accompanied by a registration card issued by the Yayoi Kusama Studio. Provenance Max Lang Gallery, New York Private Collection, Milan Private Collection (acquired from the above in 2010) Sotheby’s, Hong Kong, 10 June 2014, lot 203 Acquired at the above sale by the present owner
HK$ 1,400,000-2,500,000 US$ 179,000-321,000
Kusama’s pumpkins rose to global prominence in 1993 during her participation in the Venice Biennale. The artist presented Mirror Room (Pumpkin), a sprawling mirrored room flled with small pumpkin sculptures, reminiscent of an immense, teeming pumpkin feld. Painted three years prior to this, the present early work showcases Kusama’s signature depiction of the pumpkin in an immaculate and precise web of jet-black dots against a crisp yellow bodice. In an unusual and rare instance for the artist, the pumpkin foats on a plain white background, commanding our attention for the titular pumpkin, as if in an attempt to draw in the audience in a powerful feat of hypnotism, perhaps not dissimilar to her later props placed in Mirror Room (Pumpkin). Yayoi Kusama’s pumpkin motif is central to an oeuvre deeply entrenched in her childhood memories, and remains a trope that has featured extensively and consistently throughout the artist’s practice. As she nostalgically recalls, “The frst time I ever saw a pumpkin was when I was in elementary school and went with my grandfather to visit a big seed-harvesting ground… and there it was: a pumpkin the size of a man’s head… It immediately began speaking to me in a most animated manner” (quoted in Infnity Net, Yayoi Kusama (translated by Ralph McCarthy), London, 2011, p. 75). Indeed, the gourd’s impression on the young Kusama’s mind was so strong that it appeared in the artist’s works as early as in the 1940s, depicted simply in light sketches, during her training in nihonga (“Japanese style painting”) at the Kyoto Municipal School of Arts and Crafs. They were formally engrained in her artistic production since the 1980s and 1990s, and her fondness for them has not diminished in the least.
草間彌生 《南瓜》 壓克力 畫布 1990年作，並附草間彌生工作室之登記卡。 款識： 《南瓜》(日文) yayoi kusama 1990 (畫背) 來源 紐約，Max Lang 畫廊 米蘭私人收藏 私人收藏（2010年購自上述來源） 香港，蘇富比，2014年6月10日，拍品編號203 現藏者購自上述拍賣
草間彌生於1993年的威尼斯雙年展中呈現《鏡屋（南瓜）》， 在鏡子房間裡，放滿小型南瓜雕塑，向四面延伸，就像一片 蔓生的南瓜田。在此之後，她的南瓜作品立即在國際受到矚目。 本次呈獻的早期畫作為其參加雙年展三年以前的作品，可見其 標誌性的南瓜造型，鮮黃底色上佈滿黝黑圓點。然而此作中的 南瓜懸浮在白色背景中，是藝術家極少見的做法，觀者的所有 專注力都放在所繪的南瓜之上，幾乎進入了一種催眠的狀態， 恍如其後期作品《鏡屋（南瓜）》中的道具。 草間彌生的藝術創作紮根於她幼時的某些深刻記憶，南瓜圖案是 其中一個核心的代表性元素，在其作品中不斷出現。她回憶起 南瓜時滿載緬懷： 「我第一次見到南瓜是在小學的時候， 跟爺爺 一起參觀了一個大型採種場… 就在那裡：像人頭那麼大的南瓜… 它馬上活生生地跟我講話」 （錄於《無限的網：草間彌生》 （Ralph McCarthy 譯） ，倫敦，2011年，第75頁）。早在1940年代， 南瓜就開始出現在她的創作中了，當時她在京都市立工藝美術學 校學習傳統日本畫，就已有淡雅線條勾勒出的南瓜作品。爾後， 其1980至1990年代的創作開始正式出現以南瓜為主題的作品， 草間彌生對它的鍾愛至今沒有絲毫減退。 從南瓜進入草間彌生的生命，到它踏入國際藝術殿堂，它將是 一個永不褪色的標誌，如同草間彌生本人的延伸和隱喻。
Yayoi Kusama Pumpkin (Three Works), 2002 草間彌生《南瓜 (三件作品)》2002年作 Phillips 20th Century & Contemporary Art Evening Sale, Hong Kong, 25 November 2018 富藝斯二十世紀及當代藝術晚間拍賣, 香港, 2018年11月25日 Estimate 估價 HK$ 15,000,000-20,000,000 US$ 1,920,000-2,560,000
Since its very frst introduction into Kusama’s life and frst forays onto the international art stage, the pumpkin will forever remain the most iconic extension, mascot, and metaphor for the artist herself.
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© YAYOI KUSAMA
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10. Yoshitomo Nara
b. 1959
L’Angel est Tombée titled, ‘“L’Angel est Tombée”’; further signed, titled and dated ‘“L’Angel est Tombée” Yoshitomo NARA 1987’ on the reverse acrylic on board 73 x 52 cm. (28 3/4 x 20 1/ 2 in.) Painted in 1987. Provenance Private Collection, Japan Acquired from the above by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works Volume 1: Paintings, Sculptures, Editions, Photographs 1984-2010, Tokyo, 2011, no. P-1987-004, p. 56 (illustrated)
奈良美智 《天使墮落了》 壓克力 木板 1987年作 款識： 《L’ Angel est Tombée》; 《L’ Angel est Tombée》Yoshitomo NARA 1987 (畫背) 來源 日本私人收藏 現藏者購自上述來源 出版 Noriko Miyamura與Shinko Suzuki編， 〈奈良美智作品全集 1984-2010，第1集：油畫、雕塑、限量版、照片作品〉 ， 東京，2011年，作品全集編號 P-1987-004，第56頁 (圖版)
HK$ 700,000-900,000 US$ 89,700-115,000
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© Yoshitomo Nara
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In this lot, a fallen angel stands alone in an expanse of dark water. It is a young, gender-ambiguous child with tawny hair, wide eyes and a cryptic smile. Melancholic blue ripples emerge as it wades into the foreground, a once brilliant halo held behind its back like a redundant prop. In this early piece, Nara’s signature style is already becoming evident. The angel is painted with an equivocal expression, foreshadowing the iconic look of his later portraits. Nara is known for reconciling memories of his lonely childhood with the realities of adulthood, ofen combining the innocent façades of his child-characters with dark motifs. This juxtaposition would eventually be labelled kimo-kawaii, ‘disgustingcute’, a Japanese fad of adorable things contrasted by cynical elements. In L’Angel est Tombée, we see the beginnings of this theme; however, it is not expressed through kitsch. Instead, feelings of despondence and urgency are tackled with a unique sensitivity.
作品中，一個墜落的天使獨自站立在一大片黑暗的水中。 這個年幼且性別模糊的孩子有著黃褐色的頭髮、睜大的 雙眼，嘴角帶著神秘的微笑。憂鬱的藍色漣漪在水中 浮現，繼而泛至前景之中，曾經耀眼的光圈像一件多餘的 道具一般被握在身後。奈良的標誌性風格在這件早期的 作品中已經非常明顯。他後期肖像作品中標誌性的風格已 經在天使曖昧的表情上初見端倪。奈良以將其孤獨的童年 記憶與成人世界的現實狀態相互影射而聞名，經常將兒童 人物天真無邪的外表與晦暗的主題相結合。這種並置最終 被命名為「kimo-kawaii」，即日本流行文化中既可愛卻 又帶著與之大相徑庭怪異元素的「噁心萌」。在《天使 墮落了》這件作品中，我們約略可以對應到其主題， 然而卻沒有通過媚俗的方式來表達。相反的，作品中的 沮喪感和緊迫感以獨特的纖細善感來處理，更顯深刻。
畫面的構圖是黑色丙烯之上覆蓋一片片的橙色、黃色與 The composition is submerged by black acrylic with streaks of orange, 藍色。這些色彩注入黑暗之中猶如月光下的湖面， yellow, and blue. These moments of colour interject the darkness 其轉瞬即逝的倒影。大片覆蓋的黑色象徵著脆弱與恐懼， like ephemeral refections on a moonlit lake. Whilst the enshrouding black is refective of vulnerability and fear, the angel’s position is steadfast, 然而天使的立場堅定，表達在面對任何可能發生的情境 面前所秉承的應對和決心。 《天使墮落了》是奈良在創作之 expressing resilience and determination in the face of whatever 關鍵轉折點時期的一件作品，標註著他的藝術生涯中開創 may come. L’Angel est Tombée was painted on the cusp of a pivotal 性的起點。在1987年，他是一名對自己的藝術創作發展進 transition for Nara, marking the start of a seminal period of artistic 程日漸不滿的兼職教師。受到學生的啟發，奈良回憶道： development. In 1987, he was a part-time teacher growing discontent 「我當時需要成為一名真正學習藝術的學生」 。次年，他便 with his progression as an artist. Inspired by his pupils, Nara recounts, 移居德國開始他在杜塞爾多夫藝術學院（Kunstakademie “I needed to become a true art student” (Yoshitomo Nara, “Nobody’s Düsseldorf）的學習，並在那裏一直待到邁入千禧年的世紀 Fool.” in Yoshitomo Nara: The Complete Works. Volume 1: Paintings, 交點。在此層面上，作品中所描繪的，天使墮落於神秘 Sculptures, Editions, Photographs, Tokyo, 2011). The following year, 土地之敘事，可被視為奈良對自己未來的；寓言式的憂慮。 he would move to Germany to begin his studies at Kunstakademie Düsseldorf, and remain there until the turn of the century. To this regard, 在21世紀初期，奈良作為日本以村上隆和高野綾等藝術家 the narrative of a fallen angel lost on mysterious lands can be considered 為代表的、以運用動漫之平面美學而聞名的超扁平藝術 allegorical of Nara’s apprehensions about the future. （Superfat）運動中之一份子，獲得全球範圍的關注。 然而，早在這之前他已經繪畫十年之久，且作品深受西方 In the early 2000s, Nara gained global attention as part of Superfat 繪畫傳統的影響。墮落的天使在猶太－基督教的聖像畫中 — a movement of Japanese artists, including Takashi Murakami and 很是常見。奈良對這一主題的挪用，表明他在西方藝術史 Aya Takano, known for using the fat aesthetics of manga and anime. 中尋找對自己靈感的更新。此外，這件作品的風格亦是 However, painted over a decade before, this work seems more infuenced 對新表現主義的喚醒。奈良的畫筆具有感染力，且並無 by painting in the western tradition. Fallen angels are common-place in 刻意之感，他用破碎的法文將「L’ angel est tombec」 Judeo-Christian iconography. Nara’s appropriation of this theme suggests 字樣添加到畫面上。來自西方繪畫的影響與其作品中 he is looking at western art history to renew his inspiration. Furthermore, 日益增加的來自日本動漫美學的參照，兩者激動地匯聚 the style of this piece is evocative of neo-expressionism. Nara’s brushwork 在一起。正如松井碧（Midori Matsui）對奈良早期作品的 is emotive and less calculated, with ‘L’angel est tombée’ scratchily 描述： 「對立元素之間形成的張力使畫作充滿了心理複雜性 inscribed in broken French. These western infuences converge excitingly 和神奇的氛圍」。 with Nara’s increasing reference to the aesthetics of Japanese cartoons. As Midori Matsui describes Nara’s early works, “The tension between opposite elements imbued the paintings with psychological complexity and a magical atmosphere”(Midori Matsui. “A Child in the White Field: Yoshitomo Nara as a Great “Minor” Artist.” in Yoshitomo Nara: The Complete Works. Volume 1: Paintings, Sculptures, Editions, Photographs, Tokyo, 2011).
自1984年以來已經舉辦了近40個個展，今天，奈良已是 世界上最受歡迎的當代藝術家之一。像《天使墮落了》 這樣的作品極為罕見，但不僅僅在它的稀有，這件作品 更是打開奈良的風格形成時期的一個夢寐以求的窗口， 讓我們得以一窺我們所熟知和喜愛的藝術家在其萌芽 時期的創作歷程。
© Yoshitomo Nara
Today, Nara is one of the most popular contemporary artists in the world, having exhibited nearly 40 solo exhibitions since 1984. Pieces such as L’Angel est Tombée are scarce, but more than its rarity, this work is a coveted window into Nara’s formative years, allowing a glimpse into the budding inner-workings of an artist we know and love.
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© YAYOI KUSAMA
11. Yayoi Kusama
b. 1929
Untitled signed and dated ‘YAYOI KUSAMA 1983’ on the underside mixed media 14.8 x 14.5 x 14.5 cm. (5 7/8 x 5 3/4 x 5 3/4 in.) Executed in 1983, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Provenance Fuji Television Gallery, Tokyo Private Collection, Tokyo Acquired from the above by the present owner Exhibited Tokyo, Fuji Television Gallery, Kusama’s Self Obliteration, 20 April - 16 May 1984
草間彌生 《無題》 綜合媒材 1983年作，並附草間彌生工作室之登記卡。 款識：YAYOI KUSAMA 1983（底部） 來源 東京，富士電視畫廊 東京私人收藏 現藏者購自上述來源 展覽 東京，富士電視畫廊， 〈草間的自我消融〉， 1984年4月20日-5月16日
HK$ 400,000-600,000 US$ 51,300-76,900
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Alternate angle
作品另一角度
Reverse of work
作品背面
12. Yoshitomo Nara
b. 1959
Pino inscribed ‘HEY! HO! LETS GO!’ on the reverse ceramic 11 x 8.5 x 13.5 cm. (4 3/8 x 3 3/8 x 5 3/8 in.) Executed in 2015, this work is accompanied by a certifcate of authenticity issued by Blum & Poe. Provenance Blum & Poe, New York Acquired from the above by the present owner
奈良美智 《皮諾》 陶瓷 2015年作，並附Blum & Poe 畫廊之保證書。 款識：HEY! HO! LETS GO!（背面） 來源 紐約，Blum & Poe 畫廊 現藏者購自上述來源
© Yoshitomo Nara
HK$ 40,000-60,000 US$ 5,100-7,700
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© YAYOI KUSAMA
13. Yayoi Kusama
b. 1929
Path to the Future signed, titled and dated ‘Yayoi Kusama, “Path to the Future [in Kanji]”, 1988’ on the reverse oil on canvas 45.8 x 52.8 cm. (18 x 20 3/4 in.) Painted in 1988, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Provenance Private Collection Christie’s, London, 11 October 2016, lot 68 Acquired at the above sale by the present owner
草間彌生 《未來之道》 油畫 畫布 1988年作，並附草間彌生工作室之登記卡。 款識：Yayoi Kusama《未来の道 (日文)》1988 (畫背) 來源 私人收藏 倫敦，佳士得，2016年10月11日，拍品編號68 現藏者購自上述拍賣
HK$ 1,400,000-2,000,000 US$ 179,000-256,000
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© YAYOI KUSAMA
14. Yayoi Kusama
b. 1929
The Thames in the Morning signed, titled and dated ‘Yayoi Kusama 1988 “The Thames in the Morning [in Japanese]”’ on the reverse acrylic on canvas 45.5 x 38 cm. (17 7/8 x 14 7/8 in.) Painted in 1988, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Provenance Mallet Japan, Tokyo, 7 September 2007, lot 70 Private Collection Acquired from the above by the present owner
草間彌生 《早朝的泰晤士河》 壓克力 畫布 1988年作，並附草間彌生工作室之登記卡。 款識：Yayoi Kusama 1988《早朝的泰晤士河》(日文) (畫背) 來源 東京，Mallet日本，2007年9月7日，拍品編號70 私人收藏 現藏者購自上述來源
HK$ 1,200,000-1,800,000 US$ 154,000-231,000
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Property from an Important Private Asian Collector
15. Yayoi Kusama
b. 1929
Flower Bed signed, titled and dated ‘Yayoi Kusama 1988 “Flower Bed [in Kanji]”’ on the reverse acrylic on canvas 45.5 x 38 cm. (17 7/8 x 14 7/8 in.) Painted in 1988, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Provenance Private Collection, Tokyo Acquired from the above by the present owner
重要亞洲私人收藏
草間彌生 《花壇》 壓克力 畫布 1988年作，並附草間彌生工作室之登記卡。 款識：Yayoi Kusama 1988《花壇》 （畫背） 來源 東京私人收藏 現藏者購自上述來源
HK$ 2,500,000-4,500,000 US$ 321,000-577,000
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© YAYOI KUSAMA
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16. Yoshitomo Nara
b. 1959
Untitled signed and dated ‘Nara [in Japanese] ’95’ lower lef acrylic on paper mounted on canvas 47.7 x 33.7 cm. (18 3/4 x 13 1/4 in.) Executed in 1995. Provenance Galerie Tokyo Humanité, Tokyo Private Collection, Japan Est-Ouest Auctions Co. Ltd., Hong Kong, 31 May 2016, lot 184 Acquired at the above sale by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-1995-033, p. 79 (illustrated)
奈良美智 《無題》 壓克力 紙本裱於畫布 1995年作 款識: 奈良 (日文)’ 95 (左下) 來源 東京，Humanité畫廊 日本私人收藏 香港，伊斯特國際拍賣，2016年5月31日，拍品編號184 現藏者購自上述拍賣 出版 Noriko Miyamura與Shinko Suzuki編， 〈奈良美智作品全集 1984 - 2010〉，東京，2011年， 圖版編號 D-1995-033，第79頁 (圖版)
HK$ 400,000-600,000 US$ 51,300-76,900
© Yoshitomo Nara
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17. Tomoo Gokita
b. 1969
Waiting Game acrylic and gouache on canvas 91 x 72.5 cm. (35 7/8 x 28 1/ 2 in.) Executed in 2007. Provenance Taka Ishii Gallery, Tokyo Acquired from the above by the present owner in 2007
五木田智央 《等待遊戲》 壓克力 水粉 畫布 2007年作 來源 東京，石井孝之畫廊 現藏者於2007年購自上述來源
HK$ 300,000-500,000 US$ 38,500-64,100
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18. Tomoo Gokita
b. 1969
Cheap Sensation signed, titled and dated ‘“CHEAP SESATION” (sic.) Tomoo Gokita, 2007’ on the reverse acrylic and gouache on canvas 116.6 x 116.5 cm. (45 7/8 x 45 7/8 in.) Executed in 2007. Provenance Deitch Projects, New York Acquired from the above by the present owner
五木田智央 《廉價的情調》 壓克力 水粉 畫布 2007年作 款識： 《CHEAP SESATION》(藝術家誤植) Tomoo Gokita 2007（畫背） 來源 紐約，Deitch Projects 現藏者購自上述來源
HK$ 500,000-700,000 US$ 64,100-89,700
“Firstly, the fact is that the titles are just like jokes to me and not so important. It is a bit difcult to explain, but I think that the titles are a kind of extra throw-in attachment to the paintings, so to a certain extent I name them at random. Trusting my intuition, I decide on the titles as obediently and simply as possible depending on how I see and feel about the works.” (Tomoo Gokita quoted in Steven Cox, ‘Tomoo Gokita Interview’, Hunted Projects, 2014, online) In Cheap Sensation, Gokita renders a female fgure in a multi-layered A-line dress, a grey ‘V’ indicative of her cleavage. With structured layers and a string of pearls lining her waist, the fgure is heavily inspired by the vintage flm noir pin-up girl. This recognisable archetype acts as a visual anchor to the work, while the viewer attempts to process the billowing amorphous shapes that engulf her head, torso and parts of her dress. Though she has no face, no hands and no feet, the subject is still and poised, her outstretched arms recognisable up to the point where her hands morph into mere brushstrokes and shapes. The artist’s use of high contrast chiaroscuro conveys a substantial sense of hef to these organic forms; as a result, these bulbous shapes seem to sit on the fgure as if they were meant to be part of her. Gokita’s background in illustration comes through in his placement of the subject into a fat negative space, further emphasising the depth of tones in his composition. Using varying shades of grey and deliberate use of solid blacks and whites, the artist’s skilled manipulation of shade and light is key in lending the work its sensuous, glowing atmosphere. Beautiful, whimsical yet somewhat simultaneously grotesque, the product of Gokita’s creative process seems to be all about this psychologically disquieting push-pull experience between his paintings and the viewer.
「首先，事實上標題對我來說就像是笑話，一點都不重要。 雖然有點難解釋，但我認為標題對繪畫來說有點像累贅的 附加品，所以在某種程度上我會給作品隨意命名。跟著 我的直覺，我會根據對作品的看法和感受，盡量簡單地 去命名。」摘自五木田智央，Steve Cox《五木田智央 採訪》，Hunted Projects, 2014, 網路文章） 在《廉價的情調》這件作品中，五木田智央描繪了一個充滿 層次感的身著A字裙的女性形體，並用一個灰色字母「V」 來代表她的乳溝。從層次結構與腰上的一串珍珠，可以看出 該形象是深受老式黑色電影中之海報女郎形象的啟發。這個 大眾所熟悉的原型為作品起到視覺上的基墊作用，讓觀者試 圖去消化那個吞噬了她頭部、軀幹、以及部分裙子的翻騰 混沌的形狀。儘管她面目模糊、手腳也被隱去，但平靜、 自若，她伸出的雙臂雖可辨識但逐漸幻化為單純的筆觸和 形狀。藝術家高對比的明暗對照之使用展示了他對這些 有機形式的熟練掌握；結果，人物身上的球狀物體讓人感覺 彷彿就是她身體的一部分。藝術家將作品中的人物放置 在一個平坦的負空間中，這一點可以看出他曾經作為插畫師 的背景，進一步強調了他在構圖中對色調深淺的把握。 對不同層次的灰之使用，以及對純黑與純白兩色刻意選擇的 同時，五木田智央對陰影和光線的熟練把控為創造作品中 性感、光潤的氛圍起到關鍵作用。美麗、光怪陸離，且同時 帶著怪誕感，五木田智央的創作產物似乎都是關於在作品與 觀者之間製造心理上不安感的推拉體驗。 這件作品中的沈默感與戲劇性充滿了誘人的姿態－對畫面 上單色調的直白使用和構架都可謂一場視覺的盛宴。然而， 它在能夠讓觀者邏輯性地將畫中的人物視作一個漂亮的女人 的同時也帶出了觀者心中的不安。使觀者最終陷入快感與 厭惡兩種感官中，無法自拔。正如標題所暗示的那樣，或許 這就是藝術家所謂的「廉價的情調」。
The silent, dramatic quality of the work is highly seductive— the directness and structure in using a monochromatic palette a feast for the eyes. And yet it also draws a sense of unease through the viewers’ inability to logically process the subject as a beautiful woman. Viewers end up getting caught in this ride of both pleasure and distaste, unable to move away. As the title suggests, perhaps this is what the artist dubs as a “Cheap Sensation”.
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19. Tomoo Gokita
b. 1969
Portrait of an Insomniac Junior-High Student signed, titled and dated ‘“Portrait of an Insomniac Junior-High Student” Tomoo Gokita, 2010’ on the reverse acrylic and gouache on linen 80.1 x 80.1 cm. (31 1/ 2 x 31 1/ 2 in.) Executed in 2010. Provenance Galerie Aliceday, Brussels Acquired from the above by the present owner. Exhibited Brussels, Galerie Aliceday, Funland, 11 September - 23 October 2010
五木田智央 《失眠初中學生的肖像》 壓克力 水粉 麻布 2010年作 款識： 《Portrait of an Insomniac Junior-High Student》 Tomoo Gokita 2010（畫背） 來源 布魯塞爾，Aliceday 畫廊 現藏者購自上述來源 展覽 布魯塞爾，Aliceday 畫廊， 〈Funland〉 ， 2010年9月11日 - 10月23日
HK$ 400,000-600,000 US$ 51,300-76,900
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Working almost exclusively in black and white, Tokyo born artist Gokita is a master manipulator of monotone. He fnesses tonal ranges and ups contrasts to produce lurid grayscale pieces, ofen sourcing imagery from popular culture to create noir portraits of pin-up girls, cowboys, and gangsters, amongst others. His subjects, taken from flm, television, advertising and pornography, typically have their faces and parts of their bodies obliterated by splashes, twists and smudges of paint. “Painting, to me, is like sports” (Elaine Ng, ‘One Thousand Shades of Gray: Tomoo Gokita’ in Art Asia Pacifc, Jul-Aug 2015), Gokita says in regards to his intuitive approach. Instead of methodically planning out a composition, Gokita allows forms and motifs to lead his creative process- taking particular inspiration from social archetypes and contemporary personae. Having shown at a few galleries in Tokyo, Gokita’s career breakthrough came in 2005 when New York-based artist Taylor McKimens discovered a book of his work Lingerie Wrestling (2000) in the New Museum bookshop and invited him to take part in Stranger Town, a group show at Dinter Fine Art in New York. The exhibition presented eight American and Japanese artists whose work traversed painting, comics, illustration and music. Following the success of the exhibition, many galleries approached him and Gokita started exhibiting solo shows in New York’s ATM Gallery, Tokyo’s Taka Ishii Gallery and Los Angeles’ Honor Fraser Gallery. Portrait of an Insomniac Junior-High Student was included in the frst European solo show for the artist at Aliceday gallery in Brussels in 2010. Titled Funland, the exhibition consisted of hundreds of drawings and a dozen of paintings- the present work one of the only two close-up portraits that were exhibited. In Portrait of an Insomniac Junior-High Student, Gokita tackles one of the most representative and iconic subjects of contemporary Japanese society: the student. Presented in the format of a school ID or yearbook photo, a Japanese boy is outlined by a sliver of white negative space. Gokita removes the typifying features of a face and replaces them with terse, painterly gestures. Subtle shifs in tonality form the murky shadow of a nose, and two downward curving black strokes emerge in place of eyes and eyebrows. The viewer is given the framework of a familiar subject but denied the assurance of knowing his identity. There is an undeniable sense of illumination, but shadows and highlights do not appear from any logically perceivable source of light, resulting in a colourless fuorescence perhaps describable as neo-chiaroscuro. In the creation of the portrait, with clean crisp lines of the collar of his school uniform juxtaposed by a bold, black, bowl-cut hairstyle, Gokita takes an iconographic archetype, wipes out his face and abstracts it— a unique characteristic that separates his earlier body of works up until 2015 to more recent ones when he progressed to painting facial features. The artist’s allegiance to monotone originates from a time of fnancial struggle— as an efort to cut material costs. However, what began as a compromise soon became his trademark. The lack of colour in his paintings only provides for more direct and simple communication, allowing other formal qualities to shine. Some critics have labelled his work post-conceptual, due to its lack of readily visible concept or idea. Yet quite precisely, the fantastical dreamscape energy of Gokita’s works is thanks to his focus on formal techniques, fuidly merging neoexpressionist gestures, surrealist aesthetics, and pop graphics to create direct, yet emotionally complex portraits.
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日本藝術家五木田智央在東京出生，對單色畫掌握自如， 其作品幾乎僅限黑白二色，以純熟的技巧運用色調和 對比，繪出令人感傷的灰階作品，圖像有時源自流行 文化，以黑色藝術手法呈現海報女郎、牛仔、黑社會等 人物肖像。其畫作主角來自於電影、電視、廣告和 色情業，通常主角的臉部或身體其他部分會由顏料 潑濺、扭曲和淤積所遮掩。「對我而言，作畫就像是 運動」 （Elaine Ng，<一千種灰調子：五木田智央 >， 《亞洲藝術文獻庫》，2015年7-8月）這是五木田智央針對 其直觀性作畫手法而談。他並不按部就班計劃出每一幅 構圖，而是隨著某些造形和圖案自然引領其創作，亦從 社會原型和當代人物中提取靈感。 五木田智央曾在東京幾家畫廊辦展，但其事業的突破在 2005年，當時駐紐約藝術家泰勒·麥齊曼在紐約新美術館 書店發現一本五木田智央作品集《內衣摔角》 （2000年）， 繼而邀請他參加在紐約 Dinter Fine Art 畫廊舉辦的藝術家 群展「陌生城市」，該展展出八位美國和日本藝術家 作品，展品包括繪畫、漫畫、插畫和音樂。此展覽甚為 成功，隨後便有許多畫廊聯繫五木田智央洽談，他先後 在紐約 ATM 畫廊、東京石井孝之畫廊和洛杉磯 Honor Fraser 畫廊舉行個展。《失眠初中學生的肖像》於2010年 藝術家在布魯塞爾 Aliceday 畫廊之個展中展出，該展覽 為藝術家在歐洲首次個展，名為「樂園」，包括了數百張 素描和十多幅畫作，本次上拍之作是當中僅有的兩幅特寫 肖像中的一幅。 透過《失眠初中學生的肖像》，五木田智央呈現出最能 代表當代日本社會的標誌性人物之一 ：學生。以學生證或 年報照片形式，畫中刻板被動的日本男孩以白色負面空間 勾勒出輪廓。與一般肖像不同，藝術家並沒有描繪臉龐， 而是以精煉突出的筆觸畫出各種姿態。以色調的微妙 轉變，形成鼻樑的陰影，兩個向下的黑色弧線取代眼睛和 眉毛。觀者所面對的是一個熟悉的主題框架，但卻無法知 道其確實身份。畫面不乏光影效果，但各處的影子和高光 似乎並非來自一個合乎邏輯的光線角度，形成一種無色的 熒光性，或許可稱其為「新明暗對比法」。畫中人物的 校服領子線條乾淨利落，加上黑亮的蘑菇頭造型，本是 一個典型的學生形象， 但卻抹去了臉龐，以抽象形式 表現，這是其2015年以前的早期作品之獨有特徵，2015年 之後的作品逐漸開始包含臉部描繪。 五木田智央對單色調的堅持來自他經濟困難的一段時期， 當時是因為減少開支而採取的妥協，但後來卻成為他的 標誌風格。畫幅中色彩的減少反而使其表達更為直接 純粹，突出其他造形特質。曾有藝評家因其作品缺少可見 的概念或想法，而稱其為後概念主義。然而正因其把重心 放在形態塑造，加上新表現主義的姿態、超現實主義的 美學和流行文化的圖像，創造出畫風直接，卻情感豐富的 肖像作品，如夢如幻。
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Property from an Important Private European Collection
重要歐洲私人收藏
To inspect Liu Ye’s oeuvre is to experience a bildungsroman in painting form: armed with a mesmerising cast of revolving characters, one is able to survey the story of the artist’s development, maturation, and evolving artistry.
檢視劉野的作品就好像是在看成長小說，跟隨著那些極具魅力而 又反復出現的角色，觀者得以細看其發展、成熟與演進的藝術軌跡。
In Big Pigeon, a rare early work, we are presented with a humorous inside-joke spun into a surrealistic scene taken from a real event: the bespectacled protagonist—the artist’s German dealer at the time, Klaus Märtens from Galerie Taube—takes a tumble while clasping a painting. An overgrown, intransigent pigeon—a play on ‘Taube’ being German for ‘pigeon’—peers through a window pane, into the shop-front in which Mr Märtens meets his unfortunate fall. Outside the shop-front, one glimpses Berlin bathed in pale yellow, cars lined in a neat row while another man seems mid-trip himself. A charming little joke between Liu Ye and Mr Märtens thus springs to life. A painting steeped in personal memories and embedded inspiration, Big Pigeon was painted in 1994, when Liu had just returned to Beijing. It is clear that upon his return to China, the artist was conjuring this old memory; but more importantly, ruminating upon the rich tapestry of infuences that flled his earlier pieces, painted during his sojourn in Germany. One is able to detect Liu’s love of René Magritte: the falling men immediately call to mind Magritte’s Golconde, while the namesake of Galerie Taube reminds one of Magritte’s Man in a Bowler Hat, his face obscured by a fying pigeon. In Liu’s version, the pigeon peers on steadfast, while Magritte’s stout little men have here transformed into a comically stoic Mr Märtens, a tell-tale Magritte-esque bowler cap slipping of the pedestrian outside. One can also easily discern the artist’s careful study of Italian Metaphysical art, in particular Giorgio de Chirico— a pioneering artist who would go on to infuence a whole generation of surrealists. Big Pigeon’s eschewal of reality and its blatant impossibility is the artist’s transformation of surrealism, all defly juxtaposed against the orderly geometric interior of the piece: each line painstakingly drawn, thanks to the artist’s penchant for the Flemish School and later on, De Stijl. We fnd Liu’s iconic lineal drawing of the fairytale book too, open onto a blank page on the tiled ground: a sentimental nod to his father’s occupation as a children’s storybook writer. Big Pigeon is itself a scene from a fairytale, a whimsical, visually arresting work that also aches with Romanticism, its tonal preoccupation redolent of Edward Hopper, whose treatment of light is a particular favourite of Liu’s. In the present work, one is captivated by Liu’s ability to weave various threads of stimulus into a compelling narrative, executed in a language that is entirely his own.
