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20th Century & Contemporary Art & Design Evening Sale Hong Kong, 28 May 2017 二十世紀及當代藝術和設計晚間拍賣

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7. Danh Vo 傅丹

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19. Sean Scully 肖恩·斯庫利

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26. Zhang Enli 張恩利

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27. Yue Minjun 岳敏君

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28. Zeng Fanzhi 曾梵志

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20th Century & Contemporary Art.

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Guy Vesey Head of Business Development, Europe and Asia +44 20 7901 7934 gvesey@phillips.com

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13. Andy Warhol 安迪·沃荷

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20th Century & Contemporary Art & Design Evening Sale Hong Kong, 28 May 2017, 7pm 二十世紀及當代藝術和設計晚間拍賣

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

Sale Department

Auction 28 May 2017, 7pm (Lots 1–60)

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

Viewing 25 May 2017 26 May 2017 27 May 2017 28 May 2017

10am – 6pm 10am – 6pm 10am – 7pm 10am – 2pm

Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010117 or 20th Century & Contemporary Art & Design Evening Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com

拍賣及預展 文華東方酒店 香港中環干諾道中5號 拍賣 2017年5月28日,晚上7時 (拍品編號 1 – 60) 預展 2017年5月25日 上午10時 – 下午 6 時 2017年5月26日 上午10時 – 下午 6 時 2017年5月27日 上午10時 – 晚上 7 時 2017年5月28日 上午10時 – 下午 2 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 HK010117 或 拍賣名稱 二十世紀及當代藝術和設計晚間拍賣。 委托競投及電話競投 電話+852 2318 2029 傳真+852 2318 2010 bidshongkong@phillips.com

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Specialist Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Specialist, Design Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com Cataloguer Danielle So +852 2318 2027 dso@phillips.com Administrator Annie Tang +852 2318 2024 atang@phillips.com

拍賣部門 部門主管 陳遵文 +852 2318 2023 jcrockett@phillips.com 拍賣主管 馬穎子 +852 2318 2025 sma@phillips.com 專家 雪鸞 +852 2318 2026 craybaud@phillips.com 尹裕善 +82 10 7389 7714 jyyoon@phcm 專家, 計設部門 Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com 圖錄編輯

蘇琬婷 +852 2318 2027 dso@phillips.com 行政員 鄧安妮 +852 2318 2024 atang@phillips.com

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Property of an Important European Collector

1. Jonas Wood

b. 1977

Mini French Open signed with the artist’s initials, titled, and dated ‘Mini French Open JBRW 2012’ on the reverse oil and acrylic on canvas 59 x 51 cm (23 1/4 x 20 1/8 in.) Painted in 2012. 1985. Provenance Private Collection, Los Angeles (acquired directly from the artist) Acquired from the above by the present owner

重要歐洲私人收藏

喬納斯·伍德 《迷你法國網球公開賽》 油畫 壓克力 畫布 2012年作 款識: Mini French Open JBRW 2012 (畫背) 來源 洛杉磯私人收藏(直接購自藝術家本人) 現藏者購自上述來源