《大鴿子》是一幅罕見的早期作品，畫中的小圈子笑話轉化為真實事件 演變成的超現實場景，戴眼鏡的主角是當時藝術家的德國經紀人， Taube 畫廊的 Klaus Märtens，他緊握一幅畫作的時候滑到在地， 而窗外有一隻固執的鴿子（Taube 在德語便是鴿子的意思） ，通過窗戶 往裡看，正好看到 Märtens 先生不幸滑到的一刻。窗外，我們看到 淡黃色暖陽中的柏林，車輛排列整齊，又有另外一人也正要摔倒似的。 這個劉野與Märtens 先生之間的小笑話頓時活靈活現。 《大鴿子》是劉野1994年剛回到北京時的作品，充滿藝術家個人的回憶 和內含靈感。顯然，他回到中國時依然會想起舊時回憶，更時常反復思考 早期在德國創作時各種靈感來源。我們可以看出雷內·馬格利特對劉野的 影響：滑到的男人讓我們想起馬格利特的作品《戈爾孔達》，而對 Taube 畫廊名字的雙關語笑話又如同《戴禮帽男子》，一隻飛過的鴿子遮住了 人物的臉龐。在劉野的畫中，鴿子一動不動地看向窗內，而馬格利特畫中 的男子於此畫中轉換成滑稽的 Märtens 先生。一頂看起來很像馬格利特 風格的禮帽正從外面的行人身上了出來。觀者也不難看出劉野對意大利形 而上畫派的細緻研習，尤其是影響了一代超現實主義畫家的喬治·德·奇 里克。 《大鴿子》故意繞開現實，呈現不可能之景象，是藝術家在佈置 有序的幾何室內場景中對超現實主義的演繹。所有線條都勾勒細膩， 是藝術家對佛蘭芒時期畫派和現代的風格派運動的研習。格子瓷磚地板上 有一本童話故事書，打開在空白的一頁，是對其父親身為兒童故事書作者 的一種致敬。《大鴿子》本身也像是來自童話故事的一個場景，天馬行空， 絲絲入扣，有浪漫主義的影子，亦令人想起愛德華·霍普的温暖色調， 劉野十分欣賞其對光影的處理。透過此作品，可見劉野得以將各種迥異 的風格與靈感融會貫通，形成屬於自己的獨特視覺語言。 富藝斯特別鳴謝劉野協助指導此專文。
Phillips would like to thank Liu Ye for his assistance with this essay.
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Property from an Important Private European Collection
20. Liu Ye
b. 1964
Big Pigeon signed and dated ‘1995 Liu Ye [In Chinese and Pinyin]’ upper lef acrylic and oil on canvas 40 x 40 cm. (15 3/4 x 15 3/4 in.) Executed in 1995. Provenance Galerie Taube, Berlin Private Collection, Berlin Galerie Frank Schlag & Cie, Essen Acquired from the above by the present owner Exhibited Berlin, Galerie Taube, 30 Jahre Galerie Taube, 1 June - 30 August 2003 Stadtgalerie Schwaz; Akureyri Art Museum; Kuopio Art Museum; Salo Art Museum; Tonsberg, Haugar Vestfold Kunstmuseum; Ystad Konstmuseum; Singer Laren Museum; Kunsthalle Recklinghausen Facing China:Works of Art from The Fu Ruide Collection, 17 May 2008 - 24 June 2012 Literature Veit Stiller, Die Taube an der Tur, Berlin, 1995, p. B2 (illustrated) Lin Leng, Start Again, Beijing, 1996, p. 12 (illustrated) Liu Ye, exh. cat., Mingjingdi Gallery, Beijing, 1997, p.34 (illustrated) Facing China:Works of Art from the Fu Ruide Collection, exh. cat., Rotterdam, 2008, p. 59 (illustrated) Christoph Noe ed., Liu Ye: Catalogue Raisonné 1991-2015, Berlin, 2015, no. 95-03, p. 262, (illustrated)
重要歐洲私人收藏
劉野 《大鴿子》 壓克力 油畫 畫布 1995年作 款識：1995 劉野 Liu Ye（左上） 來源 柏林，Galerie Taube 柏林私人收藏 埃森, Frank Schlag & Cie 畫廊 現藏者購自上述來源 展覽 柏林，Taube畫廊， 〈Taube畫廊30年〉 ，2003年6月1日-8月30日 施瓦茨 城市畫廊; 阿庫雷裡藝術博物館; 庫奧皮奧藝術博物館; 薩羅藝術博物館; 滕斯貝格，Haugar Vestfold藝術博物館; Ystad藝術博物館; Singer Laren博物館; Kunsthalle Recklinghausen， 〈面對中國：福瑞德收藏〉， 2008年5月17日 - 2012年6月24日 出版 Veit Stiller著， 〈門口的鴿子〉 ，柏林，1995年，第B2頁 (圖版) 冷林著， 〈重新開始〉 ，北京，1996年，第12頁 (圖版) 〈劉野〉 ，展覽圖錄，明經第畫廊，北京，1997年，第34頁 (圖版) 〈面對中國：福瑞德收藏〉 ，展覽圖錄，鹿特丹，2008年，第59頁 (圖版) Christoph Noe編， 〈劉野：藝術全集 1991-2015年〉，柏林，2015年， 圖版編號95-03，第262頁 (圖版)
HK$ 800,000-1,200,000 US$ 154,000-231,000
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Property from an Important Private European Collection 重要歐洲私人收藏
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Property from an Important Private European Collection
21. Liu Ye
b. 1964
Composition with Girl Back signed, titled and dated ‘“Composition with Girl Back” ’05 Ye [In Chinese] Liu Ye’ lower lef and right respectively watercolour on paper 101 x 66.8 cm. (39 3/4 x 26 1/4 in.) Executed in 2005. Provenance Galerie Frank Schlag & Cie, Essen Acquired from the above by the present owner
重要歐洲私人收藏
劉野 《女孩背影的構圖》 水彩 紙本 2005年作 款識： 《Composition with Girl Back》 （左下）； 05 野 Liu Ye（右下） 來源 埃森, Frank Schlag & Cie 畫廊 現藏者購自上述來源
HK$ 300,000-500,000 US$ 38,500-64,100
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Property from an Important Private European Collection
22. Liu Ye
b. 1964
Girl with Balloons signed and dated ‘Liu Ye 2001’ lower right watercolour on paper 30 x 23 cm. (11 3/4 x 9 in.) Executed in 2001. Provenance Canvas International Art, Amsterdam Acquired from the above by the present owner
Please note that this work is an original and unique work on paper which was later reproduced as lithographs.
重要歐洲私人收藏
劉野 《手持氣球的女孩》 水彩 紙本 2001年作 款識 ：Liu Ye 2001（右下） 來源 阿姆斯特丹，Canvas International Art 現藏者購自上述來源
此作品為單一原作，曾經被授權製作成版畫。
HK$ 150,000-250,000 US$ 19,200-32,100 Property from an Important Private European Collection 重要歐洲私人收藏
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23. George Condo
b. 1957
Son of Bozo signed and dated, ‘Condo 09’ on the reverse oil on linen 20.3 x 15.2 cm. (7 7/8 x 5 7/8 in.) Executed in 2008-09. Provenance Xavier Hufens, Brussels Acquired from the above by the present owner
喬治．康多 《博佐的兒子》 油畫 麻布 2008-09年作 款識：Condo 09（畫背） 來源 布鲁塞尔，Xavier Hufkens 現藏者購自上述來源
HK$ 900,000-1,200,000 US$ 115,000-154,000
Clowns began appearing in George Condo’s oeuvre in the early eighties, a subject matter that showcased the artist’s subversion of portraiture, basing his characters on memory and imagination rather than mere appropriation. Son of Bozo comes from a group of paintings that began in 2006, showing clown-like fgures in costumes adorned with multi-coloured polka-dots. Condo’s imaginary, pantomimic ‘Pierrot’ fgures derive from the sixteenth century Italian theatre tradition of Commedia dell’Arte, where the stock character of the harlequin was easily recognised by his checked garb and sagacious humour. In Son of Bozo—hailing from the American television sensation ‘Bozo the Clown’ from the forties to sixties— one sees that the innocent Pierrot has been coyly subverted by Condo. Replaced by mismatching eyes and bared teeth, Condo’s Frankenstein departs from his namesake—clown-wig removed to reveal a balding scalp, an ear pierced by a giant push-pin, and make up haphazardly smeared. Indeed, in its marriage and subversion of both the traditional and contemporary, Son of Bozo is an eloquent example of Condo’s ability to depict that which ‘goes between a scream and a smile.’ (George Condo, quoted in Ossian Ward, ‘George Condo: Interview’, Time Out, 6 Feb 2007.)
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自1980年代初起，喬治·康多的作品中開始出現小丑 角色，此主題彰顯了藝術家對肖像畫的顛覆，以回憶和 想像力為根據，而不完全建基於挪用。《博佐的兒子》 來自2006年開始的一系列作品，描繪如小丑般的人物， 穿著彩色斑點圖案的戲服。康多筆下猶如默劇丑角皮耶洛 般的幻想角色來自十六世紀意大利劇場的即興喜劇，那是 當中的一個定型角色，穿格子衣服，擁有睿智的幽默。 此作《博佐的兒子》來自美國1940至1960年代的電視劇 《小丑博佐》，這天真的皮耶洛被康多默默地徹底改造， 不對稱的雙眼、疏落的牙齒，康多創造的人物已經和它 本身的名字越走越遠，被拿開的小丑假髮下面幾乎禿頂， 一隻耳朵上刺了一顆巨大的大頭針，臉上的妝被擦得一片 模糊。 《博佐的兒子》結合傳統與現代，彰顯康多描繪 「介乎尖叫與微笑之間」的獨有態度。 （喬治·康多，錄於 Ossian Ward， 〈喬治·康多: 訪談〉， 《Time Out》， 2007年2月6日）
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24. Andy Warhol
1928-1987
Shoes signed and numbered ‘60/60 Andy Warhol’ on the reverse screenprint with diamond dust 151 x 102 cm. (59 1/ 2 x 40 1/8 in.) Executed in 1980, this work is number 60 from an edition of 60. Provenance Private Collection, Asia
安迪．沃荷 《鞋子》 絲網印刷 鑽石粉 1980年作, 此作品之系列共有60版。 款識：60/60 Andy Warhol (畫背) 來源 亞洲私人收藏 現藏者購自上述來源
Acquired from the above by the present owner
HK$ 700,000-900,000 US$ 89,700-115,000
The present lot is from Warhol’s Diamond Dust Shoe series, highlighting an important motif in Warhol’s early career. As a commercial illustrator for Vogue and Harper’s Bazaar, illustrating shoes propelled Warhol towards his frst critical success. In the 1980s, Warhol revisited this motif by producing multi-coloured combinations of women’s shoes that foated across a fat black background. The composition for this series was inspired by an occasion during an advertisement campaign for Garolini, when shoes tipped from a box were strewn across the foor in a haphazard manner. Polaroid shots were taken as visual basis and Warhol later recreated this spontaneous arrangement using shoes from his own collection. The “diamond dust” that sparkles across the surface of Shoes is in fact pulverised glass, as diamond dust did not produce the same shimmering texture Warhol desired and proved to be too chalky. Shoes combines art, fashion, glitz and glamour in Warhol’s quintessential style.
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本拍品來自突出展示沃荷早期職業生涯中一個重要主題的 《鑽石星塵鞋》系列。曾經作為一名商業插畫家，在為《時尚》 和《哈潑芭沙》兩本雜誌繪製鞋履的插畫經歷成為了沃荷走向 其首次關鍵性的成功的跳板。20世紀80年代，沃荷重新審視 這一主題，製作了多種色彩的女鞋組合浮現在平坦的黑色背景 畫面上之系列作品。這個系列的構圖靈感來自Garolini的廣告中之 一個場景，當時從盒子裡傾洩而出的鞋子隨意地散落在地板上。 先用寶麗來(拍立得)照相作為視覺基礎，沃荷之後再用他自己收藏 的鞋子重新創造出同樣的畫面排列。由於鑽石粉塵本身無法達到 沃荷所期待的閃光質感，同時又證明質地太過鬆散，因此畫面中 的鞋子表面閃閃發光的「鑽石塵」實際上用的是碎的玻璃。 《鞋子》 這件作品中包含了藝術、時尚、浮華、熠熠炫目等一眾元素， 體現了沃荷的典型風格。
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25. Martin Kippenberger
1953-1997
Untitled (Let’s Get Physical) mixed media on paper 64 x 41 cm. (25 1/4 x 16 1/8 in.) Executed in 1985. Provenance Luhring Augustine Gallery, New York Acquired from the above in 2015 by the present owner
馬丁．基彭伯格 《無題 (讓我們一起舞動)》 綜合媒材 紙本 1985年作 來源 紐約，魯林·奧古斯丁畫廊 現藏者於2015年購自上述來
HK$ 300,000-500,000 US$ 38,500-64,100
Martin Kippenberger was an artist whose prolifc oeuvre spanned a multitude of genres, media, and artistic movements. A self-dubbed ‘embodiment of the art of the 1980s,’ Kippenberger’s work drew from appropriation art, Punk and New Wave, Neo-Expressionism, all manifesting across the wide-ranging paintings, installations, objects, music, books, posters and cards that formed his repertoire. The artist drew heavily from socioeconomic realities, and his creations ofen refected popular culture, art and music, history and politics. Created in 1985, the present work perfectly captures Kippenberger’s ability to seamlessly amalgamate varying strands of pop-culture: pop music and the emerging freedom and spontaneity characterising the last decade of the Cold War—all captured in dizzying pinks and psychedelic snippets of images, not dissimilar to the work’s namesake, Olivia Newton John’s “Let’s Get Physical”.
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藝術家馬丁·基彭伯格的作品多元，橫跨多種題材、 媒介和藝術運動。他自封為「1980年代藝術之化身」， 其作品源自挪用藝術、龐克、新浪潮和新表現主義， 廣泛的體現在他的繪畫、裝置藝術、物件、音樂、書籍、 海報和卡片，形成其特色。藝術家大量的由社會經濟現 狀中汲取創作靈感，而其作品也反映出流行文化、藝術 與音樂、歷史與政治。此拍品創作於1985年，捕捉了 基彭伯格如何融匯各個領域的流行文化，包括流行音樂 和冷戰最後十年開始逐漸興起的自由性和自發性，交織 成為閃爍紅粉與圖像的迷幻片段，此作品與美國知名歌星 奧利維亞·紐頓·強的「讓我們一起舞動吧!」遙相呼應。
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26. Richard Prince
b. 1949
Untitled (Publicity) signed, titled and dated ‘R. Prince 2003 “untitled”’ on the reverse ink on color and black and white photographs in three parts and printed paper in the artist’s frame 104.1 x 154.9 cm. (40 7/8 x 60 7/8 in.) Executed in 2003. Provenance Gladstone Gallery, New York Phillips de Pury & Company, New York, 4 March 2010, lot 13 Acquired at the above sale by the present owner Literature Rosetta Brooks, Jef Rian, Luc Sante, Richard Prince, London, 2003 (another example of photograph on lef illustrated on the cover)
李察德．佩利斯 《無題（宣傳） 》 水墨 彩色與黑白照片 （共三件） 印刷紙 裱於藝術家畫框 2003年作 款識：R. Prince 2003《無題》 （畫背） 來源 紐約，Gladstone畫廊 紐約，富藝斯，2010年3月4日，拍品編號13 現藏者購自上述拍賣 出版 Rosetta Brooks, Jeff Rian, Luc Sante著， 〈李察德·佩利斯〉 ， 倫敦，2003年(同系列作品圖版)
HK$ 600,000-900,000 US$ 76,900-115,000
Richard Prince’s Untitled (Publicity) juxtaposes one of his most iconic images—that of the Marlboro Cowboy—with two publicity photographs of topless cowgirls. The cowboy photograph on the lef exhibits Prince’s famed ‘rephotography’, a technique in which the artist photographs an advertisement— presently a Marlboro advertisement—and reofers it as high art. A response to American consumerism and identity, Prince’s focus on Cowboys aimed to scrutinise the notions surrounding originality and authorship, and to deconstruct the privileged status of the unique art object. Prince began rephotographing these advertisement images afer the Marlboro Man stopped being used in marketing materials for the cigarette brand. As Prince recalls, ‘without him as an identifying factor, it was easier to present these pictures as something other than they were.’ (Lisa Phillips, Richard Prince, New York, 1992, p. 95). Fittingly, his found publicity photographs, here pin-up Betty Page photographed by Bunny Yeager, and pop musician Sheryl Crow, take on new scrutiny and symbology when presented and framed alongside his own rephotograph, a reconstructed and appropriated version of truth. With the repetition of the cowgirl emphasised, these images explore the meaning behind ‘truth’ in pop culture, and thus are repositioned in order to reveal their collective superfciality. When considered alongside each other, one is able to draw comparisons between the ‘Marlboro Man’—an exaggerated, hyper-masculine icon as depicted by the all-American cowboy—and the pin-up girl—an overly sexualised and fetishised version of the all-American girl.
李察德·佩利斯的作品《無題（宣傳）》把其藝術中極具標誌性的 萬寶路牛仔照片，和兩幅沒穿上衣女牛仔的宣傳照片放在一起。 左邊的牛仔照片是佩利斯知名的「翻攝」作品，其實便是藝術家 對著廣告海報，例如此作中的萬寶路廣告拍照，然後稱之為高級 藝術。作為對美國身份和消費主義的一種回應，佩利斯透過把 焦點放在牛仔照片，檢視所謂原創性和著作者身份這些概念， 解構「獨一無二藝術品」的特殊高貴地位。自從萬寶路香煙 品牌停止在廣告中使用牛仔造型，佩利斯便開始「翻攝」這些 圖像。如藝術家本人所說， 「如果沒有他作為識別標誌，便更 容易讓別人相信它們不是原始的代表涵義。」 （莉莎·菲利普斯， 《李察德·佩利斯》，紐約，1992年，95頁）。同樣，藝術家拿來 配對的兩幅宣傳照片，一張是布尼·伊戈拍攝的海報女郎貝蒂· 佩吉，一張是流行音樂偶像雪兒·克羅，放在自己的「翻攝」 作品旁，一同裝框，又多了一層新的反思和涵義，成為重新 組構，挪用主義之下的「真實」。透過強調女牛仔的重複性， 此系列圖像再次探討流行文化中「真實」的意義，由此揭示其 共同的膚淺本質。一邊是誇大、肌肉發達的美國牛仔「萬寶路 男人」，一邊是極度物化的性感尤物海報女郎，觀者順勢對幾 幅共置的照片進行比較。 三幅照片的共置結合完美捕捉到佩利斯所謂的「精神層面的 美國」，像是永遠無法達到的一種美化： 「精神層面的美國 針對那個不斷嚮往擁有更多的廣義文化，它時常以最庸俗、 最不正當的形式出現… 這個圖像也引申包含了觀者那 奇怪的慾望衝動，想認識、擁有甚至成為畫框中那個人。」 (南西·史貝特， 《李察德·佩利斯》，2008年，79頁)
The merging of these three images thus perfectly capture Prince’s term ‘Spiritual America’, a sense of unattainable glamour: “‘Spiritual America’ addresses that broad cultural yearning for something more—and how it is ofen expressed in the most tawdry, illicit manner…the image has come to embody that strangely motivating desire on the part of the viewer to know, to have, and even to be the person in the frame.” (Nancy Spector, Richard Prince, 2008, p. 79)
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27. KAWS
b. 1974
ACCOMPLICE signed, dated and numbered ‘KAWS..06 6/10’ on the underside painted bronze 25.4 x 10 x 5.5 cm. (10 x 3 7/8 x 2 1/8 in.) Executed in 2006, this work is number 6 from an edition of 10 plus 2 artist’s proofs, accompanied by a certifcate of authenticity issued by OriginalFake. Provenance Private Collection (acquired directly from the artist) NIGO ® Only Lives Twice, Sotheby’s, Hong Kong, 7 October 2014, lot 57 Acquired at the above sale by the present owner Literature Monica Ramirez-Montagut, Kaws 1993-2010, New York, 2010, p. 26 (illustrated) NIGO ®, Atelier by NIGO ®, Tokyo, 2012, p. 66 (illustrated)
KAWS 《同謀》 塗漆銅雕 2006年作，共有10版與2版藝術家試作版，此作為第6版， 並附OriginalFake之保證書。 款識：KAWS..06 6/10（底部） 來源 私人收藏 (直接購自藝術家本人) 香港，蘇富比， 〈NIGO ® Only Lives Twice〉 2014年10月7日，拍品編號 57 現藏者購自上述拍賣 出版 Monica Ramirez-Montagut 著， 〈Kaws 1993-2010〉， 紐約，2010年，第26頁 (圖版) NIGO ® 著， 〈Atelier by NIGO ®〉 ，東京，2012年，第66頁 (圖版)
HK$ 600,000-800,000 US$ 76,900-103,000
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‘They weren’t collecting art, they were collecting toys. So I did those package paintings where I mass-produced the packaging around the painting, but the painting itself was done individually. That was my way of bridging the gap between those two worlds. ’ KAWS
“Do you know that series of package paintings that I did? That was because I saw that these guys in Japan were collecting toys. I had friends that were spending $3,000 on a Star Wars prototype fgures. They weren’t collecting art, they were collecting toys. So I did those package paintings where I mass-produced the packaging around the painting, but the painting itself was done individually. That was my way of bridging the gap between those two worlds. Because I realized that these guys are absolute connoisseurs of the stuf they collect. They can look at a toy and say, Oh, this is a 76. It came out in three versions. It occurred to me that that kind of obsessive collecting isn’t any diferent than art.” (KAWS, quoted in Tobey Maguire, ‘KAWS’, Interview Magazine, 27 April 2010, online) Four of the frst 40 package paintings ever created for the 2003 Original Fake exhibition at the BAPE Gallery in Tokyo, these works were inspired by Japan’s toy collecting scene – KAWS’ unique attempt to bridge the gap between the toy and art collecting realms. Whilst the plastic packaging was mass-produced, each painting was created individually, refecting on how similar toy collectors were to their art counterparts in seeing value in items produced in limited quantities. Reinterpreting recognisable characters from popular culture with his signature skull and crossed eyes, the CHUM and COMPANION are also two of the KAWS’s oldest and most iconic characters. Having been exhibited by NIGO (founder of A Bathing Ape, one of the most notorious names in Japanese street fashion in the 90s), these works also highlight how the artist emerged from an urban streetwear and commercial culture into art in the same way these package paintings were conceptualised.
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「你知道為什麼我創作一系列的包裝畫嗎？那是因為我看到 日本許多人在收集玩具公仔。 我有朋友在星球大戰角色 模型上花費3000美元，他們沒有收藏藝術品，他們偏受 收集玩具公仔。所以我做了那些包裝畫，我將畫作以大量 生產商品的模式將它們包裝起來，但畫作本身每件以手描 完成的，這是我連結這兩個世界之間差距的方法，因為 我意識到這些玩家是他們所收集物品方面的絕對鑑賞家。 他們可以看一個公仔然後說： 「哦，這是一個76，它有 三個版本。」在我看來，那種強迫症式的收集癖與藝術 收藏只是一丘之貉。」 (KAWS, 引自Tobey Maguire‘KAWS’,《採訪雜誌》, 2010年4月27日，網路文) 作為東京BAPE畫廊2003年的Original Fake展覽中，創作 的首批40幅包裝畫，這四件作品的靈感來自日本的玩具收 藏圈——也是KAWS對建構起玩具收藏與藝術收藏兩個不 同領域的橋樑之獨特嘗試。塑料包裝是商業化大量生產的 產物，然而在這系列被包裝的繪畫，每一件作品均是獨立 創作的，這反映了玩具收藏家與藝術收藏家的相似之處， 即兩者都看到了限量作品所擁有的價值。 用骷髏頭和“XX”眼睛，這些KAWS最標誌性的符號， 來重新演繹流行文化中那些最易辨識的人物， 「老友」 （CHUM）與「 同伴 」(COMPANION) 形象也是KAWS最早 創作且最具代表性的兩個角色。NIGO（A Bathing Ape 創始人、90年代日本街頭潮牌時尚圈中最聲名顯赫的人物 之一）曾為KAWS舉辦展覽的事實也體現了KAWS從街頭 潮流與商業文化中走向藝術，就像他的包裝畫的概念化 過程一樣。
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28. KAWS
b. 1974
UNTITLED signed and dated ‘KAWS..02’ on the reverse acrylic on canvas, plastic packaging, paper package: 25.7 x 19 cm. (10 1/8 x 7 1/ 2 in.) canvas: 15.3 x 12.6 cm. (6 x 4 7/8 in.) Executed in 2002. Provenance BAPE Gallery, Tokyo Sotheby’s, Hong Kong, 20 January 2016, lot 9 Acquired at the above sale by the present owner Exhibited Tokyo, BAPE Gallery, Original Fake, 1 March - 25 April 2003
KAWS 《無題》 壓克力 畫布 塑料包裝 紙本 2002年作 款識：KAWS..02（畫背） 來源 東京，BAPE畫廊 香港，蘇富比，2016年1月20日，拍品編號9 現藏者購自上述拍賣 展覽 東京，BAPE畫廊， 〈Original Fake〉 ， 2003年3月1日 - 4月25日
HK$ 150,000-250,000 US$ 19,200-32,100
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29. KAWS
b. 1974
UNTITLED signed and dated ‘KAWS..02’ on the reverse acrylic on canvas with plastic packaging package: 25.8 x 19 cm. (10 1/8 x 7 1/ 2 in.) canvas: 15.2 x 12.8 cm. (5 7/8 x 5 in.) Executed in 2002. Provenance BAPE Gallery, Tokyo Sotheby’s, Hong Kong, 20 January 2016, lot 9 Acquired at the above sale by the present owner Exhibited Tokyo, BAPE Gallery, Original Fake, 1 March - 25 April 2003
KAWS 《無題》 壓克力 畫布 塑料包裝 紙本 2002年作 款識：KAWS..02（畫背） 來源 東京，BAPE畫廊 香港，蘇富比，2016年1月20日，拍品編號9 現藏者購自上述拍賣 展覽 東京，BAPE畫廊， 〈Original Fake〉 ， 2003年3月1日 - 4 月25日
HK$ 150,000-250,000 US$ 19,200-32,100
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30. KAWS
b. 1974
UNTITLED signed and dated ‘KAWS..02’ on the reverse acrylic on canvas, plastic packaging, paper plastic package: 25.2 x 19 cm. (9 7/8 x 7 1/ 2 in.) canvas: 15.5 x 12.5 cm. (6 1/8 x 4 7/8 in.) Executed in 2002. Provenance BAPE Gallery, Tokyo Acquired from the above by the present owner Exhibited Tokyo, BAPE Gallery, Original Fake, 1 March - 25 April 2003
HK$ 150,000-250,000 US$ 19,200-32,100
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KAWS 《無題》 壓克力 畫布 塑料包裝 紙本 2002年作 款識：KAWS..02（畫背） 來源 東京，BAPE畫廊 現藏者購自上述來源 展覽 東京，BAPE畫廊， 〈Original Fake〉 ， 2003年3月1日 - 4月25日 Invitation card for Original Fake Exhibition at the BAPE Gallery in Tokyo, 2003 2003年，東京BAPE畫廊， 〈Original Fake〉展覽之邀請卡
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31. KAWS
b. 1974
UNTITLED signed and dated ‘KAWS..02’ on the reverse acrylic on canvas with plastic packaging package: 25.8 x 18.9 cm. (10 1/8 x 7 1/ 2 in.) canvas: 15.4 x 13 cm. (6 1/8 x 5 1/8 in.) Executed in 2002. Provenance BAPE Gallery, Tokyo Sotheby’s, Hong Kong, 20 January 2016, lot 9 Acquired at the above sale by the present owner Exhibited Tokyo, BAPE Gallery, Original Fake, 1 March - 25 April 2003
KAWS 《無題》 壓克力 畫布 塑料包裝 紙本 2002年作 款識：KAWS..02（畫背） 來源 東京，BAPE畫廊 香港，蘇富比，2016年1月20日，拍品編號9 現藏者購自上述拍賣 展覽 東京，BAPE畫廊， 〈Original Fake〉 ， 2003年3月1日 - 4月25日
HK$ 150,000-250,000 US$ 19,200-32,100
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32. KAWS
b. 1974
ACCOMPLICE signed, dated and numbered ‘KAWS..06 6/10’ on the underside painted bronze 25 x 10 x 4.5 cm. (9 7/8 x 3 7/8 x 1 3/4 in.) Executed in 2006, this work is number 6 from an edition of 10 plus 2 artist’s proof, and is accompanied by a certifcate of authenticity issued by OriginalFake. Provenance Private Collection (acquired directly from the artist) NIGO ® Only Lives Twice, Sotheby’s, Hong Kong, 7 October 2014, lot 57 Acquired at the above sale by the present owner Literature Monica Ramirez-Montagut, Kaws 1993-2010, New York, 2010, p. 26, (illustrated) NIGO ®, Atelier by NIGO ®, Tokyo, 2012, p. 66 (illustrated)
KAWS 《同謀》 塗漆銅雕 2006年作，共有10版與2版藝術家試作版，此作為第6版， 並附OriginalFake之保證書。 款識：KAWS..06 6/10（底部） 來源 私人收藏 (直接購自藝術家本人) 香港，蘇富比， 〈NIGO ® Only Lives Twice〉 2014年10月7日，拍品編號 57 現藏者購自上述拍賣 出版 Monica Ramirez-Montagut 著， 〈Kaws 1993-2010〉， 紐約，2010年，第26頁 (圖版) NIGO ® 著， 〈Atelier by NIGO ®〉，東京，2012年，第66頁 (圖版)
HK$ 600,000-800,000 US$ 76,900-103,000
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33. Takashi Murakami & Virgil Abloh “SCULPTURE” 100% leather (red) sculpture: 59.8 x 56.5 x 26.7 cm. (23 1/ 2 x 22 1/4 x 10 1/ 2 in.) plinth: 122.3 x 80 x 50.1 cm. (48 1/8 x 31 1/ 2 x 19 3/4 in.) Executed in 2018. Provenance Gagosian Gallery, London Acquired from the above by the present owner Exhibited London, Gagosian Gallery, Murakami & Abloh: future history, 21 February - 7 April 2018
村上 隆 與 維吉爾．阿伯拉赫 《 “SCULPTURE” 》 100% 紅皮革 2018年作 來源 倫敦，高古軒畫廊 現藏者購自上述來源 展覽 倫敦，高古軒畫廊， 〈村上及阿伯拉赫：未來的歷史〉 ， 2018年2月21日-4月7日
HK$ 100,000-150,000 US$ 12,800-19,200
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©2018 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved
34. Antony Gormley
b. 1950
Meme CIII inscribed with the artist’s signature on the underside cast iron 5.5 x 36.4 x 9.6 cm. (2 1/8 x 14 3/8 x 3 3/4 in.) Executed in 2010. Provenance White Cube, London Acquired from the above by the present owner
安東尼．葛姆雷 《Meme CIII》 鑄鐵 2010年作 藝術家簽名刻於底部 來源 倫敦，白立方畫廊 現藏者購自上述來源
HK$ 800,000-1,200,000 US$ 103,000-154,000
A MEME is a cultural analogue to a gene: forms that are transmitted in thought or behaviour from one body to another, responding to conditional environments, self-replicating and capable of mutation. Using the miniature or model to allow the totality of a body to be seen at once, the MEMES replace anatomy with the formal language of architecture and construct volumes that articulate a range of 33 body postures.
使用微型或模型來對應到身體的整體，MEMES用建築的 形式語言取代解剖學，並構建出足夠展現33種身體姿勢的 量體。 這些小型實心鑄鐵雕塑作品使用幾何形式語言，用整整 27個塊狀體來展現身體的33種姿勢。其旨在用通俗易懂的 方式來表達帶有同理心與傳遞心靈狀態的身體姿勢之 抽象術語。
Photographic credit: Stephen White, London
These small solid iron works use a geometric formal language of 27 blocks to articulate a range of 33 body postures. The ambition is to make intelligible forms that form an abstract lexicon of body-posture but which nevertheless carry the invitation of empathy and the transmission of states of mind.
MEME是指文化對基因的類比：形狀以思想或行為的形式 從一個身體傳遞到另一個身體，對特定條件下的環境作出 反應，自我複製並具有突變的能力。
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35. Bernar Venet
b. 1941
Indeterminate Line incised ‘VENET 0391’ on the edge rolled steel with patina sculpture: 36.2 x 39 x 50.8 cm. (14 1/4 x 15 3/8 x 20 in.) base: 50.4 x 50.8 cm. (19 7/8 x 20 in.) Executed in 1991. Provenance Ressle AB Gallery, Stockholm Phillips, London, 15 October 2015, lot 257 Acquired at the above sale by the present owner
貝納．維尼 《不定線》 軋製鋼 銅綠 1991年作 款識：VENET 0391 (邊緣) 來源 斯德哥爾摩，Ressle AB畫廊 倫敦，富藝斯，2015年10月15日，拍品編號257 現藏者購自上述拍賣
HK$ 300,000-500,000 US$ 38,500-64,100
Venet’s oeuvre is made up of a wide variety of media, from drawing, photography, set design, and even music composition; however he is most revered for his steel arc sculptures. His experimental nature stemmed from the program of investigation he set himself when he moved to New York and mingled with minimalist and conceptualists the likes of Donald Judd and Sol LeWitt. His signature Indeterminate Lines series which started in 1979 was inspired by mathematical explorations into chance, order, and equilibrium. This torch-cut steel plate sculpture is a rarity as Venet no longer produces works on a smaller scale, instead he focuses on creating monumental sculptures, that have been displayed in Versailles and is included in the MoMA collection.
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維內特的作品由繪畫、攝影、佈景設計，甚至是音樂譜曲等各種 媒介組成，然而他的鋼製拱形雕塑最為人所知。他作品中的實驗 性探索是從他移居紐約，並與唐納德·賈德（Donald Judd）、 索爾·勒維特（Sol LeWitt）等極簡主義和概念主義藝術家開始 交流時所開啟的。他標誌性的《不定線》系列作品始於 1979年，從數學的角度對隨機性、有序性和均衡性進行分析， 並找到創作的靈感。這件火炬切割的鋼板雕塑非常罕見， 因為維內特已經極少創作小型作品，而是將其精力集中於創作 類似在凡爾賽宮展出和被紐約現代美術館所收藏之形體極為龐大 的雕塑。
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36. Wang Keping
b. 1949
Kissing Couple signed ‘Wang [in Chinese] K’ on the underside maple wood 46.5 x 32 x 28.2 cm. (18 1/4 x 12 5/8 x 11 1/8 in.) Executed in 2000. Provenance 10 Chancery Lane Gallery, Hong Kong Private Collection, Hong Kong Bonhams, Hong Kong, 3 October 2015, lot 59 Acquired at the above sale by the present owner Literature Wang Keping, Wang Keping, Hong Kong, 2008, p. 193 (illustrated)
王克平 《吻》 楓木 2000年作 款識：王K (底部） 來源 香港，十號贊善里畫廊 香港私人收藏 香港，邦瀚斯，2015年10月3日，拍品編號59 現藏者購自上述拍賣 出版 王克平著， 〈王克平〉，香港，2008年，第193頁 (圖版)
HK$ 150,000-200,000 US$ 19,200-25,600
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Works from an Important Private Asian Collection ‘Wou-Ki pours ink onto the hollowed stone slab...He plucks a brush with a white tuf measuring a dozen or so centimetres…He frst dips the tuf in water...then takes it to the stone and soaks it in ink. The sheet of paper is laid on the ground; onto the wooden foor of the studio, [and] Wou-Ki kneels down next to it. “You must,” he says, “lay out the space.” The brush, the hand, the wrist, the arm, the body: I have never seen such a posture; a binding posture. The brush, the hand, the wrist become agents of their own, a collective painter independent from the painter, and energetically guide him, in head and heart, as Zao approaches the paper like a pendulum held at arm’s length. The hand is suspended in the air as much as it is suspended from the wrist. But already, the brush has touched, rolled, dotted, lef a large stroke, dots, a cloud-like curve. Wou-Ki stands up, returns, bends downwards. The paper reveals areas of glowing black and still; in others yet, the black lightens, spreads around: it looks like he is pushing forward. Wou-Ki leans forward, extends his hand, draws ripples. “Even with this thick brush,” he says, “you can still capture fneness.” It all comes together on the paper. It is impossible to amend: you can only add, but you cannot remove.’ (Adapted from Bernard Noël, ‘Le Vide et l’Encre’ (‘Void and Ink’) in Paris Musées, Zao Wou-ki: L’espace est silence, Paris, 2018, p. 120) Zao Wou-ki’s works on paper reveal a more delicate, contemplative side of the artist. The following lots trace the progression of his aesthetic towards works on paper over a period of 40 years. While Untitled (1951) refects the beginnings of his transition from fgurative into abstraction, drawing inspiration from Paul Klee’s works and the artist’s travels, Untitled (1956) sees Zao’s continued exploration of the realm of abstraction. In this work, Zao also rediscovers and returns to his cultural roots through the use of ancient Chinese bronze and oracle bone inscriptions, as depicted through the small glyphs scattered against bright blue hues. Works from 1975 to 1995 saw a renewed interest in traditional Chinese ink painting, depicting high mountains and fowing waters. His compositions become less fooded with colour, and abstract landscapes take shape in the form of practiced brushstrokes across an empty background. Though Zao still kept to abstraction, the two ink works convey a more raw and unhurried approach of his ink aesthetic. Zao displays a higher sensitivity in his treatment of space, allowing his movements to take over the narrative of his works. Throughout his career, Zao illustrates this constant dialogue between his cultural roots and his western exposure, and these works on paper convey a more delicate side of his spiritual creativity in merging classical Chinese landscape painting and Western abstraction. Considering Zao’s singular devotion to ink in the latter stages of his life, these four early works are perhaps indicative of his later dedication to the medium.
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重要亞洲私人收藏
「趙無極把墨倒入凹陷的石硯… 他拿起一支十幾公分白色筆鋒的畫刷， 先蘸水… 再在石硯上蘸墨，紙張已經鋪好在地面，就在畫室的木 地板上，然後趙無極便跪下來，在紙張旁邊擺起了架式。 『你必須』他說， 『把空間鋪張開來。』 毛筆、手、手腕、胳膊、身體：我從未見過如此的姿態；是種合而為一 的姿態。毛筆、手和手腕各自驅動，像是從畫家身上獨立出來的， 另一個分身，在其心思和腦力的搖控之下，面對紙張的趙無極，似鐘擺般 的手臂，一會兒騰空懸在空氣之中，一會兒又懸掛在手腕上，霎時間， 毛筆已然觸碰、滾動、點撥，在紙面上留下寬大筆觸、微小圓點和雲般的 弧線。趙無極站起身，回轉，再次伏下，紙張這一側上呈現玄黑之亮澤 與寂靜，另一側黑色減淡，默默延伸，似無形之力推動向前。趙無極朝前 傾身，伸展手臂，畫出漣漪。 『即便是這支粗筆，』他說， 『也可以捕捉到 纖細。』所有的一切躍然紙上，不可更改：你只能加，不能減。」 （摘錄自 Bernard Noël， 〈空白與墨〉，巴黎博物館， 《趙無極：空間沉默》， 巴黎，2018年，第120頁） 趙無極的紙本作品彰顯了藝術家細膩、深湛的一面。以下作品跨越他 四十年來對紙本作品的美學演進。 《朝聖》 （1951年）表現了他從具象繪畫至 抽象藝術最開始的轉變，靈感來自保羅·克利的作品。 《無題》 （1956年） 是藝術家繼續探索抽象之路的作品，藝術家回到自己文化根源，重新整理 中國古代青銅和甲骨文，成為淡藍色調中散佈的細小字形。趙無極1975年 至1995年間作品重返對傳統中國水墨的興趣，描繪高山流水，減少色彩， 抽象山水在空白背景中以純熟筆觸成就。雖然藝術家保持其抽象畫風， 兩幅作品表達出其對水墨美學的本質與從容的強調。趙無極對空間的 處理更為敏感，隨著自己的身體動作構成畫面之構圖。在其藝術生涯中， 趙無極不斷把自己根源文化與其在西方的歷練相互融會貫通，此系列 紙本作品彰顯他在精神上創作之細膩，以西方抽象手法表達傳統中國 山水。本次上拍的四幅早期作品不無啟示了藝術家後期專一鑽研水墨的 藝術之路。
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‘Even with this thick brush, he says, you can still capture fneness. It all comes together on the paper. It is impossible to amend: you can only add, but you cannot remove.’ Adapted from Bernard Noël, ‘Le Vide et l’Encre’ — (‘Void and Ink’)
Zao Wou-Ki, Photo by Serge Lansac, 1981 趙無極， 1981年
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Property from an Important Private Asian Collection
37. Zao Wou-Ki
1920-2013
Untitled signed and dated ‘Wou-Ki [in Chinese] ZAO 56’ lower right watercolour on paper 40.5 x 33 cm. (15 7/8 x 12 7/8 in.) Executed in 1956, this work is accompanied by a certifcate of authenticity signed by Françoise Marquet. Provenance Six Century Print Room, Toronto Private Collection, Toronto (acquired from the above in mid 1960s) de Sarthe Gallery, Hong Kong Acquired from the above by the present owner Exhibited Hong Kong, de Sarthe Gallery, Zao Wou-Ki: Ink and Watercolor, 12 March - 18 April 2015, p. 17 (illustrated) New York, Asia Society Museum; Waterville, Colby College Museum of Art, No Limits: Zao Wou-Ki, 9 September 2016 - 4 June 2017, pl. 41, p.153 (illustrated)
重要亞洲私人收藏
趙無極 《無題》 水彩 紙本 1956年作，並附Françoise Marquet簽署之保證書。 款識：無極 ZAO 56 (右下) 來源 多倫多，六世紀打印室 多倫多私人收藏（於60年代中葉購自上述來源) 香港，德薩畫廊 現藏者購自上述來源 展覽 香港，德薩畫廊， 《趙無極：水墨與水彩》， 2015年3月12日-4月18日，第17頁 (圖版) 紐約，亞洲協會博物館；沃特維爾，科爾比學院藝術博物館； 《無極：趙無極》 ，2016年9月9日-6月4日，圖版編號41， 第153頁 (圖版)
HK$ 1,300,000-1,800,000 US$ 167,000-231,000
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Property from an Important Private Asian Collection
38. Zao Wou-Ki
1920-2013
Untitled signed and dated ‘Wou-Ki [in Chinese] ZAO 51’ lower right ink and watercolour on paper 30 x 22.5 cm. (11 3/4 x 8 7/8 in.) Executed in 1951, this work is accompanied by a certifcate of authenticity issued by the Fondation Zao Wou-Ki. Provenance Private Collection Sotheby’s, Hong Kong, 7 April 2007, lot 15 Private Collection, Asia Christie’s, Hong Kong, 29 November 2015, lot 452 Private Collection, Asia Acquired from the above by the present owner
重要亞洲私人收藏
趙無極 《無題》 水墨 水彩 紙本 1951年作，並附趙無極基金會所發之保證書。 款識：無極 ZAO 51 (右下) 來源 私人收藏 香港，蘇富比，2007年4月7日，拍品編號15 亞洲私人收藏 香港，佳士得，2015年11月29日，拍品編號452 私人收藏 現藏者購自上述來源
HK$ 600,000-800,000 US$ 76,900-103,000
Works from an Important Private Asian Collection 重要亞洲私人收藏
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Property from an Important Private Asian Collection
39. Zao Wou-Ki
1920-2013
Untitled signed and dated ‘Wou-Ki [in Chinese] ZAO 75’ lower right India ink and ink wash on paper 33.5 x 45.5 cm. (13 1/4 x 17 7/8 in.) Executed in 1975, this work is accompanied by a certifcate of authenticity issued by the Fondation Zao Wou-Ki. Provenance Private Collection, Boulogne (gifed directly by the artist in 1980) Christie’s, Paris, 3 December 2014, lot 222 Private Collection Acquired from the above by the present owner Exhibited Hong Kong, de Sarthe Gallery, Zao Wou-Ki: Ink and Watercolor, 12 March - 18 April 2015, p. 23 (illustrated)
重要亞洲私人收藏
趙無極 《無題》 印度墨 水墨 紙本 1975年作，並附趙無極基金會所發之保證書。 款識：無極 ZAO 75 (右下) 來源 布洛涅私人收藏（於1980年直接得自藝術家本人） 巴黎, 佳士得, 2014年12月3日，拍品編號222 私人收藏 現藏者購自上述來源 展覽 香港，德薩畫廊， 《趙無極：水墨與水彩》 ， 2015年3月12日-4月18日，第23頁 (圖版)
HK$ 350,000-450,000 US$ 44,900-57,700
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Property from an Important Private Asian Collection
40. Zao Wou-Ki
1920-2013
Untitled signed, dated and dedicated ‘Wou-Ki [in Chinese] ZAO 95 To Claude and Pierre [in French]’ lower right ink on paper 65 x 63 cm. (25 5/8 x 24 3/4 in.) Executed in 1995, this work is accompanied by a certifcate of authenticity issued by the Fondation Zao Wou-Ki. Provenance Private Collection, Meudon Sotheby’s, Hong Kong, 6 October 2014, lot 5138 Private Collection Acquired from the above by the present owner Exhibited Hong Kong, de Sarthe Gallery, Zao Wou-Ki: Ink and Watercolor, 12 March - 18 April 2015, p. 39 (illustrated)
重要亞洲私人收藏
趙無極 《無題》 水墨 紙本 1995年作，並附趙無極基金會所發之保證書。 款識：無極 ZAO 95 獻給 Claude 與 Pierre (法文) (右下) 來源 默冬私人收藏 香港，蘇富比，2014年10月6日，拍品編號5138 私人收藏 現藏者購自上述來源 展覽 香港，德薩畫廊， 《趙無極：水墨與水彩》 ， 2015年3月12日-4月18日，第39頁 (圖版)
HK$ 650,000-850,000 US$ 83,300-109,000 Works from an Important Private Asian Collection 重要亞洲私人收藏
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41. Léonard-Tsuguharu Foujita
1886-1968
Le mépris signed ‘Foujita’ lower right graphite on vellum 23 x 16.4 cm. (9 x 6 1/ 2 in.) Executed circa 1958, this work is accompanied by a certifcate of authenticity issued by Sylvie Buisson. Provenance Private Collection Succession Kimiyo Foujita, Cornette de Saint Cyr, Paris, 9 December 2013, lot 375 Acquired at the above sale by the present owner
藤田嗣治 《鄙視》 石墨 牛皮紙 約1958年作，並附Sylvie Buisson所發之保證書。 款識：Foujita（右下） 來源 私人收藏 〈藤田君代舊藏〉巴黎，Cornette de Saint Cyr， 2013年12月9日，拍品編號375 現藏者購自上述拍賣
HK$ 40,000-60,000 US$ 5,100-7,700
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42. Léonard-Tsuguharu Foujita
1886-1968
Untitled signed, dated and inscribed ‘Tsuguharu [in Kanji] Foujita 1939 Paris’ upper right gouache on card 27 x 24 cm. (10 5/8 x 9 1/ 2 in.) Executed in 1939, this work is accompanied by a certifcate of authenticity issued by Sylvie Buisson. Provenance Private Collection, Cologne Acquired from the above by the present owner
藤田嗣治 《無題》 水粉 卡紙 1939年作，並附Sylvie Buisson所發之保證書。 款識：嗣治 Foujita 1939 Paris（右上） 來源 科隆私人收藏 現藏者購自上述來源
HK$ 200,000-300,000 US$ 25,600-38,500
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43. Lê Ph
1907-2001
La Maternité signed ‘Le Pho [in Chinese and English]’ lower right oil on canvas 65.4 x 81 cm. (25 3/4 x 31 7/8 in.) Painted in 1968. Provenance Ethel Lob Loeb Laib Henry Loab III (thence by descent in 1969) Neal Auction Company, New Orleans, 4 September 2016, lot 49 Acquired at the above sale by the present owner
黎譜 《母親》 油畫 畫布 1968年作 款識: 黎譜 Le Pho (右下) 來源 Ethel Lob Loeb Laib收藏 Henry Loab III (於1969年由上述藏家家屬繼承作品) Neal Auction Company，新奧爾良，2016年9月4日，拍品編號49 現藏者購自上述拍賣
HK$ 250,000-350,000 US$ 32,100-44,900
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44. Lê Ph
1907-2001
Les tulipes rouges et les feurs de pommier (Red Tulips and Apple Blossoms) signed ‘Le Pho [in Chinese and English]’ lower lef ink, colour and oil on silk 71.8 x 48.8 cm. (28 1/4 x 19 1/4 in.) Provenance Galerie Romanet, Paris Private Collection, Paris Claude Aguttes, Paris, 16 December 2016, lot 7 Acquired at the above sale by the present owner
黎譜 《紅色鬱金香與蘋果花》 彩墨 油彩 絹本 款識: 黎譜 Le Pho (左下) 來源 巴黎，Romanet畫廊 巴黎私人收藏 巴黎，Claude Aguttes，2016年12月16日，拍品編號7 現藏者購自上述拍賣
HK$ 120,000-180,000 US$ 15,400-23,100
45. Vu Cao Dam
1908-2000
Maternité signed and dated ‘Vu Cao Dam ‘61’ lower right oil on canvas 54.4 x 45.6 cm. (21 3/8 x 17 7/8 in.) Painted in 1961. Provenance Claude Aguttes, Paris, 24 October 2016, lot 7 Acquired at the above sale by the present owner
武高談 《母道》 油畫 畫布 1961年作 款識: Vu Cao Dam ’ 61 (右下) 來源 巴黎，Claude Aguttes，2016年10月24日，拍品編號7 現藏者購自上述拍賣
HK$ 70,000-90,000 US$ 9,000-11,500
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46. Mai Trung Thú’
1906-1980
Le thé (Tea) signed and dated ‘MAI THU 1962[in Chinese]’ with one seal of the artist, upper lef ink and colour on silk 40.5 x 27.5 cm. (15 7/8 x 10 7/8 in.) Executed in 1962. Provenance Claude Aguttes, Paris, 24 October 2016, lot 7 Acquired at the above sale by the present owner
梅忠恕 《茶》 彩墨 絹本 1962年作 款識: MAI THU 六十二年 (左上) 藝術家鈐印一枚 (左上) 來源 巴黎，Claude Aguttes，2016年10月24日，拍品編號7 現藏者購自上述拍賣
HK$ 180,000-280,000 US$ 23,100-35,900
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47. Mai Trung Thú’
1906-1980
Jeune femme à la feur (Young lady with a fower) signed and dated ‘MAI THU 1954 [in Chinese]’ with one seal of the artist, lower lef gouache on silk 45.6 x 30.2 cm. (17 7/8 x 11 7/8 in.) Executed in 1954. Provenance Guillaume Le Floc’h, Paris, 8 October 2017, lot 67 Acquired at the above sale by the present owner
梅忠恕 《手持花仕女》 水粉 絹本 1954年作 款識: MAI THU 五十四年 (左下) 藝術家鈐印一枚 (左下) 來源 巴黎，Guillaume Le Floc’ h，2017年10月8日，拍品編號67 現藏者購自上述拍賣
HK$ 200,000-300,000 US$ 25,600-38,500
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Property from an Important Contemporary Southeast Asian Collection
重要東南亞當代藝術收藏
Years of travel, research and engagement in the Southeast Asian art scene have enabled this collecting couple to amass a rich collection of contemporary art by of some of the most prominent and promising artists practicing in Indonesia, Phillipines, Singapore and Cambodia today. Featured across several auction seasons at Phillips Hong Kong, this collection provides a visual overview of the bourgeoning art practices in the region, a category of art that is otherwise difcult to fully capture due to its ethnic, religious, social and cultural diversity.
在東南亞地區多年的旅行、對東南亞藝術界的鑽研和參與，讓這對收藏家 夫婦的手上匯集了一批當今印尼、菲律賓、新加坡和柬埔寨最傑出和最有 前途的藝術家的作品。這個藝術類別由於種族、宗教、社會和文化等方面 的多樣性而通常難以一窺全面，富藝斯香港在幾個拍賣季所呈現的這個 精選系列為該地區蓬勃發展的藝術實踐提供了一次視覺上的概覽。
Seeking to reinvent the language of the past, contemporary artists of Southeast Asia attempt to break free from the boundaries of their respective art histories. In the example of Filipino artist Jigger Cruz’s work, he reworks the stylistic characteristics and formal concerns of classical painting, resulting in works that seemingly explode beyond the constraints of their canvases. Indonesian artists Entang Wiharso and Arin Dwihartanto Sunaryo, and Cambodian artist Sopheap Pich seek to answer the question of re-invention through their signature use of medium. While Entang’s distinctive use of metals in his relief-form works alludes to the skilled crafsmanship characteristic of traditional art forms, Sopheap works with local materials such as bamboo, rattan, burlap and earth pigments to produce abstract geometric structures. Both artists address the nature of art-making as well as current socio-political issues or history of their nation. Arin embraces new technologies with innovative use of industrial methods such as pigmented resin to create works in the aesthetic heroism of Abstract Expressionism.
為了重塑過去的語言，東南亞當代藝術家試圖打破各自所在的藝術史界 線。以菲律賓藝術家吉格·克魯斯（Jigger Cruz）的作品為例，他重塑了 古典繪畫的風格特徵並打破形式上的牽絆，創作衝出畫布本身限制的 作品。印尼藝術家恩唐·维哈尔索（Entang Wiharso）和艾林·迪維哈 坦托·蘇納里奧（Arin Dwihartanto Sunaryo）、柬埔寨藝術家索菲普· 皮奇（Sopheap Pich）則通過他們各自標誌性的媒介嘗試探索如何重新 創造。恩唐在其浮雕式的作品中對金屬的獨特使用顯示了傳統藝術形式的 熟練工藝特徵，索菲普則使用竹子、藤條、粗麻布和礦物顏料等當地材料 來製作抽象幾何形狀之構造。兩位藝術家都在作品中探討對藝術創作的 本質以及他們各自國家的社會政治現狀、抑或是歷史。艾林大力採用新 的技術，例如使用有色樹脂等工業上的創新方法來創作抽象表現主義美學 的作品。 菲律賓藝術家奧佛雷多、伊莎貝爾·阿奎禮贊（Alfredo and Isabel Aquilizan）不斷地探索社區概念的持續價值。作為一對藝術家夫婦， 阿奎禮贊（Aquilizan）表現出了一種用歸屬感所彌補的收藏本能， 而瑪莉娜·克魯斯（Marina Cruz）的塗繪連衣裙則突出了關係親近的 家庭中幾代人之間的緊密紐帶聯繫。在這些繪畫作品中，東南亞藝術家 在集體概念中探討親密關係，不論是在家庭範疇還是民族範疇上， 對於一個全球化的技術世界來說，都是極為罕見的一面。
Filipino artists Alfredo & Isabel Aquilizan, and Marina Cruz have continually 新的全球視角和靈感啟發都讓東南亞藝術家有機會在藝術創作中去 explored the valued continuum that proceeds from a sense of community. 突出他們的概念化理念，例如專注於藝術本身的物質性的谷口瑪麗亞 As an artist couple, the Aquilizans demonstrate an instinct for collecting, （Maria Taniguchi） ，經常產出主題辨識性模糊的巨型作品；體現了 mended by a sense of belonging, whilst Marina Cruz’s painted dresses 繪製圖像之間或者構造物件之間難以區分的過程。 highlight close family ties among succeeding generations. Through these paintings, Southeast Asian artists embrace the intimate within 東南亞當代藝術家不僅成功地對創造力的刺激做出反應，而且作為一個 the collective, whether kin or nation, a rare aspect in a world of 整體亦投身於創造他們自身能量的來源。這些藝術家基於各自獨特民族 globalising technologies. 傳統與文化身份之上創造出了鮮明的藝術語言，同時也維持了社會組織 的進化發展，從而加強該地區的生態系統。 New global perspectives and inspirations have allowed Southeast artists to highlight their conceptual beliefs in art-making, such as Maria Taniguchi, who concentrates on the materiality of art itself, ofen resulting in massive pieces with no discernable subject matter; that highlights the indistinguishable processes between painted images or constructed objects. Contemporary Southeast Asian artists have succeeded in not only reacting to creative stimuli, but also as a whole have become invested in creating their own sources of vitality. These artists create distinctive artistic languages founded upon tradition and cultural identities unique to each nation, while maintaining the very social tissue that evolves to strengthen the ecosystem of the region.
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Property from an Important Contemporary Southeast Asian Collection
48. Jiger Cruz
b. 1984
Untitled signed and dated ‘JIGGER 14’ lower right oil on canvas 80.4 x 63.2 cm. (31 5/8 x 24 7/8 in.) Painted in 2014. Provenance Acquired directly from the artist by the present owner Literature Matthias Arndt ed., Jigger Cruz, Berlin, 2015, pp. 76, 97 (illustrated, p. 76)
重要東南亞當代藝術收藏
吉格．克魯斯 《無題》 油畫 畫布 2014年作 款識：JIGGER 14（右下） 來源 現藏者直接購自藝術家本人 出版 Matthias Arndt 編,〈吉格·克魯斯〉，柏林，2015年， 第76、97頁 (第76頁圖版)
HK$ 150,000-200,000 US$ 19,200-25,600
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Property from an Important Contemporary Southeast Asian Collection
49. Arin Dwihartanto Sunaryo
1978
We are Having a Blast signed and dated ‘Arin Dwihartanto Sunaryo 2014’; further signed and dated ‘DwiSunaryo ARIN ‘14’ on the reverse pigmented resin on digital print mounted on stainless steel panel 184.1 x 143.2 x 6.1 cm. (72 1/ 2 x 56 3/8 x 2 3/8 in.) Executed in 2015. Provenance Private Collection (acquired directly from the artist) Acquired from the above by the present owner in 2015
重要東南亞當代藝術收藏
艾林．迪維哈坦托．蘇納里奧 《我們很開心》 顏料 樹脂 數碼印刷 裱於不銹鋼面板 2015年作 款識：Arin Dwihartanto Sunaryo 2014; DwiSunaryo ARIN‘14 (畫背) 來源 私人收藏 (直接購自藝術家本人) 現藏者於2015年購自上述來源
HK$ 200,000-400,000 US$ 25,600-51,300 Property from an Important Contemporary Southeast Asian Collection 重要東南亞當代藝術收藏
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Property from an Important Contemporary Southeast Asian Collection
50. Sopheap Pich
1971
Memory bamboo, rattan, wire, burlap, plastics, beeswax, damar crystal 149.8 x 171.1 x 10.6 cm. (58 7/8 x 67 3/8 x 4 1/8 in.) Executed in 2016. Provenance H Gallery, Bangkok Acquired from the above by the present owner Exhibited Bangkok, H Gallery, Sopheap Pich: Elemental, 1 December 2016 - 29 January 2017
重要東南亞當代藝術收藏
索菲普．皮奇 《記憶》 竹 藤 鐵絲 粗麻布 塑料 蜂蠟 達瑪水晶 2016年作 來源 曼谷，H畫廊 現藏者購自上述來源 展覽 曼谷，H畫廊， 〈索菲普·皮奇：元素〉， 2016年12月1日 - 2017年1月29日
HK$ 200,000-300,000 US$ 25,600-38,500
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Property from an Important Contemporary Southeast Asian Collection
51. Rodel Tapaya
重要東南亞當代藝術收藏
羅德爾．塔帕雅
1980
《保護森林》 壓克力 畫布 錫片框架 2013年作 款識：Tapaya 2013（左下）
Protection in the Forest signed ‘Tapaya 2013’ lower lef acrylic on canvas, framed with engraved tin sheet 167 x 137 cm. (65 3/4 x 53 7/8 in.) Executed in 2013.
來源 現藏者直接購自藝術家本人
Provenance Acquired directly from the artist by the present owner Exhibited Manila, Ateneo Art Gallery, Bato-Balani, 21 January - 15 May 2014
展覽 馬尼拉，Ateneo畫廊， 〈Bato-Balani〉 ， 2014年1月21日 - 5月15日
HK$ 280,000-380,000 US$ 35,900-48,700
Property from an Important Contemporary Southeast Asian Collection 重要東南亞當代藝術收藏
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Property from an Important Contemporary Southeast Asian Collection
52. Marina Cruz
1982
Whites and Blues Torn and Mended by Dragonfies signed and dated ‘MARINA 2016’ lower right oil on canvas 122.5 x 91.2 cm. (48 1/4 x 35 7/8 in.) Painted in 2016. Provenance A3, Berlin Acquired from the above by the present owner Exhibited Berlin, A3, Marina Cruz: Mend and Amends, 25 November 2016 – 3 March 2017 Berlin, A3, No Image, 27 January – 21 April 2017
重要東南亞當代藝術收藏
瑪莉娜．克魯斯 《被蜻蜓撕裂和修復的白與藍》 油畫 畫布 2016年作 款識：MARINA 2016（右下） 來源 柏林，A3 現藏者購自上述來源 展覽 柏林，A3， 〈瑪莉娜·克魯斯: 修補和修正〉， 2016年11月25日-2017年3月3日 柏林，A3， 〈無圖像〉， 2017年1月27日-4月21日
HK$ 60,000-90,000 US$ 7,700-11,500
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Property from an Important Contemporary Southeast Asian Collection
53. Alfredo & Isabel Aquilizan
1962 & 1965
Landscape Painting 2 (s2370) oil on canvas, picture frames 184.6 x 189.2 cm. (72 5/8 x 74 1/ 2 in.) Executed in 2010. Provenance Rossi & Rossi, London Acquired from the above by the present owner in 2010 Exhibited London, Rossi & Rossi, Stories of Dreams and Realities, 10 June - 23 July 2011, pp. 19-21 (illustrated) Singapore, ARNDT, Land, Landscape, and Utopia, 29 March - 13 May 2017
重要東南亞當代藝術收藏
艾佛雷多與伊莎貝爾．阿奎禮贊 《山水畫 2號 (s2370)》 油畫 畫布 相框 2010年作 來源 倫敦，Rossi & Rossi 現藏者於2010年購自上述來源 展覽 倫敦，Rossi & Rossi， 〈夢想與現實的故事〉 ， 2011年6月10日-7月23日，第19-21頁 (圖版) 新加坡，ARNDT， 〈土地、景觀、與烏托邦〉 ， 2017年3月29日-5月13日
HK$ 80,000-150,000 US$ 10,300-19,200 Property from an Important Contemporary Southeast Asian Collection 重要東南亞當代藝術收藏
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Property from an Important Contemporary Southeast Asian Collection
54. Maria Taniguchi
1981
US Letter Painting #26 signed and dated ‘MARIA TANIGUCHI 2014’ on the reverse acrylic on linen 55.8 x 40.5 cm. (21 7/8 x 15 7/8 in.) Painted in 2014. Provenance Exit Gallery, Hong Kong Acquired from the above by the present owner in 2014
重要東南亞當代藝術收藏
谷口．瑪麗亞 《美國字母畫26號》 壓克力 麻布 2014年作 款識：MARIA TANIGUCHI 2014（畫背） 來源 香港，安全口畫廊 現藏者於2014年購自上述來源
HK$ 35,000-55,000 US$ 4,500-7,100
Property from an Important Contemporary Southeast Asian Collection
55. Genevieve Chua
1984
Two works: (i) Edge Control #8, Slalom; (ii) Edge Control #9, Seated Nude each signed ‘g. 2016’ on the reverse acrylic on linen Edge Control #8, Slalom: 60.1 x 42.5 cm. (23 5/8 x 16 3/4 in.) Edge Control #9, Seated Nude: 60.4 x 42.5 cm. (23 3/4 x 16 3/4 in.) Painted in 2016. Provenance Silverlens, Manila (acquired directly from the artist in 2017) Acquired from the above by the present owner
重要東南亞當代藝術收藏
蔡艾芳 兩件作品: (i)《邊緣控制8號 - 激流迴旋》; (ii)《邊緣控制 9號 - 裸女坐姿》 壓克力 麻布 2016年作 款識：g. 2016（兩件作品均簽於畫背） 來源 馬尼拉，Silverlens畫廊（於2017年直接購自藝術家本人） 現藏者購自上述來源
HK$ 40,000-60,000 US$ 5,100-7,700
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Property from an Important Contemporary Southeast Asian Collection
56. Entang Wiharso
1967
The Untold Stories #3 signed, dated and initialled ‘EW Entang Wiharso ‘2011’ bottom lef aluminium cast 118.2 x 78.2 cm. (46 1/ 2 x 30 3/4 in.) Executed in 2011, this work is number 1 of an edition of 2 with 1 artist proof. Provenance Acquired directly from the artist in 2012 by the present owner Exhibited Istanbul, Dirimart, Untold Stories, 8 October - 7 November 2015
重要東南亞當代藝術收藏
安談．威華索 《不為人知的故事3號》 鋁鑄件 2011年作，共有2版和1版藝術家試作版，此為第1版。 款識：EW Entang Wiharso‘2011（左下） 來源 現藏者於2012年直接購自藝術家本人 展覽 伊斯坦堡，Dirimart 畫廊， 〈不為人知的故事〉， 2015年10月8日 - 11月7日
HK$ 80,000-100,000 US$ 10,300-12,800
Property from an Important Contemporary Southeast Asian Collection 重要東南亞當代藝術收藏
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57. Christine Ay Tjoe
b. 1973
Alter Idem II signed and dated ‘Christine ‘03’ lower right; further signed, titled, dated and inscribed ‘A. Christine “Ater Idem 2” 40 x 58 CM 2003’ on the reverse gouache and pencil on paper 57.8 x 40.1 cm. (22 3/4 x 15 3/4 in.) Executed in 2003. Provenance Acquired directly from the artist by the present owner
克裡絲汀．艾珠 《其他 II》 水粉 鉛筆 紙本 2003年作 款識：Christine‘03（右下）； A. Christine《Ater Idem 2》40 x 58 CM 2003（畫背） 來源 現藏者直接購自藝術家本人
HK$ 80,000-120,000 US$ 10,300-15,400
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58. T’ang Haywen
1927-1991
Untitled (diptych) signed ‘Tang Haywen [in Chinese]’ lower right ink on Arches paper 70 x 100 cm. (27 1/ 2 x 39 3/8 in.) Executed circa 1985, this work will be included in the forthcoming catalogue raisonné of T’ang Haywen now in preparation by T’ang Haywen Archives and Mr. Philippe Koutouzis under the number: LDI-KW-31. Provenance Private Collection, Europe Sotheby’s, Hong Kong, 6 October 2013, lot 518 Acquired at the above sale by the present owner
曾海文 《無題（雙聯作）》 水墨 Arches紙本 款識：Tang 海文（右下） 約1985年作，此作品將收錄於由曾海文檔案庫 及古獨奇先生正在編輯的《曾海文作品全集》 當中，編號為 LDI-KW-31。 來源 歐洲私人收藏 香港，蘇富比，2013年10月6日，拍品編號518 現藏者購自上述拍賣
HK$ 50,000-70,000 US$ 6,400-9,000
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59. Lee Ufan
b. 1936
From Line No.790132 signed and dated ‘L. UFAN 79’ bottom right; further signed, titled and dated “From line No. 790132” Lee ufan’ on the reverse mixed media on canvas 72.8 x 60.6 cm. (28 5/8 x 23 7/8 in.) Executed in 1979. Provenance Private Collection, Asia Beijing Council International Auction Co. Ltd., Beijing, 4 December 2017, Lot 3891 Acquired at the above sale by the present owner
李禹煥 《從線 – 790132號》 綜合媒材 畫布 1979年作 款識：L. UFAN（右下） ； 《From line No. 790132》Lee ufan（畫背） 來源 亞洲私人收藏 北京，北京匡時國際拍賣有限公司，2017年12月4日，拍品編號3891 現藏者購自上述拍賣
HK$ 1,200,000-2,200,000 US$ 154,000-282,000
From Line No.790132 was created in 1978 when Lee Ufan was balancing his time between Paris and Japan. Twenty singular strokes of blue paint adorn the canvas, and consecutive movements of cobalt blue brushstrokes in varying thicknesses gradually thins to a whisper towards the base of the work. This painting is part of a multi-canvas series From Line (1973-1984), characterised by cascading vertical strokes of paint. The ritualistic process of creating From Line No.790132 requires absolute concentration as Lee places the canvas horizontally on the foor, before painting long even strokes that fade into nothingness, all the whilst calming his breathing and controlling his bodily stance. This meditative state is translated to the viewers of the painting as they are invited to consciously experience time, and retrace Lee’s artistic process through the observation of repetitive brushstrokes as physical records of time’s perpetual passage. As a Korean born artist who moved to Japan at the age of nineteen, Lee is a leading proponent of the Japanese Mono-ha movement, translated as “School of Things.” Mono-ha rejected Western notions of representation and arranged natural matter with minimal artistic intervention, demanding patience and refection – both of which encompasses Lee’s artistic process.
《從線 – 790132號》創作於1978年當李禹煥正平均地在巴黎和日本 兩地之間居住的時期。運用二十個單筆的藍色線條來點綴畫布， 其連續筆畫的鈷藍色沿著畫布由深至淺下移至畫布底端。這幅作品 是李禹煥的著名作品《從線》系列（1973-1984）之一，其特點是 層疊垂直的筆畫。 《從線 – 790132號》的儀式性創作過程需要絕對的精神集中， 李禹煥將畫布水平放置在地板上，在繪製綿長、均勻，最終淡化為 虛無的筆觸之前，必須平靜他的呼吸並控制他的身體姿勢。這種 冥想狀態被轉移到作品的觀者面前，彷彿他們被邀請去有意識地 體驗時間，並通過觀察代表著時間永恆長河之物質紀錄的重複 筆觸，來追溯李禹煥的藝術創作過程。 作為一名出生於韓國、於19歲移居日本的藝術家，李禹煥是 日本「物派」運動的主要核心人物。 「物派」摒棄西方的象徵理念， 專注於表現原材料本身的物質，而將藝術性的干預減到最小， 創過過程要求極大的耐心和反思－兩者均體現在李禹煥的作品中。 李禹煥用自然礦物顏料與動物皮膠結合製作了他自己的標誌性的 鈷藍顏料，用來創作該系列作品。對於原始礦物材料的強調和單一 色調的連續應用，可以追溯到「物派」中材料的參與性和對其本質 探索的理論。作品《從線 – 790132號》中的簡約性的價值不容 忽視，因為每一條層疊的線中都具有其深度所在，而在逐漸消散的 藍色則強調了無限這一概念。
For this series, Lee made his own signature cobalt blue paint from a concoction of ground mineral pigment and animalskin glue. The emphasis on the raw mineral colour and application of one single hue in succession harks back to Monoha’s theory of engaging with materials and exploring their properties. The value of simplicity in From Line No.790132 cannot be overlooked as there is depth to each individual cascading line, the concept of infnity emphasised by its dissipating rich blue hues.
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60. Lee Ufan
b. 1936
From Point No. 800115 signed and dated ‘L. UFAN 80’ lower right; further signed and titled “From Point 800115” Lee ufan’ on the reverse mineral pigment on canvas 23.4 x 32.8 cm. (9 1/4 x 12 7/8 in.) Executed in 1980. Provenance Est-Ouest Auctions Co. Ltd, Hong Kong, 26 November 2010, lot 67 Acquired at the above sale by the present owner
李禹煥 《從點 – 800115號》 礦物顏料 畫布 1980年作 款識：L. UFAN 80（右下）； 《From Point 800115》 Lee ufan（畫背） 來源 香港，伊斯特，2010年11月26日，拍品編號67 現藏者購自上述拍賣
HK$ 400,000-600,000 US$ 51,300-76,900
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61. Lee Ufan
b. 1936
With Winds signed dated ‘L. Ufan ‘91’ lower right oil on canvas 73.5 x 91.3 cm. (28 7/8 x 35 7/8 in.) Painted in 1991, this work is registered in the Archivio della Galleria Lorenzelli, Milano, under no. 071243. Provenance Private Collection, Bassano (acquired in the late 1990’s) Acquired from the above by the present owner Literature Lee Ufan: With Winds ‘91, exh. cat., Lorenzelli Arte, Milano, 1991, no. 3 (illustrated)
李禹煥 《與風》 油畫 畫布 1991年作,此作品以編號071243登記於米蘭 Lorenzelli畫廊檔案。 款識：L. Ufan‘91 (右下) 來源 巴薩諾私人收藏 (購得於90年代後期) 現藏者購自上述來源 出版 〈李禹煥：與風‘91〉，展覽圖錄， Lorenzelli畫廊，米蘭，1991年，第3頁 (圖版)
HK$ 1,200,000-2,400,000 US$ 154,000-308,000
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62. Liu Wei
b. 1972
Colours No. 14 signed and dated ‘Liu Wei [in Chinese and Pinyin] 2012’ on the reverse oil on canvas 130 x 114.8 cm. (51 1/8 x 45 1/4 in.) Painted in 2012. Provenance Lehmann Maupin, New York Acquired from the above by the present owner
劉韡 《顏色 編號14》 油彩 畫布 2012年作 款識：劉韡 Liu Wei 2012 (畫背) 來源 紐約，立木畫廊 現藏者購自上述來源
HK$ 800,000-1,000,000 US$ 103,000-128,000
An abstract construction of monochrome grid-like patterns represents a modern Chinese city teeming with high-rise buildings—Colours No. 14 is a prime example from Liu Wei’s Colours series. The monochromatic scheme’s stillness forms a marked contrast to the exuberant colours used in the former series, Purple Air. Colours No. 14 through its horizontal bands and blocks of cool grey conveys a diferent perspective on Beijing’s intensive urbanisation. A cityscape constructed through layers of densely packed vertical and horizontal lines representing high rise buildings observed through a venetian blind allude to the recurring theme of architecture and urban life in Liu’s multifaceted practice. Liu explores this universal theme of humanity, utilising buildings and cities as the blueprint of human existence by investigating its environment and urbanisation in relation to society. This is an ultimate refection and embodiment of Liu’s experience of living in that environment. Liu’s working method consists of creating a digital design using a computer sofware to generate pixels and patterns. This is then realised onto canvas by his team of assistants in his studio who are given step by step instructions and supervised by Liu himself. Occasionally Liu embraces the organic process, choosing not to intervene and allowing for some improvisation as he prefers the slight imperfections that come from human hands. This procedure parallels his approach to art, where he maps out guideline but does not let himself become restricted by it during the artistic process.
由單色網格圖案構成的抽象結構代表了高層建築擁擠成 群的現代中國城市－《顏色 編號14》是劉韡的色彩系列中 的典範作品。單色調的沈靜與前一系列《紫氣》中使用的 眩目色彩形成鮮明對比。 《顏色 編號14》通過其水平條紋 和冷灰色塊來傳遞對北京的密集城市化的不同觀點， 從而來審視城市化在全球範圍內的影響。通過層層密集 的垂直和水平線條構成的城市景觀，代表了透過百葉窗 觀察到的高層建築，暗示了劉韡多方面藝術實踐中反覆 出現的建築和城市生活主題。劉韡探索人類面對的 這一普遍主題，通過利用建築和城市作為人類生存的 藍圖來探究環境和城市化過程與社會的關係。這是劉韡 見證了中國快速城市化進程後對其經歷的終極反映 和體現。 劉韡的創作手法包含使用電腦軟體創建數位化設計以 生成像素和圖案。然後在他本人一步步的指導和監督下， 由他工作室的助理團隊來將作品實現在畫布上。偶爾 劉韡會接受有機的創作過程，選擇不進行干預並允許 一些即興創作，因為他更喜歡出自人手的輕微瑕疵。 這個程序與他對藝術的實踐方式相似，他在制定了程式的 同時也並不讓自己在藝術創作的過程中完全被限定其中。 劉韡的作品享有盛譽，曾在第45屆和第46屆威尼斯 雙年展、巴黎的蓬皮杜藝術中心，以及紐約的大都會 藝術博物館展出。
Liu’s acclaimed works have been featured at the 45th and 46th Venice Biennale, and exhibited at the Pompidou Centre, Paris and The Metropolitan Museum of Art, New York.
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63. Liu Xiaodong
b. 1963
Boys in the bathhouse no. 5 signed and dated ‘Xiaodong [in Chinese] 00’ lower right acrylic on paper laid on canvas 137 x 137 cm. (53 7/8 x 53 7/8 in.) Executed in 2000. Provenance Private Collection Ravenel, Hong Kong, 30 May 2011, lot 43 Acquired at the above sale by the present owner Literature Song Xiaoxia, ed., Works of Liu Xiaodong 1990-2000, Beijing, 2000, p. 65 (illustrated) Jean Marc Decrop, ed., RedFlag Collection: Liu Xiaodong, Hong Kong, 2006, p. 66 (illustrated)
劉小東 《澡堂子之五》 壓克力 紙本 裱於畫布 2000年作 款識：小東 00 (右下) 來源 私人收藏 香港，羅芙奧，2011年5月30日，拍品編號43 現藏者購自上述拍賣 出版 宋曉霞編， 〈劉小東 1990-2000〉，北京，2000年， 第65頁 (圖版) Jean Marc Decrop編， 〈RedFlag收藏：劉小東〉， 香港，2006年，第66頁 (圖版)
HK$ 500,000-700,000 US$ 64,100-89,700
Liu Xiaodong is one of China’s foremost contemporary painters. As massive social, industrial, and geographical change came post-Cultural Revolution, so did a “New Generation” of fgurative painters aiming to combat the outdated aesthetics of Socialist-Realism. Liu Xiaodong uses Neo-Realism, ofen painting ‘en plein air’, as a means to focus on the ordinary world and present the realities of life in modern China. He paints with an interest in time, creating a documentary-like narrative around his subjects. Here, a typical Chinese bathhouse is depicted, its heat and steam captured in black and white. By cementing an everyday activity within the context of a rapidly evolving country, Liu gives it an implicit sense of value.
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劉小東是中國最重要的當代藝術家之一。隨著中國經歷 文革後在社會、工業和地理環境上的巨大變化，旨在推翻 已經過時的社會現實主義美學的「新一代」寫實畫家也隨之 到來。劉小東運用新現實主義，經常以戶外寫生的創作手 法將視角著眼於日常的世界，並展現當代中國的生活 現實。他的創作關注「時間」，以紀錄片式的敘事方式來 營造筆下的人物。在這件作品中，他描繪了一個典型的 中國式澡堂，並用黑白兩色將澡堂的霧氣繚繞捕捉其中。 通過以日常生活來影射一個迅速發展中之國家的大環境， 劉小東為這個日常活動賦予了其微妙的定義。
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64. Mao Yan
1968
Mona initialled and dated ‘MY 2007.2’ lower right oil on canvas 35.5 x 28.4 cm. (13 7/8 x 11 1/8 in.) Executed in February 2007. Provenance ChinaToday Gallery, Belgium Private Collection, the Netherlands Acquired from the above by the present owner
毛焰 《莫娜》 油畫 畫布 2007年2月作 款識：MY 2007.2 (右下) 來源 比利時，ChinaToday 畫廊 荷蘭私人收藏 現藏者購自上述來源
HK$ 300,000-500,000 US$ 38,500-64,100
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65. Liu Jianhua
b. 1962
Games signed ‘Liu Jianhua [in Chinese] 2002.11’ on the underside polychrome ceramic 39.5 x 28.2 x 14.3 cm. (15 1/ 2 x 11 1/8 x 5 5/8 in.) Executed in 2002. Provenance Christie’s, New York, 14 June 2017, lot 314 Acquired at the above sale by the present owner
劉建華 《嬉戲》 陶瓷 2002年作 款識: 劉建華 2002.11 (底部) 來源 紐約, 佳士得, 2017年6月14日，拍品編號314 現藏者購自上述拍賣
HK$ 60,000-80,000 US$ 7,700-10,300
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Property from the Locksley Shea Gallery
66. Wang Guangyi
b. 1957
Great Criticism: Disney signed and dated ‘2000 Wang Guang Yi [in Pinyin and Chinese]’ on the reverse oil on canvas 200.1 x 200.3 cm. (78 3/4 x 78 7/8 in.) Painted in 2000. Provenance Private Collection, Hong Kong Phillips, London, 28 February 2008, lot 203 Acquired at the above sale by the present owner Literature Karen Smith, Charles Merewether, Shanchun Yan, Li Xianting, Zhuan Huang and Lu Peng, Wang Guangyi, Hong Kong, 2002, p. 129 (illustrated) Wang Junyi, ed., Wang Guangyi’s Works and Thoughts - Collection of Criticisms and Interviews 1985 – 2015, Beijing, 2015, p. 347 (illustrated)
Locksley Shea 畫廊收藏
王廣義 《大批判系列：迪士尼》 油畫 畫布 2000年作 款識: 2000年 Wang Guang Yi 王廣義（畫背） 來源 香港私人收藏 倫敦，富藝斯，2008年2月28日，拍品編號203 現藏者購自上述拍賣 出版 凱倫·史密斯、Charles Merewether、嚴善錞、栗憲庭、黃專、呂澎編， 〈王廣義〉，香港，2002年，第129 (圖版) 王俊藝編， 〈王廣義的藝術與思想 - 批評與訪談文集 1985 - 2015〉， 北京，2015年，第347頁 (圖版)
HK$ 500,000-700,000 US$ 64,100-89,700
The amalgamation of Maoist-era propaganda and Westernstyle advertisement adorned with invented serial numbers is quintessential of Wang’s Great Criticism series. As the leader of the post-1989 New Art movement, Wang owes his label as the King of China’s Political-pop to his inspirations, Andy Warhol and Joseph Beuys. Warhol taught Wang that anything can be considered art, and Beuys showed Wang that art should be connected to the real world. On the surface level, Great Criticism: Disney alludes to Warhol’s pop icons however, upon closer inspection it is evident that Disney embodies a sophisticated merging of equation and acquisition, as well as socialism and consumerism. Three classical fgures of the revolution stand in unison as they dynamically raise their fsts in the air. The placement of Walt Disney’s logo in front of the bold and graphic image of the labourer, peasant, and soldier illustrates the juxtaposition of socialist propaganda by a logo representing Western commercial propaganda. This blurring of opposing ideological beliefs is an embodiment of Wang’s reaction towards the infux of Western luxury goods into the Chinese economy and the polemics of globalisation. By utilising red, white and black, Wang remained faithful to the typical colours used in woodcut agitprop posters, however he ofen interchanged the commercial brand logos, ranging from Coca Cola and Rolex to Gucci. The Disney logo was utilised against diferent subjects on numerous occasions throughout the series. The selected logos itself have little meaning and were chosen to represent commercialism and symbolise capitalism. The barcode and serial numbers on the other hand makes a reference to the standardisation of arrangement systems within materialism.
文革時代政治宣傳的樣板畫與西方式消費廣告、虛構的序列號 的融合是王廣義的《大批判》系列作品的精髓所在。作為後八九 中國新藝術運動的領軍人物，王廣義身上的「中國政治波普之王」 標籤得益於其靈感來源：安迪·沃荷與約瑟夫·博伊斯。沃荷教會 了王廣義「一切皆可視為藝術」，而博伊斯則為王廣義展現了藝術 必須與現實世界有所關聯的理念。從表層來看，在《大批判系列： 迪士尼》可以看到沃霍爾的波普標誌，然而仔細去看， 《迪斯尼》 則明顯體現了社會主義與消費主義的巧妙並置。 三個文革時期標誌性形象站立一排，各自在空中激昂地舉起一隻 拳安。沃爾特·迪斯尼的標誌出現在工人、農民和士兵醒目且 生動的形象前，將社會主義政治樣板畫與代表著西方消費主義 宣傳的符號並置在一處。而將兩種對立的意識形態信仰的模糊化, 則體現了王廣義對西方奢侈品湧入中國經濟和對全球化論證所 做出的反應。 為了秉承木刻宣傳畫中所使用的典型顏色，王廣義在作品中 採用了紅色、白色和黑色，然而從可口可樂和勞力士到古馳， 他經常在商業品牌標誌之間互換。迪斯尼標誌在整個系列中 多次被用於不同的主題。作品中所選擇的標誌本身沒有什麼意義, 僅僅代表著商業化，和象徵著資本主義。另一方面, 條形碼和 序列號則指向著物質主義中排列體系的標準化。 曾經是一名的红衛兵海報繪圖者，王廣義對社會主義樣板畫 的圖像極為熟識。 《大批判》系列為王廣義獲得了國際上的成功， 而作為該系列中一流代表作品的《迪士尼》，則在多年來已將 其水準完善到極致。
Wang became well acquainted with socialist propaganda imageries as a Red Guard poster painter. Over the years, he has perfected its aesthetic resulting in Disney, a prime example from the Great Criticism series that garnered him international success.
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67. Jiro Yoshihara
1905-1972
Circle signed ‘yoshihara’ lower right Indian ink on paper 27 x 37.3 cm. (10 5/8 x 14 5/8 in.) This work is accompanied by a registration card issued by the Japan Art Dealers Association. Provenance SBI Art Auction Co. Ltd, Tokyo, 22 April 2017, lot 172 Acquired at the above sale by the present owner
吉原治良 《圓》 印度墨 紙本 此作品附日本洋畫商協會之登記卡。 款識：yoshihara（右下） 來源 東京，SBI藝術拍賣，2017年4月22日，拍品編號172 現藏者購自上述拍賣
HK$ 120,000-180,000 US$ 15,400-23,100
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68. Kwon Young-Woo
1983
Untitled & Untitled mixed media on Korean paper (White) colour pigment on Korean Paper (Grey) each 116.5 x 92.5 cm. (45 7/8 x 36 3/8 in.) Executed in 1982. (White) Executed in 1984. (Grey) Both works are accompanied by a certifcate of authenticity signed by the estate of the artist issued by Blum & Poe Gallery. Provenance (Grey) Blum & Poe, Los Angeles Private Collection K AUCTION, Hong Kong, 28 November 2015, lot 41 Acquired at the above sale by the present owner (White) Blum & Poe, Los Angeles Private Collection K AUCTION, Hong Kong, 25 March 2016, lot 35 Acquired at the above sale by the present owner
權寧禹 《無題》與《無題》 綜合媒材 韓紙 (白色) 彩色顏料 韓紙 (灰色) 1982年作 (白色) 1984年作 (灰色) 此兩件作品各附 Blum & Poe 畫廊開具， 並由藝術家遺產管理委員會簽署之保證書。 來源 （灰色） 洛杉磯，Blum & Poe 畫廊 私人收藏 香港，韓國拍賣，2015年11月28日，拍品編號41 現藏者購自上述拍賣 （白色） 洛杉磯，Blum & Poe 畫廊 私人收藏 香港，韓國拍賣，2016年3月25日，拍品編號35 現藏者購自上述拍賣
HK$ 650,000-850,000 US$ 83,300-109,000
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69. Nobuyoshi Araki
b. 1940
Red Kimono signed ‘Nobuyoshi Araki’ on the reverse dye destruction print 60.3 x 75.6 cm. (23 3/4 x 29 3/4 in.) Executed circa 2004. Provenance Phillips, New York, 3 April 2013, lot 281 Acquired at the above sale by the present owner Literature Refex New Art Gallery, Kaori, Amsterdam, 2004, p. 98 (illustrated)
荒木經惟 《紅色和服》 染料分解沖印 約2004年作 款識：Nobuyoshi Araki (畫背) 來源 紐約，富藝斯，2013年4月3日，拍品編號281 現藏者購自上述拍賣 出版 Refex New Art 畫廊， 〈香織〉 ，阿姆斯特丹， 2004年，第98頁 (圖版)
HK$ 40,000-60,000 US$ 5,100-7,700
70. Andreas Gursky
b. 1955
Hong Kong, Hafen (Hong Kong Port) signed ‘A. Gursky’ on a gallery label afxed to the reverse chromogenic print mounted on Diasec image: 110 x 90.1 cm. (43 1/4 x 35 1/ 2 in.) sheet: 143.8 x 120.7 cm. (56 5/8 x 47 1/ 2 in.) Executed in 1994, this work is number 4 from an edition of 6. Provenance Galerie Monika Sprüth, Cologne Private Collection Christie’s New York, 11 November 2004, lot 392 Acquired at the above sale by the present owner Literature Uta Grosenick ed., Fotografen 1994-1998 Andreas Gursky, Wolfsburg, 1998, pp. 28-29 (illustrated)
安德烈亞斯．古爾斯基 《香港港口》 彩色沖印 玻璃鑲裱 1994年作，共有6版，此為第4版。 款識: A. Gursky (簽於畫背標籤) 來源 科隆，Monika Sprüth 畫廊 私人收藏 紐約，佳士得，2004年11月11日，拍品編號392 現藏者購自上述拍賣 出版 Uta Grosenick編， 〈 安德烈亞斯·古爾斯基：攝影 1994-1998年〉， 沃爾夫斯堡，1998年，第28-29頁(圖版)
HK$ 280,000-380,000 US$ 35,900-48,700
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71. Ma Sibo
b.1979
Zebra Crossing signed and dated ‘Ma Sibo [in Chinese and Pinyin] 2016’ on the reverse oil on canvas 150 x 130 cm. (59 x 51 1/8 in.) Painted in 2016. Provenance de Sarthe Gallery, Beijing Private Collection Acquired from the above by the present owner
馬思博 《斑馬線》 油畫 畫布 2016年作 款識：馬思博 Ma Sibo 2016 (畫背) 來源 北京, 德薩畫廊 私人收藏 現藏者購自上述來源
HK$ 100,000-150,000 US$ 12,800-19,200
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72. Tavares Strachan
b. 1979
You Belong Here (Blue) blocked-out neon glasswork 59.7 x 156.2 cm. (23 1/ 2 x 61 1/ 2 in.) Executed in 2012, this work is number 8 from an edition of 9. Provenance Anthony Meier Fine Arts, San Francisco Private Collection, New Zealand Acquired from the above by the present owner
塔瓦列斯·斯特拉坎 《你屬於這裡（藍色）》 霓虹燈 2012年作,共有9版，此作為第8版。 來源 三藩市, Anthony Meier Fine Arts 新西蘭私人收藏 現藏者購自上述來源
HK$ 120,000-220,000 US$ 15,400-28,200
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73. KAWS
b. 1974
COMPANION (KARIMOKU) stamped with the artist’s name, edition and fabricator “OriginalFake [in English and Japanese] KAWS..95/100” on the underside wood 27.4 x 12.7 x 6.5 cm. (10 3/4 x 5 x 2 1/ 2 in.) Executed in 2001, this work is number 95 from an edition of 100, and is accompanied by the original cardboard box from OriginalFake and a certifcate of authenticity issued by Gallery Target.
KAWS 《同伴 (KARIMOKU)》 木 2001年作，共有100版，此作品為第95版，並附OriginalFake原裝紙箱， 亦附Target畫廊開具之保證書。 款識：OriginalFake (英文及日文) KAWS..95/100（印於底部） 來源 東京，TARGET畫廊 現藏者購自上述來源
Provenance GALLERY TARGET, Tokyo Acquired from the above by the present owner
HK$ 120,000-180,000 US$ 15,400-23,100
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74. HxS Mecha Gorilla Ju signed and stamped with the artist’s name, date and fabricator ‘HxS 2018’ on the underside sculpture: bronze coated with verdigris pedestal: iron sculpture: 14.7 x 17.1 x 9.5 cm. (5 3/4 x 6 3/4 x 3 3/4 in.) pedestal: 15.1 x 18.5 x 18.5 cm. (5 7/8 x 7 1/4 x 7 1/4 in.) Executed in 2018 and made in Japan, this work is accompanied with a certifcate of authenticity issued by HS. Weight sculpture: 3.5 kg (8.7 lbs) pedestal: 1.0 kg (2.2 lbs) Provenance Megumi Ogita Gallery (acquired directly from the artist)
HxS 《機械猩猩獸》 雕塑: 銅 銅綠 座: 鐵 此作品於2018年製造於日本，並附HS所發之保證書。 款識：HxS 2018（印於底部） 來源 Megumi Ogita 畫廊 (直接購自藝術家本人)
HK$ 50,000-70,000 US$ 6,400-9,000
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75. HxS Brutal Mecha Gorilla Ju Z signed and stamped with the artist’s name, date and fabricator ‘HxS 2018’ on the underside painted sof vinyl 31.5 x 17.2 x 11.9 cm. (12 3/8 x 6 3/4 x 4 5/8 in.) Executed in 2018 and made in Japan, this work is accompanied with a certifcate of authenticity issued by HS. Provenance Megumi Ogita Gallery (acquired directly from the artist)
HxS 《殘暴機械猩猩獸 Z》 上色合成塑膠 此作品於2018年製造於日本，並附HS所發之保證書。 款識：HxS 2018（印於底部） 來源 Megumi Ogita 畫廊 (直接購自藝術家本人)
HK$ 30,000-50,000 US$ 3,800-6,400
76. HxS Mecha Gorilla Ju signed and stamped with the artist’s name, date and fabricator ‘HxS 2018’ on the underside painted sof vinyl sculpture: 23.5 x 17.9 x 12 cm. (9 1/4 x 7 x 4 3/4 in.) missile: 10.4 x 2.5 x 2.5 cm. (4 1/8 x 0 7/8 x 0 7/8 in.) Executed in 2018 and made in Japan, this work is accompanied with a certifcate of authenticity issued by HS. Provenance Megumi Ogita Gallery (acquired directly from the artist)
HxS 《機械猩猩獸》 上色合成塑膠 此作品於2018年製造於日本，並附HS所發之保證書。 款識：HxS 2018（印於底部） 來源 Megumi Ogita 畫廊 (直接購自藝術家本人)
HK$ 30,000-50,000 US$ 3,800-6,400
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77. Yoshitomo Nara
b. 1959
Sleepless Night (Sitting) mixed media 28.7 x 10.4 x 15.2 cm. (11 1/4 x 4 1/8 x 5 7/8 in.) Executed in 2007, this work is number 110 from an edition of 300, and is accompanied by a wooden certifcate of authenticity signed by the artist and published by How2work, Hong Kong, all contained in the original veneer-covered wood box. Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works Volume 1: Paintings, Sculptures, Editions, Photographs 1984-2010, Tokyo, 2011, no. E-2007-001, p. 314 (illustrated)
奈良美智 《失眠夜（坐姿） 》 綜合媒材 2007年作，共有300版，此作為第110版， 並附藝術家簽署與How2work 出版的木質保證書，及原裝木箱。 出版 Noriko Miyamura與Shinko Suzuki編， 〈奈良美智作品全集 1984-2010，第1集：油畫、雕塑、 限量版、照片作品〉，東京，2011年， 作品全集編號 E-2007-001，第314頁 (圖版)
© Yoshitomo Nara
HK$ 200,000-300,000 US$ 25,600-38,500
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78. KAWS x Hajime Sorayama NO FUTURE COMPANION (Silver Chrome) signed and numbered ‘KAWS..Sorayama 299/500’ on a metal OriginalFake label on the underside silver chrome coated metal 31.5 x 21.2 x 19.6 cm. (12 3/8 x 8 3/8 x 7 3/4 in.) Executed in 2008, this work is number 299 from an edition of 500. Provenance OriginalFake, Tokyo Acquired from the above by the present owner in 2010 Literature Monica Ramirez-Montagut, KAWS 1993-2010, New York, 2010, p. 234, (another example illustrated)
KAWS x 空山基 《沒有未來的伴侶（銀鉻） 》 銀鉻塗 金屬 2008年作，共有500版，此為第299版。 款識：KAWS..Sorayama 299/500 (底部鐵 OriginalFake 標籤） 來源 東京，OriginalFake 現藏者於2010年購自上述來源 出版 Monica Ramirez-Montagut著， 〈 KAWS 1993-2010〉 ，紐約， 2010年，第234頁 （同系列作品圖版）
HK$ 40,000-60,000 US$ 5,100-7,700
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79. KAWS
b. 1974
FOUR FOOT DISSECTED COMPANION (Grey) stamped ‘© KAWS..09’ on the underside painted cast vinyl 128.2 x 57 x 35 cm. (50 1/ 2 x 22 1/ 2 x 13 3/4 in.) Executed in 2009, this work is from an edition of 100 and is accompanied by an instruction manual with laser hologram sticker issued by OriginalFake. Provenance Private Collection, Tokyo Acquired from the above by the present owner in 2010
KAWS 《解剖同伴 (灰色)》 纖維強化塑膠 2009年作，共有100版，並附OriginalFake 之具激光貼紙的原廠說明卡。 款識：© KAWS..09 (底部) 來源 東京私人收藏 現藏者於2010年購自上述來源
HK$ 200,000-300,000 US$ 25,600-38,500
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80. KAWS
b. 1974
Three Works: RUNNING CHUM each signed, dated and numbered ‘KAWS.00 42/50’ lower right and lef respectively silkscreen on Arches paper each 69.5 x 56.4 cm. (27 3/8 x 22 1/4 in.) Executed in 2000, all three works are numbered 42 from an edition of 50. Provenance Artifcial Gallery, London Acquired from the above by the present owner in 2018.
KAWS 三件作品： 《奔跑的老友》 絲網印刷 Arches 紙本 2000年作，共有50版，此三件作品都為第42版。 款識：KAWS.00 42/50（每張左與右下） 來源 倫敦，Artifcial畫廊 現藏者於2018年購自上述來源
HK$ 100,000-150,000 US$ 12,800-19,200
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© YAYOI KUSAMA
Property from an Important Private Asian Collector
81. Yayoi Kusama
b. 1929
Pumpkin inscribed ‘1998 YAYOI KUSAMA’, further signed, dated and numbered ‘y. Kusama 1998 18/30’ on the underside fbre-reinforced plastic 13 x 13.5 x 9.8 cm. (5 1/8 x 5 3/8 x 3 7/8 in.) Executed in 1998, this work is number 18 from an edition of 30. Provenance Yodai Gallery, Osaka Acquired from the above by the present owner
重要亞洲私人收藏
草間彌生 《南瓜》 強化纖維塑料 1998年作，共有30版，此為第18版。 款識：1998 YAYOI KUSAMA; y. Kusama 1998 18/30（底部） 來源 大阪，澱畫廊 現藏者購自上述來源
HK$ 180,000-250,000 US$ 23,100-32,100
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82. Damien Hirst
b. 1965
Oleoylsarcosine signed ‘Damien Hirst’ lower right etching on paper 84 x 62 cm. (33 1/8 x 24 3/8 in.) Executed in 2008, this is from a series of 100 unique variants. Provenance Paragon Press, London Acquired from the above by the present owner in 2011
達明安．赫斯特 《油酰肌氨酸》 蝕刻 紙本 2008年作，此系列共有100版各自獨特的版本。 款識：Damien Hirst（右下） 來源 倫敦, Paragon Press 現藏者於2011年購自上述來源
HK$ 120,000-180,000 US$ 15,400-23,100
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©2007 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved Louis Vuitton Monogram property Louis Vuitton Monogram Multicolor-White US Copyright
83. Takashi Murakami
b. 1962
Louis Vuitton Monogram Multicolore - White signed ‘Murakami’ and further embossed with ‘©MURAKAMI The Museum of Contemporary Art Los Angeles 2007’ on the reverse screenprint canvas on chassis 40.5 x 40.3 cm. (15 7/8 x 15 7/8 in.) Executed in 2007, this work is number 50 from an edition of 100 and is accompanied by a certifcate of authenticity issued by Louis Vuitton and an original Louis Vuitton box. Provenance The Museum of Contemporary Art, Los Angeles Private Collection (acquired from the above) Sotheby’s, Hong Kong, 11 June 2015, lot 1039 Acquired at the above sale by the present owner
村上 隆 《路易威登 Monogram Multicolore - 白色》 絲網印刷 畫布 機殼 2007年作，共有100版，此作品為第50版， 並附路易·威登開立之作品保證書及原裝路易·威登紙盒。 款識：Murakami（簽於畫背）© MURAKAMI The Museum of Contemporary Art Los Angeles 2007 （印於畫背） 來源 洛杉磯當代藝術博物館 私人收藏（購自上述來源） 香港，蘇富比，2015年6月11日，拍品編號1039 現藏者購自上述拍賣
HK$ 50,000-70,000 US$ 6,400-9,000
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84. Gerhard Richter
b. 1932
Flow (P16) This facsimile object is unsigned and numbered 410/500 on the reverse, published by Heni Publishers, London. lacquer on glass mounted on Alu Dibond 100.2 x 200.3 cm. (39 1/ 2 x 78 7/8 in.) Executed in 2013, this work is number 410 from an edition of 500 plus 2 artist’s proofs. Provenance Fondation Beyeler, Basel Acquired from the above by the present owner
格哈特．里希特 《P16 流動》 亮漆 玻璃鑲於鋁合板 2013年作，共有500版及2版藝術家試作版，此作品為第410版， 並由倫敦，Heni Publishers 製作。 來源 巴塞爾，Beyeler基金會 現藏者購自上述來源
HK$ 70,000-90,000 US$ 9,000-11,500
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© YAYOI KUSAMA
85. Yayoi Kusama
b. 1929
Flowers (Kusama 309) signed, titled, dated and numbered ‘39/50 “FLOWERS” 2002 Yayoi Kusama’ lower lef and right respectively lithograph 51.6 x 36.2 cm. (20 3/8 x 14 1/4 in.) Executed in 2002, this work is number 39 from an edition of 50. Provenance SBI Art Auction Co. Ltd, Tokyo, 7 November 2015, lot 137 Acquired at the above sale by the present owner
草間彌生 《花（草間 309） 》 石版畫 2002年作，共有50版, 此作品為第39版。 款識：39/50《FLOWERS》2002 Yayoi Kusama（左與右下） 來源 東京，SBI藝術拍賣，2015年11月7日，拍品編號137 現藏者購自上述拍賣
HK$ 100,000-200,000 US$ 12,800-25,600
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Modern Design 現代設計
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∑
86. Finn Juhl
1912-1989
Two-seater sofa, model no. FJ 53 Brazilian rosewood, fabric, brass 73 x 127.5 x 77 cm (28 3/4 x 50 1/4 x 30 3/8 in.) Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Designed 1953, produced 1950s. Provenance Private Collection, Jutland, acquired 1960 Literature Niels Vodder: Møbler, Furniture, Möbel, Copenhagen, 1959, p. 13 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 271-72, 311 for the armchair version of the model Esbjørn Hiorth, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 58-59 for the armchair version of the model Noritsugu Oda, Danish Chairs, San Francisco, 1999, p. 98 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 101, 103 for the armchair version of the model
芬·祖爾 《雙座沙發》型號FJ 53 巴西黑黃檀木 布料 黃銅 此作品設計於1953年，並於1950年代由丹麥哥本哈根 木匠名師尼爾斯·弗德製造。 來源 日德蘭私人收藏（於1960年購得） 出版 〈尼爾斯·弗德家具〉 ，哥本哈根，1959年，第13頁 Grete Jalk 編， 〈丹麥家具藝術40年, 第3集: 1947-1956年〉， 哥本哈根，1987年， 第271-72、311頁 (此作品扶手椅版本) Esbjørn Hiorth 著， 〈芬·祖爾：家具、建築及應用藝術〉， 哥本哈根，1990年，第58-59頁 (此作品扶手椅版本) Noritsugu Oda 著， 〈丹麥椅子〉 ，三藩市，1999年，第98頁 Per H. Hansen 著， 〈芬·祖爾之家〉 ，奧斯特菲爾登，2014年， 第101、103 (此作品扶手椅版本)
HK$ 120,000-220,000 US$ 15,400-28,200
The present model sofa was executed by the Danish master cabinetmaker Niels Vodder for the ‘Copenhagen Cabinetmakers’ Guild’ in 1953. The sofa eloquently defnes its adherence to sculptural forms, much infuenced by Twentieth-Century European artists. Esbjørn Hiorth, who attended the Royal Academy of Fine Art’s School of Architecture at the same time as Juhl, observed the architect’s sophisticated curatorial approach to exhibitions in his biography stating: ‘it is obvious that he was highly infuenced by contemporary sculpture. He himself emphasised this by exhibiting his furniture together with works of art of the day’. Discussing Finn Juhl’s house, which was completed in 1942, Hiorth continues to discuss the architect’s afnity to combine art and design: ‘A cherished dream had come true. Finn Juhl had always seen his furniture as part of a spatial efect. He believed that furniture, applied art, and fne art should form an entity in a home. He now had the opportunity to carry out this idea in practise’. The present lot is an example of Juhl’s reaction against standardisation, whilst attempting to subvert the formal, set by the once indomitable force of the The Royal Danish Academy of Fine Arts, School of Architecture and Design under the architect Kaare Klint. Both Juhl’s and Vodder’s reputations are indissolubly connected, a symbiotic partnership that lasted productively for decades. Only the prodigious talent of the cabinetmaker Vodder could have produced such elegantly and sculpturally formed works of furniture designed by Juhl. When interviewed in 1981, by the Danish Journalist Mike Rømer for ‘Space and Form’, Juhl reminisced over the humble beginnings of his collaboration with Vodder: ‘It all began because I wanted to design a couple of tables for myself and the apartment I had received during my time at the Art Academy. As I knew Niels Vodder, the master cabinetmaker, through Mogens Voltelen, I asked him to make them for me. Afer that it was only natural that it also was Vodder whom I asked when I began to participate in the annual Fall Exhibition of the Cabinetmakers’.
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此套沙發成型是由丹麥大師級家具工匠尼爾斯·法德 （Niels Vodder）於1953年為“哥本哈根匠師公會” 所製造的。深受二十世紀歐洲藝術家的影響，該沙發 擲地有聲地定義了其對雕塑造型的堅持。與芬·祖爾 在同一時期就讀於皇家藝術學院的建築學系的Esbjørn Hiorth曾在他的傳記中提及祖爾這位建築師在策劃展示 上的精練： 「顯而易見他深受當代雕塑的影響。他將他的 家具設計與當代藝術品一同展覽也正強調了這一點。」 在討論芬·祖爾在1942年竣工的房子時，Hiorth繼續探 討這位建築師對藝術與設計上的緊密結合： 「夙願已然成 真。芬·祖爾向來將其設計的家具視為空間效應的一部 分。他認為家具設計、應用藝術和純藝術應當在家這個 概念中合為一體。而他如今終於有機會將這個想法 付諸實踐。」 本拍品是芬·祖爾反對標準化的一個例子，展示了他 試圖對由建築師 Kaare Klint 領導下的丹麥皇家藝術 學院建築與設計學系所設立的形式之顛覆。芬·祖爾與 法德兩人的聲譽有著不可分割的聯繫，他們具有象徵意 義的合作夥伴關維持了數十年，且產出了許多的合作 成果。唯有像法德如此天才的家具匠師才能夠製造出由 芬·祖爾所設計的如此優雅且如雕塑一般的家具作品。 在1981年接受丹麥記者Mike Rømer為《空間與造型》 （Space and Form）採訪時，芬·祖爾回憶起他與 法德合作是如何開始的： 「這一切都是因為我想為自己 和我在藝術學院時分配到的公寓設計幾張桌子。我通過 Mogens Voltelen結識了家具匠師尼爾斯·法德， 於是就請他來為我製作。此後當我開始參加每年一度 的丹麥匠師家具作品展時，我再次邀請法德也就 順理成章了。」
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87. Osvaldo Borsani and Lucio Fontana
88. Osvaldo Borsani 1911-1985 and 1899-1968
‘T1’ side table reverse-painted glass, brass, brass-plated steel 45.7 cm (17 7/8 in.) high, 26.4 cm (10 3/8 in.) diameter Manufactured by Arredamenti Borsani Varedo, Italy. Produced 1950s. Provenance Private Collection, Milan Literature Giuliana Gramigna and Fulvio Irace, Osvaldo Borsani, Rome, 1992, p. 193 Giampiero Bosoni, Osvaldo Borsani: architect, designer, entrepreneur, Milan, 2018, pp. 314, 340-41, 375, 429 Norman Foster, Tommaso Fantoni, and Giampiero Bosoni, Osvaldo Borsani, exh. cat., Milan, 2018, pp. 80-81, 131, 186, 218
1911-1985
Side table glass, painted wood, brass 53 cm (20 7/8 in.) high, 69.9 cm (27 1/ 2 in.) diameter Manufactured by Arredamenti Borsani Varedo, Italy. Produced circa 1941. Provenance Private Collection, Milan Literature Giampiero Bosoni, Osvaldo Borsani: architect, designer, entrepreneur, Milan, 2018, p. 326 Norman Foster, Tommaso Fantoni and Giampiero Bosoni, Osvaldo Borsani, exh. cat., Triennale, Milan, 2018, pp. 78, 218
奧斯瓦爾多．柏桑尼與盧齊歐．封塔納
奧斯瓦爾多．柏桑尼
《T1》茶几 反面上色玻璃 黃銅 鍍銅鋼 此作品於1950年代由意大利 Arredamenti Borsani Varedo 製造。
茶几 玻璃 上色木 黃銅 此作品約1941年由意大利 Arredamenti Borsani Varedo 製造。
來源 米蘭私人收藏
來源 米蘭私人收藏
出版 Giuliana Gramigna and Fulvio Irace 著， 〈奧斯瓦爾多·柏桑尼〉 ，羅馬，1992年，第193頁 Giampiero Bosoni 著， 〈奧斯瓦爾多·柏桑尼: 建築師、設計師、企業家〉 ， 米蘭，2018年，第314、340-41、375、429頁 Norman Foster 、Tommaso Fantoni 與 Giampiero Bosoni 著， 〈奧斯瓦爾多·柏桑尼〉 ，展覽圖錄，米蘭，2018年，第80-81、131、 186、218頁
出版 Giampiero Bosoni 著， 〈奧斯瓦爾多·柏桑尼：建築師、 設計師、企業家〉 ，米蘭，2018年， 第326頁 Norman Foster、Tommaso Fantoni 與 Giampiero Bosoni 著， 〈奧斯瓦爾多·柏桑尼〉 ，展覽圖錄，三年展，米蘭，2018年，第78、218頁
HK$ 30,000-50,000 US$ 3,800-6,400
HK$ 30,000-50,000 US$ 3,800-6,400
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89. Venini
維尼尼
Set of three ‘Grata’ wall lights glass and coloured glass with murrine, chromium-plated brass Each: 19 x 19 x 21.5 cm (7 1/ 2 x 7 1/ 2 x 8 1/ 2 in.) Produced by Venini & C., Murano, Italy. Produced 1970-1975. Provenance Private Collection, Turin Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 225 Franco Deboni, Venini Glass: Its history, artists and techniques, Volume 1, Turin, 2007, p. 253
《格子壁燈》(一組三件) 玻璃 上色murrine玻璃 鍍鉻黃銅 此作品於1970-1975年由意大利穆拉諾 Venini & C. 製造。 來源 都靈私人收藏 出版 Anna Venini Diaz de Santillana 著， 〈維尼尼：目錄全集1921-1986〉 ，米蘭，2000年，第225頁 Franco Deboni 著， 〈維尼尼玻璃：歷史、藝術家、技巧〉 ， 第1集，都靈，2007年，第253頁
HK$ 40,000-60,000 US$ 5,100-7,700
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90. Paolo Bufa
1903-1970
Rare sideboard Brazilian rosewood-veneered wood, walnut-veneered wood, brass 123.5 x 220.2 x 50 cm (48 5/8 x 86 3/4 x 19 5/8 in.) Manufactured by Serafno Arrighi, Italy. Together with a certifcate of expertise from the Paolo Bufa Archive. Produced circa 1934. Provenance Private Collection, Varese Literature ‘Alla Triennale di Monza’, Domus, no. 31, July 1930, p. 1331 for a similar example Roberto Aloi, L’Arredamento Moderno, Milan, 1934, fg. 392 for a similar example P. Bufa - A. Cassi architetti, Milan, 1934, pp. 51, 54 for similar examples
保羅．布法 《罕有廚櫃》 巴西黑黃檀木飾面板 胡桃木飾面板 黃銅 此作品約1934年於意大利 Serafno Arrighi 製造， 並附保羅·布法文獻庫之保證書。 來源 瓦雷澤私人收藏 出版 《Alla Triennale di Monza》 ， 〈Domus〉 ，第31集，1930年7月， 第1331頁 (同系列作品) Roberto Aloi 著， 〈L’Arredamento Moderno〉 ，米蘭，1934年、 圖版392，(同系列作品） 〈P. Buffa - A. Cassi architetti〉 ，米蘭，1934年，第51、54頁 (同系列作品)
Having trained in the studio of Gio Ponti and Emilio Lancia, in 1928 Paolo Bufa opened his own practice in Milan with Antonio Cassi Ramelli. Towards the end of the 1920s, the architect had started to incorporate oriental stylistic elements to his work, pairing them with the formal and sophisticated features of Neoclassicism, which was the preferred style favoured by a group of architects from Lombardy including Ponti, Lancia and Tomaso Buzzi. The present sideboard exemplifes the combination of the two styles. In the present work, Bufa enriches his Classicist repertoire, emphasising uniform and rigorous shapes with new exotic forms, as evidenced by the brass decorative unit placed at the top of the sideboard, recalling the Chinese labyrinths. This sideboard features additional recurring characteristics in Bufa’s work, notably the use of precious materials and the architect’s ability to create works with balanced composition and great elegance, enabled by the experienced crafsmen he worked with, including Serafno Arrighi. Similar characteristics can be found in another sideboard designed by Bufa and published in Domus in 1930 (Domus, no. 31, July 1930, p. 1331), which features curved sides imitating the roofs of the pagodas. Bufa’s production, although varied, was based on the use of recurrent themes, for example, specifc elements of connection between the legs and the decorative treatment of surfaces. Bufa constantly experimented with these typologies until reaching a fnal synthesis, simultaneously measured in proportion, and balanced in the decorative and constructive details.
HK$ 108,000-150,000 US$ 13,800-19,200
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保羅·布法（Paolo Buffa）在師從吉奧·蓬蒂Gio Ponti和 艾米里奧·蘭西亞（Emilio Lancia）的工作室之後，於1928年 在米蘭與安托尼奧·卡西·拉梅里（Antonio Cassi Ramelli） 一同組建自己的工作室。到1920年代末期，開始在其作品中 將東方風格的元素與蓬蒂、蘭西亞和拖馬索·布奇（Tomaso Buzzi）等建築師所偏愛的新古典主義的正式和複雜特徵的 風格相結合。這件餐具櫃展示了這兩種風格的組合。在這件 作品中，布法在古典主義的基礎上錦上添花，在強調了形狀 上的均勻與嚴謹的同時，又注入異域風格，如餐具櫃頂部的 黃銅裝飾組件象徵著中國古代的迷宮。這件餐具櫃帶有布法 作品中反覆出現的另一些特徵，尤其是對珍貴材料的使用和 對創作中的平衡構圖和優雅特質的把控。這都可以看出他曾與 Serafno Arrighi等技藝嫻熟的匠師的合作。類似的特徵也可在 《Domus》雜誌在1930年所出版的 (Domus, 第31期,1930年 7月, 第1331頁)、由布法所設計的另一件有著象徵寶塔屋頂 弧線的餐具櫃中找到。 布法的作品雖然多樣，但基於對一些反覆出現之主題的使用， 例如餐具櫃的前脚與支撐脚之間連接的元素，以及對櫃面裝飾 的處理等等。布法不斷在類型上去進行實驗，最終達到比例上 的精確，同時也找到了裝飾與構架上的平衡。
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91. Poul Kjærholm
1929-1980
Hammock chair, model no. PK 24 cane, stainless steel, Niger leather 86 x 153 x 66.5 cm (33 7/8 x 60 1/4 x 26 1/8 in.) Manufactured by E. Kold Christensen, Denmark. Designed 1965, produced 1977. Provenance E. Kold Christensen, Copenhagen, 1977 Private Collection, Copenhagen Literature Dansk Kunsthaandværk, vol. 39, no. 1, 1966-67, cover Dansk Kunsthaandværk, vol. 40, no. 5, 1967-68, p. 142 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 187 Christofer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 2001, pp. 118-19 Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 142-45
保羅．克耶霍爾姆 《吊床椅》型號PK 24 籐 不銹鋼 尼日皮革 此作品於1965年設計，於1977年由丹麥E. Kold Christensen製造。
92. Paavo Tynell
1890-1973
Pair of standard lamps, model no. 5762 brass, painted steel, linen shades Each: 144 cm (56 3/4 in.) high Manufactured by Taito Oy, Helsinki, Finland for Artek, Helsinki, Finland. Underside of each impressed OY TAITO AB and one with 5762. Designed 1946. Provenance Private Collection, Helsinki
帕沃．提奈爾 《標準燈一對》型號5762 黃銅 上色鋼 麻布燈罩 此作品於1946年設計，並由芬蘭赫爾辛基Taito Oy、 芬蘭赫爾辛基 Finland for Artek 製造。 款識：OY TAITO AB （每一盞燈底部); 5762 (某一盞) 來源 赫爾辛基私人收藏
HK$ 60,000-100,000 US$ 7,700-12,800
來源 哥本哈根，E. Kold Christensen 收藏，1977年 哥本哈根私人收藏 出版 〈Dansk Kunsthaandværk〉 ，第39集，第1號，1966-67年，封面 〈Dansk Kunsthaandværk〉 ，第40集，第5號，1967-68, 第142頁 Noritsugu Oda 著， 〈丹麥椅子〉 ，三藩市，1996年，第187頁 Christoffer Harlang、Keld Helmer-Petersen 、 Krestine Kjærholm 編， 〈保羅·克耶霍爾姆〉 ，哥本哈根， 2001年，第118-19頁 Michael Sheridan 著， 〈保羅·克耶霍爾姆之家具: 目錄全集〉 ， 紐約，2007年，第142-45頁
HK$ 120,000-220,000 US$ 15,400-28,200
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93. Ole Wanscher
1903-1985
Set of four armchairs Brazilian rosewood, Niger leather Each: 79.4 x 73.5 x 57.3 cm (31 1/4 x 28 7/8 x 22 1/ 2 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Designed 1958, produced 1960s. Provenance Private Collection, Frederiksberg, acquired 1960s Literature Mobilia, no. 41, November-December 1958, p. 25 Dansk Kunsthaandværk, no. 32, August-September 1959, p. 175 Mobilia, Special Edition, no. 130, May 1966, n.p. Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 57
奧萊．萬夏 《扶手椅四張》 巴西黑黃檀木 尼日皮革 此作品於1958年設計，並於1960年代由丹麥哥本哈根 木匠名師A.J.艾弗森製造。 來源 弗萊德里克斯堡私人收藏 (1960年代購得） 出版 〈Mobilia〉 ，第41集，1958年11-12月，第25頁 〈Dansk Kunsthaandværk〉 ，第32集，1959年8-9月，第175頁 〈Mobilia〉 ， 《特別版本》 ，第130集，1966年5月，無頁數 Grete Jalk 編， 〈丹麥家具藝術40年，第4集: 1957-1966年〉 ， 哥本哈根, 1987年, 第57頁
HK$ 120,000-220,000 US$ 15,400-28,200
The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 19 September–5 October 1958, Stand 6. The architect Ole Wanscher worked under Kaare Klint (18881954) between the years of 1924-1927 whilst studying at Klint’s department of furniture design at The Royal Academy of Fine Arts. Upon graduating in 1929, Wanscher began working as a furniture designer and in 1954 he inherited Klint’s prestigious role as head of the department of furniture design. Throughout his life Wanscher worked with the cabinetmaker A.J. Iversen (18881979) who also collaborated with other Danish architects and artists. Among his partnerships were Kaj Gottlob, Viggo Boesen, Flemming and Mogens Lassen. Today Iversen is recognised as one of the leading cabinetmakers who paved the way for the style later known as Danish Modern.
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此型號曾於1958年9月19日至10月5日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號6。 奧萊·萬夏是一位建築師，曾於1924﹣1927年期間在皇家 美術學院家具設計分院就讀。這個分院是由建築師及家具設計 師卡爾·克林特（1888﹣1954）建立的 。萬夏於1929年畢業， 隨後就朝著家居設計的方向發展，成為了一名家具設計師 不但如此，還於1954年繼克林特之後成為了家具設計分院 院長，可謂地位顯赫。在萬夏的家具設計事業生涯中，他還與 家具工匠安得利亞斯·傑普·艾弗森 (1888-1979) 一起合作。 艾弗森也曾和多位丹麥建築師及藝術家，包括卡吉·戈特洛布， 維果·柏愛森，弗勒明和莫根斯·拉森合作共事。萬夏成為了 家具設計製造的領頭人，引領丹麥當代設計風潮。
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94. Hans J. Wegner
1914-2007
95. Hans J. Wegner
1914-2007
Early ‘Architect’s desk’, model no. JH571 teak, teak-veneered wood, oak, chromium-plated steel, chromium-plated brass 72 x 195.5 x 90.5 cm (28 3/8 x 76 7/8 x 35 5/8 in.) Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside impressed JOHANNES HANSEN/COPENHAGEN/DENMARK and with manufacturer’s stamp. Designed 1953, produced circa 1955.
Early swivel armchair, model no. JH502 teak, chromium-plated metal, leather, acrylic 76 x 73.5 x 47.5 cm (29 7/8 x 28 7/8 x 18 3/4 in.) Executed by master cabinetmaker Johannes Hansen, Denmark. Underside with manufacturer’s metal label Design: Hans J. Wegner/MADE IN COPENHAGEN DENMARK BY/ Johannes Hansen/CABINETMAKERS. Designed 1955, produced 1960s.
Provenance Private Collection, Copenhagen, acquired 1955-1960
Provenance Private Collection, Copenhagen, acquired 1960s
Literature Johan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, pp. 70, 87, 107 Johannes Hansen, Wegner Møbelsnedkeri, Copenhagen, 1970, n.p. Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 281 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 63, 240
Literature Johan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, pp. 75-76, 106-07 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3 : 1947-1956, Copenhagen, 1987, pp. 325-27 Jens Bernsen, Hans J Wegner: om Design , exh. cat., Dansk Design Center, Copenhagen, 1995, pp. 23, 80 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 119 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 67, 138-39
The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Forum, Copenhagen, 16-26 September 1954, Stand 23.
漢斯·韋格納 《早期建築師書桌》，型號JH571 柚木 柚木飾面板 橡木 鍍鉻鋼 黃銅 此作品於1953年設計，約1955年由丹麥木匠大師 Johannes Hansen 製造。 款識：JOHANNES HANSEN/COPENHAGEN/DENMARK 和制造商標簽（底部） 來源 哥本哈根私人收藏（於1955-1960年購得） 出版 Johan Møller Nielson 著， 〈Wegner en Dansk Møbelkunstner〉，哥本哈根，1965年，第70、87、107頁 Johannes Hansen 著， 〈Wegner Møbelsnedkeri〉， 哥本哈根，1970年，無頁數 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar，第3集: 1947-1956年〉，哥本哈根，1987年，第281頁 Christian Holmsted Olesen著， 〈Wegner: just one good chair〉，展覽圖錄，丹麥設計博物館，哥本哈根，2014年， 第63、240頁
此型號曾於1954年9月16至26日在哥本哈根論壇 《哥本哈根細工木匠公會》展出，展位編號23。 HK$ 200,000-300,000 US$ 25,600-38,500
The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 30 September-16 October 1955, Stand 24.
漢斯·韋格納 《早期旋轉椅》型號JH502 柚木 鍍鉻金屬 皮革 壓克力 此作品1955年設計，1960年代由丹麥木匠大師 Johannes Hansen 製造。 款識：Design: Hans J. Wegner/MADE IN COPENHAGEN DENMARK BY/Johannes Hansen/CABINETMAKERS. （印於制造商金屬標籤） 來源 哥本哈根私人收藏 (1960年代購得) 出版 Johan Møller Nielson 著， 〈Wegner en Dansk Møbelkunstner〉 ，哥本哈根，1965年，第75-76、106-107 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar， 第3集:1947-1956年〉 ，哥本哈根，1987年，第325-27頁 Jens Bernsen著， 〈Hans J Wegner: om Design〉 ，展覽圖錄， 丹麥設計中心，哥本哈根，1995年，第23、80頁 Noritsugu Oda 著， 〈丹麥椅子〉，三藩市，1996年，第119頁 Christian Holmsted Olesen著， 〈Wegner: just one good chair〉 ，展覽圖錄，丹麥設計博物館，哥本哈根，2014年， 第67、138-39頁
此型號曾於1955年9月30日至10月16日在哥本哈根論壇 《哥本哈根細工木匠公會》展出，展位編號24。
HK$ 150,000-250,000 US$ 19,200-32,100
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96. Paavo Tynell
1890-1973
Early table lamp, model no. 5061 brass 40.5 cm (15 7/8 in.) high Manufactured by Taito Oy, Helsinki, Finland. Underside impressed O/Y TAITO AB and 5061. Designed 1940s. Provenance Private Collection, Helsinki Literature Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, New York, 1940s, p. 27 Idman, no. 135, 1953, p. 43; no. 136, 1954, p. 49; no. 138, 1956, p. 66
帕沃．提奈爾 《早期枱燈》型號5061 黃銅 此作品於1940年代設計，由芬蘭赫爾辛基 Taito Oy 製造。 款識：O/Y TAITO AB 5061 (底部) 來源 赫爾辛基私人收藏 出版 〈芬蘭房屋燈飾: harmony in lighting for harmony in living, 帕沃·提奈爾原創設計〉，紐約，1940年代，第27頁 〈Idman〉，第135集，1953年，第43頁；第136集, 1954年, 第49頁；第138集，1956年，第66頁
HK$ 50,000-80,000 US$ 6,400-10,300
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97. Gio Ponti
1891-1979
Set of six dining chairs walnut, fabric, brass Each: 97.3 x 44.6 x 48.2 cm (38 1/4 x 17 1/ 2 x 18 7/8 in.) Manufactured by Casa e Giardino, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Produced 1938-1939. Provenance Private Collection, Rome Literature ‘Una camera per signorina’, Domus, no. 141, September 1939, p. 62
吉奧．蓬蒂 《餐椅六張》 胡桃木 布料 黃銅 此作品1938-1939年由意大利米蘭Casa e Giardino 家具設計公司製造， 並附吉奧·蓬蒂文獻庫所發之保證書。 來源 羅馬私人收藏 出版 《一位小姐的房間》， 〈Domus〉 ，第141集，1939年9月，第62頁
HK$ 78,000-100,000 US$ 10,000-12,800
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98. Vittorio Zecchin
1878-1947
Twelve-armed chandelier coloured glass, glass, aluminium, nickel-plated brass, brass 165 cm (64 7/8 in.) drop, 172.7 cm (67 7/8 in.) diameter Produced by V.S.M. Cappellin & C., Murano, Italy. Ceiling plate acid etched Venini/Cappellin/Murano. Underside of fxture incised 1880-2 12 81. and impressed BREVETTON°258212. Produced 1921-1925. Provenance Private Collection, Rome Literature Marino Barovier, Marco Mondi and Carla Sonego, Vittorio Zecchin 18781947: painting, glass and decorative arts, exh. cat, Musei Civici Veneziani, Venice, 2002, p. 222 for a similar example Marino Barovier and Carla Sonego, eds., Vittorio Zecchin: Transparent Glass for Cappellin and Venini, Milan, 2017, p. 484 for a similar example
維托里奧．贊科清 《十二臂吊燈》 彩色玻璃 玻璃 鋁 鍍鎳銅 黃銅 此作品於1921-25年由意大利慕拉諾 V.S.M. Cappellin & C. 製造。 款識：Venini/Cappellin/Murano (印於吊線板); 1880-2 12 81 BREVETTON°258212 (印於固定裝置） 來源 羅馬私人收藏 出版 Marino Barovier、Marco Mondi 與 Carla Sonego 著， 〈維托里奧·贊科清: 作品、玻璃、裝飾藝術〉 ，展覽圖錄， 威尼斯市民博物館，威尼斯，2002年，第222頁 (同系列作品) Marino Barovier 與 Carla Sonego 編， 〈維托里奧· 贊科清: 給卡佩利尼、維尼尼之透明玻璃〉 ，米蘭，2017年， 第484頁 (同系列作品)
HK$ 150,000-200,000 US$ 19,200-25,600
A protean artist who thrived in many media, Vittorio Zecchin experienced particular success with his glass works. Zecchin was born in the historic glass centre of Murano and embraced the islands’ artistic heritage in his modern designs. In the 1920s, Zecchin held successive posts as art director at two of Murano’s prominent glass companies: frst at Cappellin Venini beginning in 1921 and then at M.V.M. Cappellin & Co. as of 1925. The work he created at this time harks back to the golden age of Italian glass, both in quality and style. Rejecting the Rococo-infuence that was so prevalent in nineteenth-century glass, Zecchin found inspiration in fuid lines, delicacy, and emphasis on form over decoration seen in Italian glass from the sixteenth century. Zecchin embraced Murano’s legacy by utilising transparent blown glass formed into delicate, fowing shapes. His commitment to line and silhouette that he revived from Renaissance traditions is exemplifed in this twelve-armed chandelier.
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多才多藝的藝術家維托里奧·贊科清善用多種媒材， 其玻璃製品尤爲成功。贊科清生於玻璃島慕拉諾， 並在其現代設計中融入這座島嶼的藝術遺產。贊科清 於1920年代連續擔任兩個慕拉諾著名玻璃公司的藝術 總監：1921年起於卡佩林·威尼尼；1925年起於M.V.M 卡佩里尼。其此階段的作品溯源意大利玻璃的黃金 時期，呈現絕佳的質量和風格。拒絕受十九世紀盛行 的洛可可風格影響，贊科清從十六世紀以來意大利 玻璃製作工藝中流暢的線條、精緻的工藝和重形態 多於裝飾的特色中尋找靈感。贊科清利用慕拉諾文化 中透明的吹制玻璃，塑造出精美流暢的形態。這一盞 十二臂吊燈完美呈現了他從文藝復興傳統中借鑑重現 之對於線條和側影的執着。
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99. Gio Ponti
1891-1979
Pair of rare armchairs stained walnut, fabric Each: 74.5 x 91.5 x 82 cm (29 3/8 x 36 x 32 1/4 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Produced late 1930s. Provenance Private Collection, Italy
An archived photograph of the present model armchairs and sofa is held in the Istituto Universitario di Architettura di Venezia (IUAV) Archives.
吉奧．蓬蒂 《罕有扶手椅一對》 染色胡桃木 布料 此作品附吉奧·蓬蒂文獻庫所發之保證書。 來源 意大利私人收藏
此型號扶手椅與沙發的老照片收錄於 威尼斯建築學院之檔案中。
HK$ 78,000-100,000 US$ 10,000-12,800
100. Gio Ponti
1891-1979
Rare sofa stained walnut, fabric 74 x 210 x 80 cm (29 1/8 x 82 5/8 x 31 1/ 2 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Produced late 1930s. Provenance Private Collection, Italy
吉奧．蓬蒂 《罕有沙發》 染色胡桃木 布料 此作品附吉奧·蓬蒂文獻庫所發之保證書。 來源 意大利私人收藏
HK$ 95,000-120,000 US$ 12,200-15,400
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101. Ole Wanscher
1903-1985
Desk and armchair Brazilian rosewood, leather, brass Desk: 73.5 x 135 x 68.2 cm (28 7/8 x 53 1/8 x 26 7/8 in.) Armchair: 88.5 x 59.5 x 59 cm (34 7/8 x 23 3/8 x 23 1/4 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside of desk with printed manufacturer’s label Snedkermester/ A. J. Iversen/København. Designed 1946. Literature Møbelhaandværk Gennem 40 Arr: Snedkermester A.J. Iversen 1916-1956, Copenhagen, 1956, pp. 19, 22 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 295
The present models were exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 27 September–13 October 1946, Stand 18.
奧萊．萬夏 《書桌與扶手椅》 巴西黑黃檀木 皮革 黃銅 此作品於1946年設計，並由丹麥哥本哈根木匠名師A.J. Iversen 製造。 款識：Snedkermester/A. J. Iversen/København (印於書桌底部標籤)
102. Stilnovo Desk lamp, model no. D 4639 chromium-plated aluminium, chromium-plated metal, opaque glass 44 cm (17 3/8 in.) high, 36 cm (14 1/8 in.) diameter Manufactured by Stilnovo, Milan, Italy. Underside impressed stilnovo/ITALY. Produced 1950s. Literature Stilnovo: apparecchi per l’illuminazione, Milan, p. 77
Stilnovo 《檯燈》 型號D 4639 鍍鉻鋁 鍍鉻金屬 玻璃 此作品約1950年代由意大利米蘭 Stilnovo 製造。 款識：stilnovo/ITALY (底部) 出版 〈Stilnovo: apparecchi per l’ illuminazione〉 ，米蘭，第77頁
HK$ 20,000-30,000 US$ 2,600-3,800
出版 〈家具藝術40年: 細木工匠名師 A.J. Iversen 1916-1956年〉 ， 哥本哈根，1956年，第19、22頁 Grete Jalk 編， 〈丹麥家具藝術40年，第2集: 1937-1946年〉 ， 哥本哈根, 1987年, 第295頁
此型號曾於1946年9月27日至10月13日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號18。
HK$ 60,000-80,000 US$ 7,700-10,300
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103. Ole Wanscher
1903-1985
Pair of armchairs Brazilian rosewood, fabric, leather Each: 80 x 65 x 76.5 cm (31 1/ 2 x 25 5/8 x 30 1/8 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Designed 1952. Provenance Private Collection, Denmark Literature Erik Lassen, ‘For 26. gang’, Dansk Kunsthaandværk, no. 11, November 1952, p. 167 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 215
The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 26 September–12 October 1952, Stand 11.
奧萊．萬夏 《扶手椅一對》 巴西黑黃檀木 布料 皮革 此作品於1952年設計，並由丹麥哥本哈根木匠名師A.J.艾弗森製造。 來源 丹麥私人收藏
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104. Ole Wanscher
1903-1985
Pair of side tables Brazilian rosewood-veneered wood, Brazilian rosewood. Each: 52.1 x 48 x 48 cm (20 1/ 2 x 18 7/8 x 18 7/8 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside with manufacturer’s label printed Snedkermester/A. J. Iversen/København. Produced circa 1957. Literature Mobilia, Special Edition no. 130, May 1966, n.p. Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4 : 1957-1966, Copenhagen, 1987, p. 21 for a similar example
奧萊．萬夏 《茶几一對》 巴西黑黃檀木飾面板 巴西黑黃檀木 此作品約1957年由丹麥哥本哈根木匠名師A.J.艾弗森製造。 款識：Snedkermester/A. J. Iversen/København（印於作品底部標籤) 出版 〈Mobilia〉 ，特別版，第130集，1966年5月，無頁數 Grete Jalk編， 〈丹麥家具藝術40年，第4集: 1957-1966年〉，哥本哈根, 1987年, 第21頁 (同系列作品)
HK$ 40,000-60,000 US$ 5,100-7,700
出版 Erik Lassen 著， 《For 26. gang》， 〈Dansk Kunsthaandværk〉， 第11集，1952年11月，第167頁 Grete Jalk編， 〈丹麥家具藝術40年，第3集: 1947-1956年〉， 哥本哈根, 1987年, 第215頁
此型號曾於1952年9月26日至10月12日在哥本哈根丹麥藝術與 設計博物館《哥本哈根細工木匠公會》展出，展位編號11。 HK$ 40,000-60,000 US$ 5,100-7,700
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105. Ole Wanscher
1903-1985
Set of four dining chairs Brazilian rosewood, leather Each: 88.3 x 52.3 x 54.5 cm (34 3/4 x 20 5/8 x 21 1/ 2 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside of each chair with manufacturer’s paper label Snedkermester/A. J. Iversen/København. Produced circa 1947. Provenance Private Collection, Denmark, late 1940s Thence by descent to the present owner Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 19
The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 26 September–12 October 1947, Stand 18.
奧萊．萬夏 《餐椅四張》 巴西黑黃檀木 皮革 此作品約1947年由丹麥哥本哈根木匠名師A.J.艾弗森製造。 款識：Snedkermester/A. J. Iversen/København （印於每件作品底部標籤) 來源 丹麥私人收藏，約1940年代 現由上述藏家家屬繼承作品 出版 Grete Jalk編， 〈Dansk Møbelkunst gennem 40 aar， 第3集: 1947-1956年〉 ，哥本哈根，1987年，第19頁
此型號曾於1947年9月26日至10月12日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號18。
HK$ 30,000-50,000 US$ 3,800-6,400
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106. Angelo Lelii
1915-1979
Rare ‘Triennale’ three-armed adjustable standard lamp, model no. 12128s painted aluminium, brass, painted steel, leather-bound steel 193 cm (75 7/8 in.) cm high fully extended Manufactured by Arredoluce, Monza, Italy. Interior of each shade stamped MADE IN ITALY/ARREDOLUCE MONZA and underside of base embossed ARREDOLUCE-MONZA/ITALY. Produced circa 1951. Literature ‘Apparecchi per l’illuminazione alla IX Triennale’, Domus, no. 261, September 1951, p. 31 ‘La Triennale nel suo quartiere sperimentale Q.T.8’, Domus, no. 263, November 1951, p. 7 Franco Grigioni, Arredamento, Milan, 1956, fg. 60 Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, cover, pp. 137, 287
The present lot has been registered in the Arredoluce Archives, Italy as number 0307684 and the model was exhibited at the IX Triennale, Milan, 1951.
安吉洛·萊利 《罕有三年展三頭式伸縮落地燈》型號12128s 此作品約1951年由意大利蒙扎 Arredoluce 製造。 款識：MADE IN ITALY/ARREDOLUCE MONZA (印於每一個燈罩內部) ARREDOLUCE-MONZA/ITALY (印於底座) 出版 《Apparecchi per l’illuminazione alla IX Triennale》， 〈Domus〉，第261集，1951年9月，第31頁 《La Triennale nel suo quartiere sperimentale Q.T.8》， 〈Domus〉，第263集，1951年11月，第7頁 Franco Grigioni， 〈Arredamento〉，米蘭，1956年，圖版60 Anty Pansera 等著， 〈Arredoluce: 目錄全集 1943-1987 年〉， 米蘭，2018年，封面，第137、287頁
107. Hans J. Wegner
1914-2007
Rare ‘New Papa Bear’ armchair, model no. AP69 teak, fabric 92.5 x 92 x 93.5 cm (36 3/8 x 36 1/4 x 36 3/4 in.) Manufactured by AP Stolen, Copenhagen, Denmark. Designed 1969. Provenance Wyeth, New York Sotheby’s, New York, ‘WYETH: The Art of Timeless Design’, 7 June, 2016, lot 471 Acquired at the above sale by the present owner Literature Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, p. 216
漢斯·韋格納 罕有《新爸爸熊》扶手椅，型號AP69 柚木 布料 此作品於1969年設計，由丹麥哥本哈根A.P. Stolen設計公司製造。 來源 紐約，Wyeth 紐約，蘇富比， 〈WYETH: 永恆設計〉2016年6月7日，拍品編號471 現藏者購自上述拍賣 出版 Christian Holmsted Olesen著， 〈Wegner: just one good chair〉 ， 展覽圖錄，丹麥設計博物館，哥本哈根，2014年，第216頁 HK$ 85,000-95,000 US$ 10,900-12,200
此作品以編號0307684收錄於意大利Arredoluce 文獻庫， 並於1951年展於米蘭第九屆三年展。 HK$ 62,000-82,000 US$ 7,900-10,500
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108. Hans J. Wegner
1914-2007
Two early ‘Ox’ lounge armchairs, model nos. AP-46 and AP-47, and ottoman, model no. AP-49 chromium-plated steel, fabric, leather Largest armchair: 89.5 x 96 x 94.5 cm (35 1/4 x 37 3/4 x 37 1/4 in.) Ottoman: 34.5 x 76 x 53.5 cm (13 5/8 x 29 7/8 x 21 1/8 in.) Manufactured by AP Stolen, Copenhagen, Denmark. Underside of one armchair and ottoman with metal label printed Design: Hans J. Wegner/MADE IN COPENHAGEN DENMARK BY/ Johannes Hansen/CABINETMAKERS. Designed 1960, produced 1960s. Provenance Johannes Hansen, Copenhagen Private Collection, Jutland, acquired 1960s Literature Af Bent Salicath, ‘Købestævnet - idé og virkelighed’, Dansk Kunsthaandværker, no. 34, 1961, p. 67, n.p. for advertisements Johan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, pp. 11, 71-72 Jens Bernsen, Hans J. Wegner: Om Design, exh. cat., Dansk Design Centre, Copenhagen, 1995, pp. 19, 23, 42-43, 81, 113 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 79-82, 210-11
漢斯．韋格納 《早期牛扶手椅兩張》，型號AP-46、AP-47及《腳凳》，型號AP-49 鍍鉻鋼 布料 皮革 此作品於1960年設計，並於1960年代由丹麥哥本哈根 AP Stolen 製造生產。 款識：Design: Hans J. Wegner/MADE IN COPENHAGEN DENMARK BY/ Johannes Hansen/CABINETMAKERS (一張扶手椅底部及腳凳底部) 來源 哥本哈根，Johannes Hansen 收藏 日德蘭私人收藏（於1960年代購得） 出版 Af Bent Salicath 著， 〈Købestævnet - idé og virkelighed〉， Dansk Kunsthaandværker，第34集，1961年，第67頁，無頁數（廣告） Johan Møller Nielson 著， 〈Wegner en Dansk Møbelkunstner〉， 哥本哈根，1965年，第11、71-72頁 Jens Bernsen 著， 〈Hans J. Wegner: Om Design〉，展覽圖錄， Dansk 設計中心，哥本哈根，1995年，第19、23、42-43、81、113頁 Christian Holmsted Olesen著， 〈Wegner: just one good chair〉， 展覽圖錄，丹麥設計博物館， 哥本哈根，2014年，第79-82、210-11頁
HK$ 170,000-250,000 US$ 21,800-32,100
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∑
109. Hans J. Wegner
1914-2007
Pair of ‘China’ chairs, model no. 4283 Brazilian rosewood, Niger leather Each: 81.5 x 55 x 55.5 cm (32 1/8 x 21 5/8 x 21 7/8 in.) Manufactured by Fritz Hansen, Copenhagen, Denmark. Underside of one with printed manufacturer’s label FH/MADE IN DENMARK/1168/BY FRITZHANSEN/FURNITUREMAKERS/DANISH/ CONTROL. Designed 1944, produced 1968. Provenance Private Collection, Denmark, acquired 1972 Literature Nyt Tidsskrif For Kunstindustri, no. 6, June 1944, p. 90 Ingvar Bergström, ‘Danskt i Röhsska Konstslöjdmuseet’, Nyt Tidsskrif For Kunstindustri, no. 10, October 1945, p. 119 Johan Møller Nielsen, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, p. 36 Jens Bernsen, Hans J Wegner: om Design, exh. cat., Dansk Design Center, Copenhagen, 1995, pp. 17, 26-27, 68 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 114, 120-21
漢斯．韋格納 《中國椅子一對》 ，型號4283 巴西黑黃檀木 尼日皮革 此作品1944年設計，並於1969年由丹麥哥本哈根Fritz Hansen製造。 款識：FH/MADE IN DENMARK/1168/BY FRITZHANSEN/ FURNITUREMAKERS/DANISH/CONTROL (底部標籤) 來源 丹麥私人收藏（於1972年購得） 出版 〈Nyt Tidsskrift For Kunstindustri〉 ，第6集，1944年6月，第90頁 Ingvar Bergström 著， 《Danskt i Röhsska Konstslöjdmuseet》， 〈Nyt Tidsskrift For Kunstindustri〉 ，第10集，1945年10月，第119頁 Johan Møller Nielson 著， 〈Wegner en Dansk Møbelkunstner〉， 哥本哈根，1965年，第36頁 Jens Bernsen 著， 〈Hans J. Wegner: Om Design〉展覽圖錄， Dansk 設計中心，哥本哈根，1995年，第17、26-27、68頁 Christian Holmsted Olesen著， 〈Wegner: just one good chair〉 ， 展覽圖錄，丹麥設計博物館， 哥本哈根，2014年，第114、120-121頁
HK$ 75,000-150,000 US$ 9,600-19,200
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110. Gio Ponti
1891-1979
Desk, designed for the Fondazione Livio e Maria Garzanti, Forlì laminated plywood, stained beech-veneered wood, stained beech, brass 79.5 x 149.5 x 59.7 cm (31 1/4 x 58 7/8 x 23 1/ 2 in.) Manufactured by ISA, Bergamo, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Produced 1953-1957.
111. Fontana Arte Vide-poche painted coloured glass 2.9 x 25.3 x 23.6 cm (1 1/8 x 9 7/8 x 9 1/4 in.) Manufactured by Fontana Arte, Milan, Italy. Side incised FX. Produced 1950s.
Literature Franco Bertoni, Gio Ponti: ‘Idee’ d’arte e di architettura a Imola e in Romagna, Imola, 2012, p. 196
Literature ‘Per Natale’, Domus, no. 277, December 1952, p. 77 for similar examples ‘Rassegna Domus per Natale’, Domus, no. 373, December 1960, n.p. for similar examples Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 434 for a similar example
吉奧．蓬蒂
豐塔納藝術
Provenance Fondazione Livio e Maria Garzanti, Forlì
《為弗利 Livio 與 Maria Garzanti 基金會設計之書桌》 層積膠合板 櫸木飾面板 上色櫸木 黃銅 此作品於1953-1957年於意大利貝加莫 ISA 製造， 並附吉奧·蓬蒂之保證書。 來源 弗利，Livio與Maria Garzanti 基金會 出版 Franco Bertoni著， 〈吉奧·蓬蒂: 羅馬涅的藝術和建築理念〉 ， 伊莫拉，2012年，第196頁
HK$ 78,000-100,000 US$ 10,000-12,800
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《盤》 上色玻璃 此作品於1950年代由意大利米蘭豐塔納藝術製造。 款識: FX (側面) 出版 《Per Natale》 ， 〈Domus〉 ，第277集，1952年12月，第77頁 (同系列作品) 《Rassegna Domus per Natale》 ， 〈Domus〉 ，第373集，1960年12月， 無頁數 (同系列作品) Franco Deboni 著， 〈豐塔納藝術: 吉奧·蓬蒂、彼得洛·基耶薩、 馬克斯·英格蘭〉，都靈，2012年，圖版434 (同系列作品)
HK$ 10,000-20,000 US$ 1,300-2,600
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112. Fontana Arte Centrepiece, model no. 2070 glass, brass 34 cm (13 3/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Produced circa 1961. Literature Quaderni Fontana Arte 3, Milan, 1961, n.p.
豐塔納藝術 《中心裝飾品》型號2070 玻璃 黃銅 此作品約1961年於意大利米蘭豐塔納藝術製造
Lot 111
拍品編號 111
出版 〈Quaderni Fontana Arte 3〉 ，米蘭，1961年，無頁數.
HK$ 15,000-20,000 US$ 1,900-2,600
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113. Piero Fornasetti
1913-1988
Rare ‘Piccolo Coromandel’ cabinet transfer-printed burr walnut-veneered wood with gold leaf, brass, coated metal 134.5 x 99.8 x 45 cm (52 7/8 x 39 1/4 x 17 3/4 in.) Produced 1958. Together with a certifcate of authenticity from Barnaba Fornasetti. Provenance Piero Fornasetti ofces, Milan Themes & Variations, London Acquired from the above by the present owner Literature Barnaba Fornasetti, ed., Fornasetti: The Complete Universe, New York, 2010, pp. 354, 543 for similar examples
埃羅．佛納賽緹 《罕有 Piccolo Coromandel 櫃子》 轉印胡桃木紋質地飾面板 金箔 黃銅 上色金屬 此作品於1958年製造，並附巴爾納巴·佛納賽緹之保證書。 來源 米蘭埃羅·佛納賽緹辦公室 倫敦，Themes & Variations 現藏者購自上述來源 出版 Barnaba Fornasetti 編， 〈佛納賽緹：完整宇宙〉，紐約， 2010年，第354、543頁 (同系列作品)
HK$ 180,000-280,000 US$ 23,100-35,900
The present lot designed by Piero Fornasetti features imaginary architecture and landscapes, which conjure a fantastical atmosphere inspired by oriental motifs. Enhancing the characteristically simplifed form of the skilfully crafed cabinet, Fornasetti applied his design ‘Piccolo Coromandel’, which he transfer-printed then adorned in gold leaf, over a decorative background of burr walnut-veneered wood. Whilst Fornasetti’s distinctive illustrations were largely infuenced by his own Italian cultural heritage, the present cabinet reveals the designer’s imaginative interpretation of more distant sources. Fornasetti was greatly inspired by the forms and techniques of the Japanese screen and admired the 1933 treatise on traditional Japanese aesthetics ‘In Praise of Shadows’ written by the Japanese author Jun’ichirō Tanizaki. The ‘Piccolo Coromandel’ design, which Fornasetti created in diferent colours and applied to varied objects, features Japanese inspired asymmetry and fowing diagonally-structured composition. The design’s title and exotic imagery, comprising fanciful pavilions, fgures and natural forms, references eighteenth-century chinoiserie motifs and Chinese Coromandel lacquer screens primarily produced for export to the European market. Fornasetti began experimenting with lithographic printing techniques during the 1930s and was primarily self-taught, learning much of his expansive knowledge of printing from books. He frst printed his drawings on paper and fabric before developing a transfer print technique – which today remains a secret – that enabled Fornasetti to transfer his imagery onto painted and wood surfaces. The whimsical decoration of the present cabinet illustrates Fornasetti’s penchant for experimentation and ornamentation, and his desire to introduce art into his everyday surroundings.
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是次上拍之埃羅·佛納賽緹設計作品以想像的建築物和 景色為主旋律，瀰漫著東方圖案與基調，所引申出的迷離 氛圍。佛納賽緹設計的家具線條簡潔，做工精細，此作採用 其設計「小科洛曼德」 （Piccolo Coromandel）圖樣，轉印 至核桃木貼面飾面板，並鋪以金箔。佛納賽緹的獨特繪圖很 大程度受到其意大利文化傳承之影響，但此件作品亦彰顯了 設計師對更多元靈感來源的創意性演繹。佛納賽緹從 日本屏風的造形和製作技巧得到許多靈感，他十分欣賞日本 作者谷崎潤一郎於1933年所寫的有關傳統日本美學的著作 《陰翳禮讃》，其「小科洛曼德」設計融合日式不對稱美學和 流暢的對角結構畫面，配以各種顏色，運用在不同物件 之上。此設計之名字和異國情調的圖案包括幻想的亭廊、 人物和自然景觀，參考十八世紀中國風圖案和中國出口歐洲 市場的瓷漆屏風。佛納賽緹於1930年代開始嘗試平面版畫技 巧，通過自學和書本吸收得到廣泛的知識。他先在紙張和布 匹上印刷自己的畫作，隨後研發出獨有的轉印技巧，得以把 自己的畫作轉印至木面和已上色表面，至今其技巧不為 世人所知。此次上拍作品無疑彰顯了其對實驗和裝飾的熱切 追求，以及他希望把藝術帶入日常生活的願景。
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114. Pietro Chiesa
1892-1948
Centrepiece coloured glass, mirrored glass, brass 5.5 x 28.5 x 20.7 cm (2 1/8 x 11 1/4 x 8 1/8 in.) Manufactured by Fontana Arte, Milan, Italy. Produced circa 1938. Provenance Private Collection, Rome Literature Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 242
彼得洛．基耶薩 《中心裝飾品》 上色玻璃 鏡面玻璃 黃銅 此作品約1938年由意大利米蘭豐塔納藝術製造。 來源 羅馬私人收藏 出版 Franco Deboni 著， 〈豐塔納藝術: 吉奧·蓬蒂、彼得洛·基耶薩、 馬克斯·英格蘭〉，都靈，2012年，圖版242
HK$ 15,000-20,000 US$ 1,900-2,600
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115. Edvard Kindt-Larsen and Tove Kindt-Larsen
愛德華．金特．拉森與托弗．金特．拉森 1901-1982, 1906-1994
Early and rare sofa teak, fabric 86.5 x 203 x 68.5 cm (34 x 79 7/8 x 26 7/8 in.) Executed by master cabinetmaker Thorald Madsen, Copenhagen, Denmark. Underside with brass label impressed THORALD MADSEN/ Snedkeri/København. Produced circa 1956. Provenance Private Collection, Denmark, acquired 1956 Literature Dansk Kunsthaandværk, no. 29, August-September 1956, n.p. Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 377 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 47
《早期罕有沙發》 柚木 布料 此作品約1956年由丹麥木匠大師Thorald Madsen製造。 款識: THORALD MADSEN/SnedKeri/København (底部銅質標籤） 來源 丹麥私人收藏（於1956年購得） 出版 〈Dansk Kunsthaandværk〉 ，第29集，1956年8-9月，無頁數 Grete Jalk 編， 〈丹麥家具藝術40年，第3集: 1947-1956年〉哥本哈根， 1987年，第377頁 Noritsugu Oda 著， 〈丹麥椅子〉，三藩市，1996年，第47頁
此型號曾於1956年9月20日至10月7日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號7。
The present model was exhibited at the Copenhagen Cabinetmakers’ Guild, Kunstindustrimuseet, Copenhagen, 20 September-7 October 1956, Stand 7.
HK$ 200,000-300,000 US$ 25,600-38,500
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116. Ilmari Tapiovaara
1914-1999
117. Bruno Gatta
unknown
Pair of armchairs, designed for the Hotel Marski, Helsinki fabric, teak, brass Each: 67.6 x 77.6 x 68.6 cm (26 5/8 x 30 1/ 2 x 27 in.) Manufactured by Asko, Finland. Produced 1960-1961.
Pair of rare wall lights painted metal, painted brass, brass Each: 83 x 79 x 15 cm (32 5/8 x 31 1/8 x 5 7/8 in.) Manufactured by Stilnovo, Milan, Italy. Produced circa 1956.
Provenance Marski Hotel, Helsinki, 1960-1961 Acquired from the above by the present owner
Provenance Private Collection, Milan
Literature Jarno Peltonen, Ilmari Tapiovaara: Interior Architect, Helsinki, 1984, p. 5 Pekka Korvenmaa, Ilmari Tapiovaara, Salamanca, 1997, pp. 156-57 Aila Svenskberg, ed., Ilmari Tapiovaara: life and design, exh. cat., Design Museum, Helsinki, 2014, pp. 40, 116
伊瑪里．塔佩瓦拉 《為赫爾辛基馬斯基酒店設計扶手椅一對》 布料 柚木 黃銅 此作品於1960-61年由芬蘭 Asko 製造。 來源 赫爾辛基馬斯基酒店，1960-1961年 現藏者購自上述來源 出版 Jarno Peltonen 著， 〈伊瑪里·塔佩瓦拉：室內設計師〉， 赫爾辛基，1984年，第5頁 Pekka Korvenmaa 著， 〈伊瑪里·塔佩瓦拉〉， 薩拉曼卡，1997年，第156-57頁 Aila Svenskberg 編， 〈伊瑪里·塔佩瓦拉：生活與設計〉展覽圖錄， 設計博物館， 赫爾辛基，2014年，第40、116頁
Literature Thomas Braüniger, Stilnovo, apparecchi per l’illuminazione, Berlin, 2016, p. 38
布魯．諾加塔 《罕有璧燈一對》 上色鐵 上色黃銅 黃銅 此作品約1956年由意大利米蘭 Stilnovo 製造。 來源 米蘭私人收藏 出版 Thomas Braüniger 著， 〈Stilnovo, apparecchi per l’illuminazione〉， 柏林，2016年，第38頁
HK$ 60,000-100,000 US$ 7,700-12,800
HK$ 100,000-200,000 US$ 12,800-25,600
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118. Gio Ponti
1891-1979
Pair of armchairs, model no. 498, designed for the frst class games room of the ‘Giulio Cesare’ transatlantic ocean liner walnut, fabric Each: 86.7 x 56.8 x 64.3 cm (34 1/8 x 22 3/8 x 25 3/8 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Produced circa 1949. Literature Gio Ponti and Nino Zoncada, ‘Interni di una nuova nave’, Domus, no. 267, February 1952, p. 14 Paolo Piccione, Gio Ponti: le navi: il progetto degli interni navali, 1948-1953, Viareggio, Italy, 2007, p. 114 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 204, 215
吉奧．蓬蒂 《為朱利奧·凱撒大西洋渡輪遊戲室設計扶手椅子一對》型號498 胡桃木 布料 此作品約1949年由意大利梅達Figli di Amedeo Cassina製造， 並附吉奧·蓬蒂文獻庫之保證書。 出版 吉奧·蓬蒂與 Nino Zoncada 著， 《一艘新船的內部設計》 ， 〈Domus〉 ，第267集，1952年2月，第14頁 Paolo Piccione 著， 〈吉奧·蓬蒂: 船舶、航海船隻內部設計 1948-1953年〉 Viareggio，意大利，2007年，第114頁 Ugo La Pietra 編,〈吉奧·蓬蒂: 當藝術愛上工業〉 ，紐約，2009年， 第204、215頁
HK$ 40,000-60,000 US$ 5,100-7,700
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119. Gio Ponti
1891-1979
Set of three armchairs, model no. 516 walnut, fabric Each: 78.2 x 64 x 79.4 cm (30 3/4 x 25 1/4 x 31 1/4 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Produced circa 1950. Provenance Private Collection, Milan
吉奧．蓬蒂 《三張扶手椅》型號516 染色胡桃木 布料 此作品約1950年於意大利梅達 Cassina 家具設計公司製造， 並附吉奧·蓬蒂文獻庫所發之保證書。 來源 米蘭，私人收藏
HK$ 125,000-150,000 US$ 16,000-19,200
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120. Fontana Arte Pair of ceiling lights, model no. 2220 nickel-plated metal, painted metal, glass, nickel-plated brass 98 cm (38 5/8 in.) drop, 30 cm (11 3/4 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Produced circa 1963. Provenance Private Collection, Rome Literature Quaderni Fontana Arte 5, Milan, 1963, p. 49
豐塔納藝術 《吊燈一對》型號2220 鍍鎳金屬 上色金屬 玻璃 鍍鎳黃銅 此作品約1963年由意大利米蘭豐塔納藝術製造。 來源 羅馬私人收藏 出版 〈Quaderni Fontana Arte 5〉，米蘭，1963年，第49頁
HK$ 80,000-120,000 US$ 10,300-15,400
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121. Gianfranco Frattini
1926-2004
Pair of lounge chairs fabric, walnut-veneered wood, painted tubular metal, brass Each: 78 x 57.5 x 73.5 cm (30 3/4 x 22 5/8 x 28 7/8 in.) Manufactured by Cassina, Meda, Italy. Produced circa 1959. Provenance Private Collection, Milan Literature ‘In un soggiorno’, Domus, no. 361, December 1959, p. 68 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 89 for a sofa version of the model Pier Carlo Santini, ed., Gianfranco Frattini, Pordenone, 1988, pp. 41-42 for sofa versions of the model
詹弗蘭科．弗拉蒂尼 《安樂椅一對》 布料 核桃鑲木飾面板 上色管狀金屬 黃銅 此作品約1959年由意大利梅達Cassina製造。 來源 米蘭，私人收藏 出版 《客廳裡》， 〈Domus〉第361集，1959年12月，第68頁 Giuliana Gramigna 著， 〈Repertorio 1950/1980〉， 米蘭，1985年，第89頁 (此作品沙發版本) Pier Carlo Santini 編， 〈詹弗蘭科·弗拉蒂尼〉，波代諾內， 1988年，第41-42頁 (此作品沙發版本)
HK$ 90,000-120,000 US$ 11,500-15,400
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Guide for Prospective Buyers Buying at Auction The following pages are designed to ofer you information on how to buy at auction at Phillips. Our staf will be happy to assist you. Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller. Bidders should also read the Important Notices immediately following this Guide for Prospective Buyers. Buyer’s Premium Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$2,000,000, 20% of the portion of the hammer price above HK$2,000,000 up to and including HK$30,000,000 and 12.5% of the portion of the hammer price above HK$30,000,000. The purchase price payable for any lot is the sum of the hammer price plus the buyer’s premium plus any applicable taxes and charges. 1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +852 2318 2000, +41 22 317 8181, +44 20 7318 4010 or +1 212 940 1240. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate upon Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in Hong Kong dollars, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of the property, as well as the exhibition history and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the
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identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property. While condition reports are prepared honestly and carefully, our staf are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of signifcant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verifed and approved by a qualifed electrician. Deposit If you wish to bid on a lot designated with the symbol * (a “Premium Lot”), Phillips may require you to pay a deposit of HK$2,000,000 or such higher amount as Phillips in our sole discretion deems appropriate and to provide such fnancial references, guarantees and/or other security as Phillips may require in our sole discretion as security for the bid. Phillips will also require you to complete the Premium Lot pre-registration prior to the date of the auction at which the Premium Lot will be ofered for sale. Upon our receipt of the deposit and a completed pre-registration form, Phillips will provide you with a numbered Premium Lot paddle for identifcation purposes. The auctioneer will usually only accept bids on Premium Lots made with the Premium Lot paddle or by its registered bidder. This applies to saleroom, telephone and absentee bids. Payment of the deposit may be made by wire transfer or credit card acceptable to Phillips for the prospective purchase. If you are not the successful bidder on a Premium Lot and do not owe Phillips or any of our afliated companies any debt, the deposit will be refunded to you by wire transfer (in the same currency in which you paid the deposit) or credit card
refund, as the case may be, the refund will be processed within seven days afer the date of the auction. Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee.
In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the lot. Δ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.
•
No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. ∑ Endangered Species Lots with this symbol have been identifed at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions
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regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. * Premium Lots Lots with this symbol carry a low pre-sale estimate of HK$8,000,000 or more and are referred to by Phillips as Premium Lots. Prospective buyers who wish to bid on Premium Lots must complete the pre-registration form and pay the Premium Lot deposit, as described more fully in this Paragraph 1 of the Guide for Prospective Buyers. ▼ Restricted Importation Lots with this symbol may be subject to importation restriction in the US. Please refer to the Important Notices which appear in this catalogue immediately following this Guide for Prospective Buyers. 2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identifcation may be required, as may an original signature. We may also require that you furnish us with a bank reference. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staf members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least HK$8,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium, which we can execute on your behalf in the event we are unable to reach you by telephone. To arrange a telephone bid please contact the Hong Kong bids department at +852 2318 2029. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com.The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and
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Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe Flash Player. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the Auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. HK$1,000 to HK$2,000 HK$2,000 to HK$3,000 HK$3,000 to HK$5,000
HK$5,000 to HK$10,000 HK$10,000 to HK$20,000 HK$20,000 to HK$30,000 HK$30,000 to HK$50,000 HK$5,000, HK$8,000 HK$50,000 to HK$100,000 HK$100,000 to HK$200,000 HK$200,000 to HK$300,000 HK$300,000 to HK$500,000
HK$500,000 to HK$1,000,000 Above HK$1,000,000 discretion
by HK$100s by HK$200s by HK$200, 500, 800 (i.e., HK$4,200, HK$4,500, HK$4,800) by HK$500s by HK$1,000s by HK$2,000s by HK$2,000, by HK$5,000s by HK$10,000s by HK$20,000s by HK$20,000, 50,000, 80,000 (i.e., HK$320,000, HK$350,000, HK$380,000) by HK$50,000s at the auctioneer’s
3 The Auction As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the benefciary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. 4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale. Payment must be made in Hong Kong dollars by wire transfer, as noted in Paragraph 6 of the Conditions of Sale. Cash and cheques are not accepted. Credit Cards As a courtesy to clients, Phillips accepts payment by credit card up to HK$800,000. A processing fee will apply. For details on credit card payment please contact the Client Services department at +852 2318 2000. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots.
The auctioneer may vary the increments during the course of the auction at his or her own discretion.
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Important Notices Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction. Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licences Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from Hong Kong or to import it into another country. It is the buyerâ&#x20AC;&#x2122;s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.
With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the object qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot.
Premium Lots Any prospective buyer interested in any Premium Lot, which is marked in the catalogue with the symbol *, must complete Premium Lot pre-registration and make a deposit of HK$2,000,000 or such higher amount as Phillips shall require in order to bid on a Premium Lot. For details, please contact the Client Services Department at +852 2318 2000.
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.
Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certifcate prior to exportation and additional licences or certifcates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certifcate does not ensure the ability to obtain an import licence or certifcate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyerâ&#x20AC;&#x2122;s sole responsibility to obtain any necessary export or import licences or certifcates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis regarding continent of origin and confrmation the object is more than 100 years old. We have not obtained a scientifc analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientifc analysis or other report required in connection with their proposed import of such property into the US.
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Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the Important Notices immediately following the Guide for Prospective Buyers and the Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is ofered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company afliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an afliated company may have a legal, benefcial or fnancial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.
(a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.
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(b) Each lot ofered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfed themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identifcation purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our afliated companies shall be liable for any diference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least HK$8,000. Phillips reserves the right to require written confrmation of a successful bid from a telephone
bidder by fax or otherwise immediately afer such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are fnal and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘foor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘foor’ or ‘phone’ bid are identical, the ‘foor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identifed third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal, state or other antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.
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(h) Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is ofered subject to a reserve, which is the confdential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-ofer a lot for sale (including afer the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in Hong Kong dollars and payment is due in Hong Kong dollars. For the beneft of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will refect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.
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(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable taxes and charges (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including HK$2,000,000, 20% of the portion of the hammer price above HK$2,000,000 up to and including HK$30,000,000 and 12.5% of the portion of the hammer price above HK$30,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property ofered and sold at auction. (b) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in Hong Kong dollars by wire transfer in accordance with the bank transfer details provided on the invoice for purchased lots. (c) As a courtesy to clients, Phillips will accept American Express, Visa and MasterCard to pay for invoices of HK$800,000 or less. A processing fee will apply. (d) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identifcation has been provided, and any earlier release does not afect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our afliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed all of the foregoing conditions, he or she should contact us at +852 2318 2000 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days
afer the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identifcation prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of HK$80 per day for each uncollected lot. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our afliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notifcation of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our afliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any
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applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notifcation by any of our afliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notifcation by any of our afliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an afliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our afliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.
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11 Export, Import And Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from Hong Kong or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12 Personal Data (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com. (b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which
we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues may be subject to CCTV video surveillance and recording and your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded. Where we record such information we will process it in accordance with our Privacy Policy. 13 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our afliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our afliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our afliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our afliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and ftness for purpose, are specifcally excluded by Phillips, our afliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our afliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our afliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.
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Authorship Warranty 15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specifed at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notifed by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and efect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) If there is any inconsistency or confict between the English text of the Conditions of Sale, Guide for Prospective Buyers and/or Important Notices and their Chinese translations, the English text will prevail. 16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with Hong Kong law. (b) For the beneft of Phillips, all bidders and sellers agree that the courts of Hong Kong are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the courts of Hong Kong. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by Hong Kong law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.
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Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of fve years from date of sale by Phillips, subject to the exclusions and limitations set forth below and the Important Notices set out in this catalogue immediately following the Guide for Prospective Buyers. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientifc methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry.
(d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our afliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our afliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.
(b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the salesroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above.
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Please return this form by fax to +852 2318 2010 or email it to bidshongkong@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying to bid as an individual or on behalf of a company.
In-person Absentee Bidding Telephone Bidding
Paddle Number
As a private individual On behalf of a company Sale Number First Name
Sale Date
Surname
Address
City
• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.
State/Country
Post Code Phone
Mobile
Fax
• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. • If we receive identical bids, the first bid received will take precedence.
Phone number to call at the time of sale (for Phone Bidding only) 1.
• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded.
2.
Language to be used (for Phone Bidding only) Please complete the following section for telephone and absentee bids only Lot number
Brief description
In Consecutive Order
• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$2,000,000, 20% of the portion of the hammer price above HK$2,000,000 up to and including HK$30,000,000 and 12.5% of the portion of the hammer price above HK$30,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.
Account Number
Company (if applicable)
• CONDITIONS OF SALE All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale. • If you cannot attend the sale, we can execute bids confidentially on your behalf.
Please indicate in what capacity you will be bidding (please select one):
Title
• PRIVATE PURCHASES Proof of identity in the form of governmentissued identification and proof of address will be required. • COMPANY PURCHASES We require a Letter of Authorisation signed by a company director for the noted individual to transact on the company’s behalf and a copy of government-issued identification (such as the certificate of incorporation) to verify the status of the company.
Please select the type of bid you wish to make with this form (please select one):
Sale Title
14/F St. George’s Buidling, 2 Ice House Street, Central, Hong Kong
Maximum bid price in HK$* Absentee Bids Only
• Please submit your bids to the Bid Department by fax at +852 2318 2010 or scan and email to bidshongkong@phillips.com at least 24 hours before the sale. You will receive confirmation by email within one business day. If you have not received our confirmation, please resubmit your bids(s) and contact the Bid Department at +852 2318 2029. • Payment for lots can be made by credit card (up to HK$800,000) or by wire transfer. Please note that credit cards are subject to a surcharge. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillips’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.
* Excluding Buyer’s Premium
Signature
Date
By ticking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.
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Please tick this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.
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準買家指引 拍賣現場購買 以下指引有助閣下了解如何在富藝斯拍賣會上購買拍品，本公 司職員將竭誠為您服務。
拍賣前預展 拍賣前預展乃免費並對外公開，我們的專家可於預展或預約 時提供意見及品狀報告。
▼ 限制進口 標有此符號的拍賣品或受美國入口限制。詳情請參閱列印於 此準買家指引後的重要通告。
業務規定 拍賣會乃根據圖錄末段所載之業務規定及著作保證而運作。 競投者請務必細閱業務規定及著作保證以了解本公司與賣家 及買家之間的法律關係；以及於拍賣會上購買之條款。富藝斯 在一般情況下為賣家之代理人。競投者亦應細閱列印於本準 買家指引後的重要通告。
電子及機械性拍品 所有帶有電子及或機械性能之拍品均只供以其裝飾價值出 售，並不代表可運作。如有特別運作上的用途，其電子系統必 須經認可電子技術人員檢測及通過授權使用。
2 拍賣競投
買家支付之酬金 本公司會按每件拍品成交價向競投成功者收取佣金或買家 支付之酬金。買家應支付酬金費率為：拍賣品成交價首港幣 2,000,000 元之25%，加逾港幣2,000,000 元以上至港幣 30,000,000元部份之20%；加逾港幣30,000,000元之餘款 的12.5%計算。 買家須就每件拍品支付其成交價、買家支付之酬金及任何適 用之稅項及費用。 1 拍賣前 訂購圖錄 如欲購買是次或其他富藝斯拍賣圖錄，請致電 + 852 2318 2000, +41 22317 8181, +44 20 73184010 , +1 212 940 1240 聯絡我們。 拍賣前估價 拍賣前估價用意為提供指引予準買家。本公司認為任何介乎 於高至低估價範圍之間的競投價皆有成功機會。然而，拍品亦 有可能在低於或高於拍賣前估價拍出。如欲對標示為「估價 待詢」之拍賣品了解更多，請與專家部門聯繫。由於估價可予 修改，因此閣下可於臨近拍賣前聯絡我們。拍賣前估價並不 包括買家支付之酬金或其他適用稅項。 拍賣前估價以美元及歐元為單位 本拍賣會將以港元為競投貨幣，但載於拍賣圖錄內的拍賣前 估價除以港元為單位外，亦或會用美元及或歐元。由於圖錄 中的貨幣兌換率是根據圖錄付印時而非拍賣當日的兌換率而 訂，因此美元或歐元的拍賣前估價只供參考用。 圖錄編列 富藝斯或會在圖錄內刊印有關拍品之出處及過往展覽、引述 於藝術刊物之紀錄。儘管我們以審慎的態度進行編列，但拍 賣品的出處、展覽及文獻或未能詳盡；及在某些情況下我們或 會有意地不揭露物主身份。請注意所有陳述於圖錄內拍賣品 之量度均為約數。 拍賣品之狀況 本公司之圖錄只會在多件型作品 (例如印刷品)的描述中提到 狀況事宜。但該些狀況資料並不等於狀況之完整說明。未有提 及此等狀況資料亦不表示拍品全無缺陷或瑕疵。品狀報告乃 富藝斯為方便買家提供的一項服務。我們的專家以物品估價 相應的方式評估及撰寫品狀報告。雖然我們以真誠及謹慎的 態度撰寫品狀報告，惟本公司職員並非專業修復者或經培訓 之管理人。故我們建議所有準買家應親臨拍賣前展覽並親自 檢查拍品；由於所有品物均於無裝框下出售，除特別註明在品 狀報告上。如拍品出售時有裝框，富藝斯將不會就框架任何狀 況承擔任何責任。如我們售出的拍品沒有裝框，我們樂意為買 家推薦專業的裝框服務。
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保證金 如欲競投標有*記號之拍賣品 (高額拍賣品)，富藝斯或要求閣 下交付港幣2,000,000元或其他由富藝斯決定之更大金額的 保證金及任何財務狀況證明，擔保及/或其他由富藝斯可全權 酌情決定要求的抵押作為參加富藝斯競投的保障。富藝斯亦 會要求閣下於該高額拍賣品拍賣日前完成高額拍賣品預先登 記。當我們確認收到保證金及已填妥之預先登記表格後，閣 下將獲發高額拍賣品競投牌以資識別。拍賣官一般只接受以 高額拍賣品競投牌或其登记競投人士作出之競投。此亦適用 於拍賣現場、電話及書面競投。閣下可以電匯或富藝斯可接 受之信用卡繳付保證金。如閣下未有成功競投高額拍賣品，於 富藝斯或我們任何附屬公司亦無任何欠款，保證金將以電匯( 與閣下繳付保證金時相同之貨幣)或信用卡退還，視乎個別情 形，本公司將安排於拍賣日期後7天內安排退還保證金。 符號圖例 圖錄內提述有關以下符號之意思 O ♦ 保證項目 拍賣品標有O符號代表該賣家獲富藝斯承擔保證最低出售 價。若保證由第三方（已進行不可撤銷的競投）提供或與本公 司共同提供，該拍賣品將標有O ♦。若第三方在拍賣品中持有 全部或部分財政權益，該方亦會承擔全部或部分拍品不被賣 出的風險，在該方並非拍賣品投得者的情況下亦可獲得相應 之補償金。補償金可為一固定費用、成交價或買家支付之酬金 的一定比例或由上述的組合而成。第三方可於拍賣時競投已 獲保證之拍賣品，而競投金額必須高於其不可撤銷的競投。 若該第三方競投成功，其必須繳付拍賣品的成交價和買家支 付之酬金，而不會獲得任何補償。
Δ 富藝斯擁有業權權益之拍賣品 拍賣品標有Δ符號代表富藝斯擁有該拍賣品之全部或部分業 權，或在拍賣品中擁有相等於業權權益之經濟利益。 無底價 •除非標有•符號， 否則所有本圖錄內所載之拍賣品均有底價。 底價是由富藝斯和賣家共同訂立且機密之價安。拍賣品不會 以低於該價售出。每件拍賣品的底價一般以低估價之一定比 例來定，並且不會高於拍賣前低估價。 ∑ 瀕危物種 標有此符號的拍賣品表示在編列圖錄時該拍賣品已確定含有 瀕危或其他受保護野生動物物種並可能受到就有關出口或入 口之限制及可能需要出口及入口許可證。詳情請參閱準買家 指引第4段及業務規定第11段。
於拍賣會上競投 競投可於拍賣會上由個人親臨舉競投牌進行，亦可透過電 話、網上進行競投或在拍賣前以書面形式參加。請提供政府 發出的身份證明文件及原有簽名。我們或需要閣下提供銀行 證明。 親身競投 親身競投之人士須於拍賣會開始前登記及領取競投牌。我們 建議新客戶於拍賣舉行前至少48小時辦理登記，以便有充足 時間處理閣下之資料。所有售出之拍賣品發票抬頭人均為登 記競投牌之人士及其地址，並不得轉讓至他人及其他地址。 請勿遺失競投牌，如有遺失請立即通知富藝斯職員。拍賣完 結時，請將競投牌交回登記處。 電話競投 如閣下未能出席拍賣會，您可透過電話與本公司通曉多國語 言之職員進行實時競投。此服務須於拍賣會開始前至少24小 時安排，及只適用於拍賣前低估價為港幣8,000元以上之拍 品。電話競投將可被錄音。以電話競投即代表閣下同意其對 話將被錄音。我們建議閣下表明最高競投價(不包括買家支付 之酬金)以便我們在無法以電話聯絡閣下時代您競投。如欲安 排電話競投，請致電香港投標部+852 2318 2029。 網上競投 如閣下未能親自出席拍賣會，您可透過我們於網站www. phillips.com內的實時競投平台進行網上競投。我們建議使用 Google Chrome、Firefox、Opera及Internet Explorer執行網 上拍賣。閣下如欲以Safari運行網上拍賣需先行安裝Adobe Flash Player。於網站內按「拍賣」、「實時拍賣」然後「實時 競投登記」以作預先登記。第一次登記時需先建立帳戶，此後 只需登記個別拍賣即可。閣下須於拍賣前至少24小時作網上 預先登記以便投標部確認。請注意網上競投者或會因企業防 火牆而未能競投。 書面競投 如閣下未能出席拍賣會及參與電話競投，富藝斯樂意代表閣 下進行書面競投。本圖錄末附有競投表安。此服務乃免費並 且保密。投標價必須是以拍賣會當地的貨幣為單位。本公司 之職員將參考底價及其他競投價，盡力以最低價進行競投。 請標明最高競投價(不包括買家支付之酬金) 。無限價競投標 將不獲接納。所有書面競投須於拍賣24小時前收到。倘本公 司就同一項拍賣品收到相同之競價，則最先收到之競價會獲 優先辦理。 僱員競投 富藝斯及其附屬公司之僱員，包括拍賣官只可在不知底價及全 面遵守本公司的僱員競投內部規例之情況下進行書面競投。
* 高額拍賣品 標有此符號的拍賣品其拍賣前低估價為港幣8百萬或以上均 被富藝斯列為高額拍賣品。如欲競投高額拍賣品，準買家必 須填妥預先登記表安及繳付高額拍賣品保證金，詳情請參閱 準買家指引第1段。
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重要通告 競投價遞增幅度 競投一般由低於最低估價開始，通常每次喊價之遞增幅度最 高為10%，拍賣官亦可於拍賣時自行決定更改每次喊價增加 之額度。書面競投價若與下列之遞增幅度不一致，將被調低 至下一個喊價幅度。 競投價 1,000-2,000 港元 2,000-3,000港元 3,000-5,000港元 4,200, 4,500, 4,800港元) 5,000-10,000港元 10,000-20,000港元 20,000-30,000港元 30,000-50,000港元
50,000-100,000港元 100,000-200,000港元 200,000-300,000港元 300,000-500,000港元
500,000-1,000,000港元 1,000,000港元或以上
每次喊價之遞增金額 100港元 200港元 200, 500, 800 港元 (例 500港元 1,000港元 2,000港元 2,000, 5,000, 8,000港元 (例 32,000, 35,000, 38,000港元) 5,000港元 10,000港元 20,000港元 20,000, 50,000, 80,000 港元 (例 320,000, 350,000, 380,000港元) 50,000港元 拍賣官自行決定
在拍賣時拍賣官可酌情更改每次增加之額度。
信用卡 為方便客戶, 富藝斯可接受以信用卡支付不多於港幣80萬元的 付款。 使用信用卡將會被收取附加費。 如欲了解更多以信用 卡付款詳情, 請聯絡客戶服務部+852 2318 2000。
高額拍賣品 所有準買家如欲競投任何高額拍賣品(標有*記號之拍賣品)必 須完成高額拍賣品預先登記及交付港幣2,000,000元或其他 由富藝斯決定之更大金額的保證金。詳情請聯絡客戶服務部 +852 2318 2000。
提取 提取拍賣品時請出示身份證明。富藝斯收到全數結清之貨款 及確認買家在本公司及其附屬公司沒有欠款後，會將拍賣品交 予買家或買家授權之代表。拍賣後所有拍品會被儲存在外。 如欲提取拍品，煩請與我們運輸部聯絡，電話：+852 2318 2000。未能提取的拍品均會被收取有關轉移，利息，儲存等 相關費用。 損失或損壞 買家請注意富藝斯 對拍賣品損失或損壞之責任期限最多為拍 賣後七天。 運輸及付運 作為一項予買家的免費服務，富藝斯只可包裝拍品作手提用。 我們並不會直接提供包裝、處理及付運服務。但我們可依據 閣下之指示與付運代理協調以促成閣下於本公司購買貨物之 包裝、處理及付運。詳情請參閱業務規定第7段。 出口及入口許可證 在競投任何拍賣品前，我們建議準買家對拍賣品先作獨立調 查以確定是否需要以許可證出口香港或進入其他國家。買家 須遵守所有入口及出口之法律及應取得有關的出口或入口許 可證。不獲發任何所需之許可證或執照並不構成取消買賣或 延遲繳付全數貨款之充分理由。
3 拍賣 如上所述，拍賣會受業務規定及保險書所規限，所有準買家 應仔細閱讀。該等業務規定及保證書可經在拍賣會場張貼通 告或由拍賣官作出公佈之方式進行修改。 有利害關係的各方公佈 在某些情況下對拍賣品有直接或間接利害關係的一方可能對 拍賣品作出競投，如出售拍賣品之遺產之受益人或執行者；拍 賣品之聯權共有人或提供或參與保證的一方，富藝斯將會於 拍賣廳內公佈有利害關係的各方可能對拍賣品作出競投。
接連投標及競投；無底價拍賣品 拍賣官可代表賣家為任何拍賣品叫第一口價以開始競投。拍 賣官更可代表賣家以接連投標或競投之方式，就拍賣品作出 競投直至達到底價。就不設底價的拍賣品,除非已有競投,否 則拍賣官一般會以拍品的拍賣前低估價的50%開始拍賣。若 在此價格下並無投標,拍賣官會自行斟酌將價格下降繼續拍 賣,直至有客戶開始競投,然後再由該投標價向上繼續拍賣在 沒有更高叫價的情況下,以書面投標競投無底價拍賣品會以拍 賣前低估價大約50%成交。 但若該投標價低於拍賣前低估 價的50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫 價, 拍賣官會自行決定該拍賣品為流拍。
瀕危物種 由植物或動物材料如珊瑚、鱷魚、象牙、鯨骨、巴西玫瑰木、 犀牛角或玳瑁殼，不論其年份、百分比率或價值，均可能須申 領許可證或證書方可入口至美國或其他歐盟以內或外的國 家。請注意能取得出口許可證或證書並不能確保可在另一國 家取得進口許可證或證書，反之亦然。我們建議準買家在競 投前向相關政府查核有關野生動植物進口之規定後再參與 競投。買家須負上所有責任取得任何所需出口或進口許可證 或證書，以及任何其他所需文件。請注意美國禁止入口任何 含有非洲象牙的產品。亞洲象的象牙可被進口到美國，而該 進口必須附有獨立科學分析報告以證明有關物品的起源地及 確認物品的年期已超過一百年。我們在銷售任何藏品前，均 無對藏品進行科學分析，所以無法確認相關藏品的象牙是來 自亞洲及非洲。買家凡購買有關藏品並計畫將有關藏品進口 美國，必須承擔風險並負責支付任何科學分析報告或其他報 告的費用。 有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明 文件鑑定物種及藏品之年期以顯示該藏品為古董。買家須進 行獨立評估以認證藏品上之瀕危物種物料及認證藏品之年期 為不少於一百年。如欲計劃入口藏品到美國的準買家不應依 靠富藝斯編列於圖錄內藏品上的瀕危物種物料或藏品之年期 及必須諮詢具有專業資格的獨立鑑定者後再參與競投。
4 拍賣後 付款 除非與富藝斯 於拍賣前已達成書面安排,否則買家須於拍賣後 即時以港元付款。閣下可依照業務規定第6段所述以電匯方式 付款。現金及支票恕不接納。
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請注意我們為方便客戶而在含有可能受管制植物或動物物料 的拍賣品上附加標記，但附加標記時如有任何錯誤或遺漏， 富藝斯恕不承擔任何責任。
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業務規定 準競投者與買家以及富藝斯與賣家的關係受下面闡述之業務 規定及著作保證所規限。 所有準買家須於參與競投前小心細 閱業務規定, 於準買家指引後的重要通告及著作保證。 1 序言 圖錄內所列拍賣品之銷售及售出均根據(a)業務規定及著作保 證;(b)圖錄其他地方所載之任何附加通知條款, 包括準買家指 引及重要通告及(c)補充本圖錄或其他富藝斯張貼於拍賣廳內 之書面資料, 或由拍賣官於拍賣前作出公佈之方式進行修改。 透過於拍賣中競投, 不論以親身,經代理人,以書面競投, 以電 話或其他方式競投, 競投者和買家均同意接受並遵守經改變 或補充的業務規定及著作保證。該些經改變或補充的業務規 定及著作保證包括富藝斯及賣家與買家合約成立之條款。 2 富藝斯作為代理人 除非於本圖錄中或於拍賣時另有說明, 否則富藝斯作為賣家 的代理人。 在個別情況下富藝斯可能擁有拍賣品, 在該情況 下以委託人之身份作為賣家行事; 或富藝斯其附屬公司可能 擁有拍賣品, 在該情況下則作為該公司的代理人, 或富藝斯或 其附屬公司可能以抵押債權人或其他身份擁有拍賣品之法 律、實益或財務利益。 3 圖錄說明及拍賣品狀況 拍賣品均受著作保證所限制出售, 如圖錄所述(除非該說明如 上面第1段所述被修改或補充) 及依據以下基礎陳述拍賣品於 拍賣時的狀況。
(a) 富藝斯 對各拍賣品之認識部份依賴賣家向其提供之資料, 且富藝斯無法及不會就各拍賣品進行全面盡職審查。 準買家 知悉此事, 並承擔進行檢查及檢驗之責任, 以使滿意彼等可能 感興趣之拍賣品。 儘管如前所述, 富藝斯在圖錄描述或品狀 報告作出之明示聲明, 應以有關拍賣中有關拍賣品之拍賣官身 份相符之合理審慎態度作出; 以及基於(I)賣家向其提供之資 料; (II)學術及技術知識; 及(III)相關專家普遍接納之意見作出 之明示聲明, 在各情況下應以合理審慎態度作出明示。 (b) 富藝斯提呈拍賣時出售之各拍賣品於拍賣前可供準買家檢 查。 在競投人(鑑於有關拍賣品之性質及價值及競投人之專 業知識而屬合適者,以及代表彼等之獨立專家)已當作在投標 前全面檢驗拍賣品, 並滿意拍賣品之狀況及其描述之準確性, 富藝斯會接受競投人對拍賣品之投標。 (c)準買家確認眾多拍賣品年代久遠及種類特殊, 意味拍賣品 並非完好無缺。 為方便準買家, 富藝斯或會準備及提供品狀 報告以方便準買家檢查拍賣品用。 圖錄描述及品狀報告在若 干情況下可用作拍賣品某些瑕疵之參考, 但競投人應注意, 拍 賣品可能存在其他在圖錄或品狀報告內並無明確呈視出之瑕 疵。 所有量度皆為約數。 解說只供鑑定用途, 將不能當作為 拍賣品尺寸之精確量度或真實狀況之全部資料。 (d) 提供予準買家有關任何拍賣品之資料包括任何拍賣前預 測(無論為書面或口述)及包括任何圖錄所載之資料、規則及 其他報告、評論或估值, 該等資料並非事實之陳述, 而是富藝 斯所持有之意見之聲明, 故不應依賴任何拍賣前預測作為拍 賣品售價或價值之預測, 且該等資料可由富藝斯不時全權酌 情決定修改。 富藝斯及並附屬公司皆不會為任何拍品拍賣 前估價與於拍賣或轉售所達之實際價錢之間的差距負上任 何責任。 4 拍賣會上競投出價 (a) 富藝斯可全權酌情決定拒絕進入拍賣場地或參與拍賣。 所有競投者需於競投前登記競投牌, 並提供富藝斯所需資料 及參考。
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(b) 為方便未能親身出席拍賣的競投者, 富藝斯或根據競投者 之指示代其進行書面競投。書面競投者須遞交”書面競投表 格”, 此表格列印於圖錄末部或可向富藝斯索取。 投標價必 須是以拍賣會當地的貨幣為單位。 競投者需清楚標明最高之 投標價 (不包括買家支付之酬金)。拍賣官將不會接受任何沒 有標明最高投標價之書面競投。 本公司之人員將參考底價及 其他競投價，盡力以最低價進行競投。所有書面競投須於拍 賣前24小時收到。 倘本公司就同一項拍賣品收到相同之競 價，則最先收到之競價會獲優先辦理。 (c)電話競投者須遞交”電話競投表格”, 此表格列印於圖錄末 部或可向富藝斯索取。 電話競投只適用於拍賣前低估價最少 達港幣8000元之拍品。富藝斯保留要求電話競投者以傳真或 其他方式儘快於拍賣官接受其競投後以書面確認成功競投之 權利。電話競投將可被錄音。以電話競投即代表閣下同意其 對話將被錄音。 (d) 競投者可透過富藝斯 於網站內www.phillips.com的實時 競投平台進行網上競投。競投者須於拍賣前至少24小時作網 上預先登記。 網上競投須得富藝斯投標部許可及投標部有酌 情權。 如上述第3段, 富藝斯 建議網上競投者於拍賣前檢視 有興趣競投之拍賣品, 及可要求索取品狀報告。 拍賣中競投 速度或會很迅速。 為確保網上競投者與現場或電話競投者 競投時不處於劣勢, 透過富藝斯 網上競投平台競投為單一步 驟過程。 透過按下電腦屏幕上的競投鍵, 競投者即遞交一投 標價。 網上競投者確認及同意遞交之投標價為已確實及任何 情況下或不能修改或退回。 於拍賣進行中時, 當有非網上投 標出現時, 該些投標會於網上競投者的電腦屏幕上顯示為 “ 現場”投標。 “現場”投標包括拍賣官為保障底價的投標。 倘就同一項拍賣品收到網上競投者及一“現場” 或 “電話” 競投者相同之競價，則拍賣官有權自行決定“現場” 投標會 獲優先辦理。為方便網上競投者競投, 下一喊價顯示於投標 鍵上, 網上競投者之競投價遞增幅度或會與拍賣官實際上下 一喊價有所不同。 因拍賣官在任何時候可自行決定或會偏離 富藝斯之標準遞增幅度, 但網上競投者或只可以完整之下一 喊價投標。 富藝斯之標準競投價遞增幅度載於準買家指引。 (e) 不論以親身、書面競投、電話競投或網上方式競投, 當競 投時即代表競投者接受承擔繳付購買價及所有其他適用費用 之責任, 詳情如以下第6(a)段所述, 除非於拍賣開始前已與富 藝斯以書面明確約定該競投者為一代理人, 而代表富藝斯接 受該已知的第三方及只會向該方收取付款。 (f) 不論以親身、書面競投、電話競投或網上方式參與競投, 即代表各準買家代表及保證其或其代理人之投標均不是任何 串通或其他反競爭協議的產生及與聯邦反信任法例一致。 (g) 書面及電話競投是本公司提供予準買家之免費服務，本公 司將盡合理努力代其競投。除了故意瀆職的情況外，本公司不 會對因未能執行書面或電話競投，或在當中出現之任何失誤 或遺漏負任何責任。 (h) 僱員競投 富藝斯及其附屬公司之僱員，包括拍賣官, 只可 在不知底價及全面遵守本公司的僱員競投內部規例之情況下 進行書面競投。 5 拍賣規定 (a) 除非標有•符號, 否則所有拍賣品均有底價限制, 底價是一 富藝斯與賣家達成協議的保密最低出售價。 該底價不會高於 拍賣前低估價。
時採取其認為是合適之其他行動。 富藝斯不會為拍賣官之行 動承擔任何責任。 如在拍賣後有任何爭議, 將會以本公司的 拍賣紀錄為確鑿。 拍賣官或會接受富藝斯附屬公司競投者在 不知道該拍賣品之底價的情況下之競投。 (c) 拍賣官會以其認為合適之喊價開始及繼續拍賣。 為保障 所有拍賣品的底價, 拍賣官在不一定表示的情況下, 可代表賣 家以接連投標或競投之方式就拍賣品作出競投直至達到底 價。 就不設底價的拍賣品,除非已有競投,否則拍賣官一般會 以拍賣品的拍賣前低估價的50%開始拍賣。 若在此價格下並 無投標,拍賣官會自行斟酌將價格下降繼續拍賣,直至有客戶 開始競投,然後再由該投標價向上繼續拍賣。 在沒有更高叫 價的情況下, 以書面投標競投無底價拍賣品會以拍賣前低估 價大約50%成交。 但若該投標價低於拍賣前低估價的50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫價, 拍賣官 會自行決定該拍賣品為流拍。 (d) 本拍賣會以港元進行拍賣及須以港元繳款。 為方便海外 客人, 圖錄內之拍賣前估價或會用美元及或歐元, 及會反映大 概兌換率。 因此, 美元或歐元的估價只供參考用。為方便競 投者, 本公司於拍賣會上或使用貨幣兌換顯示板, 富藝斯 不會 為任何貨幣兌換計算出現錯誤承擔任何責任。 (e) 在拍賣官之酌情下, 其出價最高且被拍賣官接受的競投者 將為買家, 下槌則顯示最高競投價之被接受, 亦表示賣家與買 家之間的拍賣合約之訂立。 拍賣品之風險及責任將如載於以 下第7段轉移到買家。 (f) 如拍賣品沒有售出, 拍賣官會宣佈該拍賣品為”流拍”, “ 撤回”, “送回賣家”。 (g) 任何於拍賣會後的拍品買賣均受業務規定及著作保證所 限制, 如同拍品於拍賣會中出售。 6 購買價及付款 (a) 買家同意支付本公司每件拍賣品之成交價，買家應支付 本公司酬金及所有適用稅項及費用。買家應支付酬金費率 為：拍賣品成交價首港幣2,000,000元之25%，加逾港幣 2,000,000元以上至港幣30,000,000元部份之20%；加逾港 幣30,000,000元之餘款的12.5%計算。富藝斯保留用酬金支 付介紹佣金予一個或多個協助拍品於拍賣會中售出的第三 方之權利。 (b) 除非另有協議, 否則買家須於拍賣後立即繳款, 與有任何 意圖獲得該拍賣出口或進口許可證或其他執照無關。 付款 須由發票抬頭人,以港元及按照發票上之詳細銀行資料以電 匯方式支付。 (c) 為方便客戶, 富藝斯將接受以美國運通卡, Visa及萬事達卡 繳付最多港幣80萬元之發票。 使用信用卡將被收取附加費。 (d) 所購拍賣品之擁有權將於富藝斯 全數收取後方可轉移。 富藝斯概無責任將拍賣品交給買家直至拍賣品之擁有權已轉 移, 且已獲提供適當確認而提早交付不會影響擁有權之轉移 或買家支付買入價之無條件責任。 7 提取拍賣品 (a) 富藝斯直至確認全數收取及買家於富藝斯或其附屬公司沒 有欠款, 包括任何根據以下第8(a)段所述需繳之任何費用; 及 我們滿意買家所需其他條款(包括完成反洗黑錢或反恐怖主義 之財務審查後, 會將拍賣品交予買家。
(b) 拍賣官可隨時酌情決定拒絕或接受任何競投, 撒回任何拍 賣品, 重新出售拍賣品(包括在落槌後), 以及如遇出錯或爭議
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(b) 買家須於拍賣後7天內安排提取拍賣品。 拍賣後所有拍 品會被儲存在外。如欲提取拍品，煩請與我們運輸部聯絡， 電話：+852 2318 2000。未能提取的拍品均會被收取有關轉 移，利息，儲存等相關費用。已買之拍賣品之風險,包括投保責 任由買家承擔, 由(I) 領取; 或(II) 拍賣會後7天, 以較早日期為 準。 直到風險轉移, 富藝斯 將就拍賣品之任何損失或損毀向 買家支付賠償, 惟以所付之買入價為最高限額,並受我們一般 損失或損毀拍賣品安排所限制。 (c) 為方便客戶，富藝斯可在不另收費下, 包裝拍賣品作手提 用。我們並不會提供包裝、處理、保險及付運服務。我們可依 據買家之指示與付運代理(不論是否由富藝斯所建議)協調及 促成閣下於本公司購買貨物之包裝、處理、保險及付運於富藝 斯所購的拍賣品。買家須承擔所有任何指示之風險及責任, 本 公司將不會負責或承擔其他的包裝員或運送員之行為及遺漏 引致的任何責任。 (d) 富藝斯在將拍賣品交予買家或買家之授權於代表前, 要求 出示政府發出之身份證明。 8 未提取拍品 (a)倘買家支付全數但未有於拍賣會後30天內提取拍賣品, 買 家將會被收取逾期提取費用。 每年未提取的拍品費用為每 天港幣80元。 我們在全數收到該些費用後方會將拍賣品交 予買家。 (b) 倘已繳付拍品, 但未於拍賣會後6個月內提取該拍品, 則 買家授權富藝斯(經通知後) 安排以拍賣或私人出售以重售 該物品, 而估價及底價將由富藝斯酌情決定。 除非買家在該 拍賣會後兩年內收取該出售之所得款項扣除存倉費及任何其 他買家欠富藝斯或其附屬公司之所有費用, 否則該筆款項將 被沒收。 9 欠繳款之補償方法 (a) 在不影響賣家可能擁有之任何權利之情況下, 倘買家在未 預先協定之情況下未能在拍賣會後7天內悉數繳付拍賣品購 入價, 富藝斯可全權決定行使以下一項或多項補救方法: (i) 將 拍賣品貯存在其處所或其他地方, 風險及費用完全由買家承 擔; (ii) 取消該拍賣品之銷售, 保留購入價任何部分繳款作為 違約金; (iii) 拒絕買家未來作出之競投或使其就未來之競投 須支付保證金; (iv) 收取由到期日至悉數收取買入價當日期間 按每年12%之利率計算之利息; (v) 對買家由富藝斯所管有之 任何物品行使留置權及指示富藝斯附屬公司對其管有買家之 任何物品行使留置權。 在知會買家後, 並在發出該通知之30 天後可安排出售該物品, 以及將所得款項用以支付結欠富藝 斯或其附屬公司扣除本公司標準賣家佣金, 所有其他有關費用 及任何適用稅項; (vi) 以拍賣或私人出售重售該拍賣品, 而估 價及底價將由富藝斯 合理地酌情決定。 倘該重售之價格低於 該拍賣品之成交價及買家應支持之酬金, 買家將仍須承擔該 差額, 連同該重售產生之所有費用。 (vii) 展開法律訴訟, 以收 回該拍賣品之成交價及買家應支持之酬金, 連同利息及該訴 訟之費用; (viii) 以富藝斯或其附屬公司結欠買家之任何金額 抵消買家就拍賣品結欠富藝斯之任何金額; (ix) 向賣家透露買 家之名稱及地址, 使賣家可展開法律訴訟, 以收回欠款及申索 法律費用; 或(x)採取本公司認為適當及需要之任何行動。 (b) 在收到富藝斯附屬公司通知買家未能付款後, 即買家不可 撤銷授權富藝斯 對買家所管有之任何物品行使留置權。 富藝 斯會通知買家有關行使留置權。 在收到富藝斯附屬公司通知 買家未能付款後,買家亦不可撤銷授權富藝斯 抵押買家被管 有的物品以支持任何欠款。 如買家之物品被送往有關公司進 行抵押, 富藝斯將會告知買家。
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(c) 如買家未能繳付款項, 買家不可撤銷已授權富藝斯指示其 附屬公司將買家被管有的物品以買家代理人之身份交予富藝 斯指定的第三方作購入價及任何其他欠款之典當或抵押。 此 項安排將於以書面通知買家後不少於30天進行, 出售物品以 所獲得的出售金額(扣除出售之標準賣家佣金及其他有關費用 及任何適用稅項)支付富藝斯或其附屬公司。 10 決定撤銷 富藝斯有權撤銷拍賣及沒有義務通知買家, 如本公司有理由 相信賣家與著作保證之間涉及違約或有第三方欲以不良意圖 索償。 當富藝斯決定撤銷拍賣及通知買家後, 買家應儘快將 拍賣品退回富藝斯, 而本公司會退還我們所收的購入價。 如 以下第13段所述, 退還款項應為買家唯一的補償及向富藝斯 與賣家對手段撤銷拍賣的追索。 11 出口,入口及瀕危物種許可證及執照 在競投任何拍賣品前，準買家應對拍賣品先作獨立調查以確 定是否需要以許可證出口香港或進入其他國家。準買家應注 意某些國家禁止入口含有由植物或動物材料如珊瑚、鱷魚、 象牙、鯨骨、巴西玫瑰木、犀牛角或玳瑁殼的物品，不論其年 份、百分比率或價值。 同樣, 在競投任何拍賣品前, 準買家如 欲將購得之拍賣品出口亦應查核並了解有關國家之出口及入 口限制。 請注意美國禁止入口任何含有非洲象牙的產品。亞 洲象的象牙可被進口到美國，而該進口必須附有獨立科學分 析報告以證明有關物品的起源地及確認物品的年期已超過 一百年。 有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明 文件鑑定物種及藏品之年期以顯示該藏品為古董。買家須進 行獨立評估以認證藏品上之瀕危物種物料及認證藏品之年期 為不少於一百年。如欲計畫入口藏品到美國的準買家不應依 靠富藝斯編列於圖錄內藏品上的瀕危物種物料或藏品之年期 及必須諮詢具有專業資格的獨立鑑定者後再參與競投。 買家須承擔責任及遵守所有入口及出口之法例及應取得所需 的的出口,入口及瀕危物種的許可證及執照。不獲發或延遲獲 發任何所需之許可證或執照並非取消銷售或延遲繳付全數貨 款之充分理由。請注意我們為方便客戶而在含有可能受管制 植物或動物物料的拍賣品上附加標記，但附加標記時如有任 何錯誤或遺漏，富藝斯恕不承擔任何責任。 12 資料保障 (a) 閣下同意並了解，我們可能會根據公司的私隱條例隨時 處理你的個人資料（包括可能被歸納為敏感性個人資料） 。我們的私隱條例刊載於www.phillips.com， 或可電郵至 dataprotection@phillips.com 索取副本。 (b) 我們的私隱條例闡述：(i) 本公司將會或可能收集及處理 的個人資料類別；(ii) 本公司將會或可能收集及處理閣下個人 資料的目的；(iii) 本公司處理閣下個人資料的法律依據；(iv) 閣下對本公司處理你個人資料的權利；及(v) 適用法律要求的 各項其他資訊。 (c) 富藝斯可能會對其物業、銷售及展覽範圍內進行錄影監 控，閣下與富藝斯之間的溝通包括電話和網上對話（如電話 和網上競投）亦會被記錄。本公司將根據私隱條例記錄和處 理此等資料。
(b) 除非在此第13段所提及, 富藝斯, 其附屬公司或賣家均無 須(I)負上任何錯誤或遺漏之責任, 不論是以口述或書面, 富藝 斯或其附屬公司提供予準買家之資訊或(II) 富藝斯或其附屬公 司在有關於拍賣行為或對任何其他有關拍賣品銷售因處理或 遺漏, 不論疏忽或其他原因而對任何競投者承擔。 (c) 除著作保證以外的保證, 明示或暗示, 包括品質滿意和適 用性保證, 均被富藝斯, 其附屬公司或賣家在法律允許的最大 範圍內所排除。 (d) 根據以下(e)段, 富藝斯, 其附屬公司或賣家均無須對於上 段(a)提及買家除退款外之任何損失或損害負責。 不論該損 失或損害為直接, 間接, 特別, 附帶的或後果, 或在法律允許的 最大範圍內用以支持購入價之利息。 (e) 在業務規定沒有規管的應被視為排除或限制富藝斯 或其 附屬公司對買家負上因我們之疏忽對死亡或受傷所造成的任 何欺詐或虛假陳述的責任。 14 版權 所有由富藝斯或為富藝斯在圖錄中與拍賣品有關之製作的一 切影象, 圖標與書面材料之版權, 無論何時均屬富藝斯財產。 未經本公司事先書面同意, 買家或任何人均不得使用。 富藝 斯及賣家均沒有陳述或保證買家就投得的拍賣品取得任何拍 賣品或其他複製的權利。 15 一般資料 (a) 該此業務規定(於上述第1段所改變或補充)及保證造成各 方對交易之預期及取代所有之前及當時的書面, 口頭或暗示之 理解, 說明和協議。 (b) 給予富藝斯之通知應以書面形式發出, 註明拍賣之負責部 門及銷售圖錄開端指定之參考號碼。 給予富藝斯客戶之通知 應以彼等正式通知富藝斯之最新地址為收件地址。 (c)未經富藝斯書面同意前, 任何買家不得轉讓該等業務規定, 但對買家之繼承人, 承付人及遺產執行人具有約束力。 (d) 倘因任何理由無法執行該等業務規定之任何條文, 則餘下 條文應仍然具有十足效力及作用。 任何一方行使, 或沒有延 遲行使, 在該等業務規定任何權利或補救可作免除或釋放全 部或部分。 16 法例及司法權 (a) 該等業務規定及保證之權利及義務,及其有關或適用之所 有事宜須受香港法律規管並按其詮釋。 (b) 就富藝斯之利益而言, 所有競投者及賣家同意香港法院擁 有專有司法權, 調解所有因與該等業務規定及著作保證有關 或適用之所有事宜或交易之各方面而產生之紛爭。 各方均同 意富藝斯將保留權利在香港法院以外之任何法院提出訴訟。 (c) 所有競投者及賣家不可撤回同意透過傳真, 親身, 郵寄或香 港法例, 送達地點之法例或提出訴訟之司法權區之法例允許 之其他方式, 將有關任何法院訴訟之法律程序文件或任何其 他文件送發至買家或賣家知會富藝斯之最新地址。
13 法律責任限制 (a) 根據以下(e)段, 富藝斯, 其附屬公司之所有法律責任及賣 家與買家在拍賣品銷售關係乃受買家實際所付的購入價限 制。
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著作保證 富藝斯保證在拍賣日起的5年期間為圖錄內用粗體或大楷標 題之物品保證了著作權。 保證受以下及本圖錄所載末準買家 指引後的重要通告所排除及限制。 (a) 富藝斯 對任何拍賣品只給予原來紀錄之買家(即登記成功 拍賣之競投人)保證著作權。此保證著作權並不伸延至(i) 物 品其後的擁有人, 包括買家或收件人以禮物形式由原來買家, 後代, 繼承人, 受益人及指定人送出; (ii) 圖錄內對物品的描述 與物品著作有意見上的矛盾; (iii) 我們於拍賣日歸納著作與專 家, 學者或其他專家普遍接納之意見一致; (iv) 能正確地鑒定 拍賣品的科學鑒定方法在圖錄編印之不為一般所接受, 或在 圖錄載登時, 此方法過份昂貴或不實際或可能損壞拍賣品的 情況;或(v) 若根據拍賣品於圖錄之標題, 該拍賣品並無重大 喪失任何價值。 (b) 如欲因著作保證而索償, 富藝斯保留其權利, 作為撤銷拍 賣之條件, 及要求買家提供兩名為富藝斯及買家雙方接納之特 立及行內認可專家之報告, 費用由買家承擔。 富藝斯無須受 買家出示之任何報告所規限, 並保留權利尋求額外之專家意 見, 費用由富藝斯自行承擔。倘富藝斯決定根據本保證取消買 賣 , 富藝斯或會將經雙方審批之獨立專家報告所需之合理費 用退還予買家。 (c) 受上述(a)所說明, 買家或可就著作保證在以下情況下提出 伸索(I)買家在收到任何導致買家質疑拍賣品之真偽之資料後 3個月內以書面通知富藝斯 , 註明購買該拍賣品的拍賣編號, 圖錄內拍賣品編號及被認為是膺品的理由及(II) 將狀況與銷 售予買家當日相同, 並能轉移其妥善所有權且自銷售日期後並 無出現任何第三方申索之物品退還予富藝斯。 富藝斯有權免 去任何以上(c)小段或(b) 小段 所說明之要求。 (d) 買家明白及同意對違反著作保證之獨有補償為撤銷銷售 及退還原來所付之購入價 退還款項應為買家唯一及取代其他 法律形式的補償及向富藝斯與賣家對撤銷拍賣的追索。 這亦 代表富藝斯, 其附屬公司或賣家均無須對此著作保證之補償 退款外之任何損失或損害負責。 不論該損失或損害為直接, 間接, 特別, 附帶的或後果, 或為原有購入價支付利息。 本業務規定及保證, 準買家指引及重要通告, 如有任何詮釋上 的問題, 一概以英文版本為準。
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香港中環雪廠街2號聖佐治大廈14樓 • 以個人名義購買 請提供政府發出的身份證明文件及現時住址證明。 • 以公司名義購買 請提供由公司董事簽署及蓋有公司章授權予被授權人代表公司進行競 投的競投授權書，及政府發出的公司證明文件(如公司註冊證書)之副 請填妥此表格並於拍賣日前24小時傳真至+852 2318 2010 或電郵至bidshongkong@phillips.com。 敬請細閱表格右列須知，並選擇閣下欲以個人名義或公司名義參與是次競投。
本。 • 業務規定 所有投標的處理及執行、及所有拍品的成交及購買均按照圖錄所載之
請選擇此表格之競投方式(選一項)：
業務規定執行。請於參與競投前細閱業務規定，並細閱第4段之內容。
現場競投 書面競投 電話競投
競投牌號碼
• 如閣下未能出席拍賣會，本公司樂意代表閣下進行保密的書面競投。 • 本公司會按每件拍品成交價向成功競投者收取佣金或買家支付之酬 金。買家應支付本公司酬金，酬金費率為：拍品成交價首港幣 2,000,000元之25%，加逾港幣2,000,000元以上至港幣30,000,000 元部份之20%；加逾港幣30,000,000元之餘款的12.5%計算。
請選擇閣下是次競投名義(選一項)：
• 「購買」或無限價競投標將不獲接納。閣下可於拍品編號之間以「
以個人名義 以公司名義
或」字作兩者(或若干)中擇一競投。 • 如欲進行書面競投，請列明每件拍品之最高限價(買家酬金及稅(如有)
拍賣名稱 稱謂
拍賣編號 名字
公司名稱(如適用)
拍賣日期 姓氏
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Sale Information Auction and Viewing Location Mandarin Oriental 5 Connaught Road Central Hong Kong
Deputy Chairman, Asia Jonathan Crockett +852 2318 2023 jcrockett@phillips.com
Auction
Head of Department Isaure de Viel Castel +852 2318 2011 idevielcastel@phillips.com
26 November 2018, 10.30am 20th Century & Contemporary Art Day Sale (Lots 1–85) Design (Lots 86-121)
Head of Evening Sale Sandy Ma +852 2318 2025 sma@phillips.com
Viewing 22 November 2018 23 November 2018 24 November 2018 25 November 2018
10am – 6pm 10am – 6pm 10am – 7pm 10am – 6pm
Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010418 or 20th Century & Contemporary Art & Design Day Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com
Head of Day Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Specialists Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Meiling Lee +886 908 876 669 mlee@phillips.com Specialists, Design Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com Sofa Sayn-Wittgenstein +44 75 5304 5679 ssayn-wittgenstein@phillips.com Cataloguers Danielle So +852 2318 2027 dso@phillips.com Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com Senior Business Manager Othniel Jai Prakash +852 2318 2034 othnieljaiprakash@phillips.com
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Auctioneer Jonathan Crockett Photographers Jean Bourbon Alex Braun Feeling Workshop Matt Kroening Etta Kwok Arnold Lee Peter Lee Kent Pell Special Thanks Luisa Ku Audrey Lee Fusako Oshima William Paton Xing Zhao Catalogues catalogues@phillips.com HKD400/$50/€35/50CHF +852 2318 2000 Client Accounting clientaccountslondon@phillips.com +852 2318 2000 Client Services 14/F St. George's Building 2 Ice House Street Central Hong Kong +852 2318 2000 Shipping Christine Cheung +852 2318 2017 christinecheung@phillips.com
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20th Century. Contemporary. Now. Helen Frankenthaler Red Shif acrylic on canvas 60 x 76 in. (152.4 x 193 cm.) Painted in 1990.
20th Century & Contemporary Art New York Evening & Day Sales 14 & 15 November 2018 Public viewing 2-15 November at 450 Park Avenue, New York. Enquiries Rebekah Bowling rbowling@phillipscom John McCord jmccord@phillips.com
Visit us at phillips.com
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Index Aquilizan, Alfredo and Isabel 53
Ma, Sibo 71
艾佛雷多與伊莎貝爾·阿奎禮贊 53
馬思博 71
Ay Tjoe, Christine 57
Mai, Trung Thu 46, 47
克裡絲汀·艾珠 57
梅忠恕 46, 47 毛焰 64
Mao, Yan 64 Borsani, Osvaldo
Martinez, Eddie 3
奧斯瓦爾多·柏桑尼
艾迪．瑪汀尼茲 3
and Fontana, Lucio 87
Murakami, Takashi
與盧齊歐·封塔納 87
村上隆與維吉爾·阿伯拉赫 33
Borsani, Osvaldo 88
and Abloh, Virgil 33
奧斯瓦爾多·柏桑尼 88
村上隆 8, 83
Bufa, Paolo 90
Murakami, Takashi 8, 83
保羅·布法 90
Chiesa, Pietro 114
Nara, Yoshitomo 5, 6, 10, 12, 16, 77
彼得洛·基耶薩 114
Chua, Genevieve 55
Nobuyoshi, Araki 69
蔡艾芳 55
奈良美智 5, 6, 10, 12, 16, 77 荒木經惟 69
喬治·康多 23
索菲普·皮奇 50
Cruz, Jigger 48
Pich, Sopheap 50
吉格·克魯斯 48
吉奧·蓬蒂 97, 99, 100, 110, 118, 119
Cruz, Marina 52
Ponti, Gio 97, 99, 100, 110, 118, 119
瑪莉娜·克魯斯 52
李察德·佩利斯 26
Condo, George 23
Prince, Richard 26 豐塔納藝術 111, 112, 120
格哈特·里希特 84
Fornasetti, Piero 113
Richter, Gerhard 84
埃羅·佛納賽緹 113
六角彩子 7
Foujita, Léonard-Tsuguharu 41, 42
Rokkaku, Ayako 7
藤田嗣治 41, 42
烏戈·羅迪納 4
Frattini, Gianfranco 121
Rondinone, Ugo 4
詹弗蘭科·弗拉蒂尼 121
Gatta, Bruno 117
Stilnovo 102
布魯·諾加塔 117
塔瓦列斯·斯特拉坎 72
Gokita, Tomoo 17, 18, 19
Strachan, Tavares 72
五木田智央 17, 18, 19
艾林·迪維哈坦托·蘇納里奧 49
Gormley, Antony 34
Sunaryo, Arin Dwihartanto 49
安東尼·葛姆雷 34
Fontana Arte 111, 112, 120
Stilnovo 102
安德烈亞斯·古爾斯基 70
Gursky, Andreas 70
曾海文 58 谷口·瑪麗亞 54
T’ang, Haywen 58 Hirst, Damien 82
Taniguchi, Maria 54
達明安·赫斯特 82
羅德爾·塔帕雅 51
Hockney, David 1
Tapaya, Rodel 51
大衛·霍克尼 1
伊瑪里·塔佩瓦拉 116
HxS 74, 75, 76
Tapiovaara, Ilmari 116
HxS 74, 75, 76
帕沃·提奈爾 92, 96
芬·祖爾 86
貝納·維尼 35
Tynell, Paavo 92, 96 Juhl, Finn 86
維尼尼 89
Venet, Bernar 35 KAWS 27, 28, 29, 30, 31, 32, 73, 79, 80
Venini 89
KAWS 27, 28, 29, 30, 31, 32, 73, 79, 80
KAWS x Sorayama, Hajime 78
Vu, Cao Dam 45
KAWS x 空山基 78
武高談 45
愛德華·金特·拉森與托弗·金特·拉森 115
王廣義 66
and Kindt-Larsen, Tove 115
Wang, Guangyi 66
馬丁·基彭伯格 25
王克平 36
Kippenberger, Martin 25
Wang, Keping 36
保羅·克耶霍爾姆 91
奧萊·萬夏 93, 101, 103, 104, 105
Kjærholm, Poul 91
Wanscher, Ole 93, 101, 103, 104, 105
草間彌生 9, 11, 13, 14, 15, 81, 85
安迪·沃荷 24
Kusama, Yayoi 9, 11, 13, 14, 15, 81, 85
Warhol, Andy 24
權寧禹 68
Kwon, Young-Woo 68
Wegner, Hans J. 94, 95, 107, 108, 109
Kindt-Larsen, Edvard
Le, Pho 43, 44
Wiharso, Entang 56
黎譜 43, 44
Wood, Jonas 2
李禹煥 59, 60, 61 安吉洛·萊利 106
Lee, Ufan 59, 60, 61 Lelii, Angelo 106
Yoshihara, Jiro 67
漢斯·韋格納 94, 95, 107, 108, 109 安談·威華索 56 喬納斯·伍德 2 吉原治良 67
劉建華 65 劉韡 62
趙無極 37, 38, 39, 40
Liu, Wei 62
Zao, Wou-Ki 37, 38, 39, 40
劉野 20, 21, 22
維托里奧·贊科清 98
Liu, Ye 20, 21, 22
Zecchin, Vittorio 98
劉小東 63
Liu, Jianhua 65
Liu, Xiaodong 63
Front Cover Lot 23, George Condo © 2018 George Condo / Artists Rights Society (ARS), New York
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Back Cover Lot 96, Paavo Tynell Lots 94 & 95, Hans J. Wegner
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Jewels. Hong Kong. Now. Jewels & Jadeite Hong Kong, 26 November 2018 Mandarin Oriental Hong Kong 5 Connaught Road, Central, Hong Kong Enquiries tchu@phillips.com +852 2318 2038
A 10.01-carat D/IF Type IIa Diamond Ring HK$6,200,000-7,500,000 10.01克拉 D/IF Type IIa (極優打磨) 梨形鑽石戒指 6,200,000-7,500,000 港幣
Visit us at phillips.com
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15. Yayoi Kusama 草間彌生
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3. Eddie Martinez 艾迪．瑪汀尼茲
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10. Yoshitomo Nara 奈良美智 00. artist
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87. Osvaldo Borsani and Lucio Fontana 奧斯瓦爾多．柏桑尼與盧齊歐．封塔納
88. Osvaldo Borsani 奧斯瓦爾多．柏桑尼
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95. Hans J. Wegner 漢斯·韋格納 00. artist
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66. Wang Guangyi 王廣義
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25. Martin Kippenberger 00. artist 馬丁．基彭伯格
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115. Edvard Kindt-Larsen and Tove Kindt-Larsen 愛德華．金特．拉森與托弗．金特．拉森
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y p y g y g g 二十世紀及當代藝術和設計日間拍賣
26 November 2018 H K010 418
phillips.com
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