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

“My forms are not rendered spatially. My paintings of tennis courts were about an interest in abstraction, and how the court becomes a geometric puzzle. There also is text, because of the advertising. My work is under-painted with big fat shapes of colour; that is how they start. They are generated from an abundance of fat planes built up on top of each other.” (Jonas Wood, quoted in Jennifer Samet, “Beer with a Painter, LA Edition: Jonas Wood”, Hyperallergic, 12 September 2015) Jonas Wood’s oeuvre is most notable for his reconsideration of the golden era of 20th Century American painting, drawing fne comparisons to artists such as Edward Hopper. Drawing inspiration from quotidian life, Wood creates bold works that distill and deconstruct the very meaning of the world around him, his subjects ranging from basketball players to living rooms. Condensing what he sees, Wood’s compact images are rendered in coloured blocks, “in a fat, Pop way” (Jonas Wood, quoted in Jennifer Samet, “Beer with a Painter, LA Edition: Jonas Wood”, Hyperallergic, 12 September 2015), not unlike those on sports cards, visual prompts which the artist has noted as important. In spite of this however, the artist’s works are far from twodimensional. The seemingly simple fnal images that we see in Wood’s works are constructed atop many layers and fat planes, and in the case of pieces such as Mini French Open, the fnal result is a heightened version of reality, where images almost exist in a complete vacuum, stripped of original context. With its striking primary colours, the present work engages with a tennis court’s inherent geometry to create a trompe-l’oeil of sorts, where depth has been erased entirely, leaving the audience with an esoteric tennis court, uncanny yet unquestionably familiar. 「我的作品形態無關三維空間。我的網球場畫作 關乎對抽象的興趣,對於球場如何成爲一個幾何 迷宮的好奇。因爲廣告,所以也會有文字。 我的作品起筆常以大型平面色塊打底。豐富的平面 層層疊加構成最終作品。」 (引自珍妮佛·薩梅特著, 〈與藝術家共飲,洛杉磯版本:喬納斯·伍德〉 , 《Hyperallergic》 ,2015年9月12日) 喬納斯·伍德的作品憑藉其對二十世紀美國繪畫 黃金時期的反思而聞名,與例如愛德華·霍普在內 的諸多藝術家進行精細比較。從日常生活獲得靈感, 伍德創造的作品大膽地濃縮提煉並解構其生活周遭 世界的含義,其作品主體從籃球運動員到起居室 無所不有。凝練眼之所見,伍德的緊湊畫面由繽紛 色塊以一種「平面的,波普的」 (同上)方式組成, 與藝術家所看重的運動卡片等視覺提示物不無相似。 儘管如此,藝術家的作品絕非二維平面。伍德作品 里看似簡單的最終圖像實質上是由多重層次和平面 疊加組成的,正如作品《迷你法國網球公開賽》 所示,其最終成果是現實的鮮明版本,圖像彷彿存在 於一個完全脫離原始語境的真空環境。運用奪目 的主色,本件作品透過網球場本身的幾何特質塑造出 一種視覺錯覺,徹底抹去縱深感,留給觀者一個 神祕莫測卻又無疑熟悉的網球場。

Jonas Wood in his studio

藝術家於其畫室

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‘Wood has one foot in Modernist cool and the other in vibrant Pop Art.’ Linda Yablonsky, “The Insider | Jonas Wood”, New York Times Style Magazine, 20 March 2012

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2. Yayoi Kusama

b. 1929

Cockscomb signed and dated ‘Yayoi Kusama 1989’ on the reverse acrylic on canvas 45.5 x 37.9 cm (17 7/8 x 14 7/8 in.) Painted in 1989, this work is accompanied by a certifcate of authenticity issued by the Yayoi Kusama studio. Provenance Art Link Gallery, Seoul Lok Gallery, Seoul Acquired from the above by the present owner

草間彌生 《雞冠花》 壓克力 畫布 此作品於1989年作,並附設草間彌生工作室所發之保証書。 款識:Yayoi Kusama 1989 (畫背) 來源 首爾,藝術中心畫廊 首爾,仁寺洞畫廊 現藏者購自上述來源

HK$ 1,500,000-2,500,000 US$ 192,000-321,000

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‘I always notice fowers.’ Andy Warhol

3. Andy Warhol

1928-1987

Flower signed and dated ‘Andy Warhol 85’ on the overlap; further stamped by The Andy Warhol Art Authentication Board, Inc. and numbered A103.009 on the overlap synthetic polymer and silkscreen ink on canvas 51 x 40.8 cm (20 1/8 x 16 1/8 in.) Executed in 1985. Provenance The Collection of Frederick W. Hughes, New York (acquired directly from the artist) Private Collection, Rome Phillips, London, 16 October 2013, lot 22 Acquired at the above sale by the present owner

安迪·沃荷 《花》 合成樹脂漆 絲網印刷 畫布 1985年作 款識:Andy Warhol 85 (畫背) 鈐印:安迪·沃荷藝術作品鑑證委員會編號 A103.009 來源 紐約,Frederick W. Hughes 收藏 (直接購自藝術家本人) 羅馬私人收藏 倫敦,富藝斯,2013年10月16日,拍品編號22 現藏者購自上述拍賣

HK$ 800,000-1,200,000 US$ 103,000-154,000

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Property of an Important European Collector

4. Yayoi Kusama

b. 1929

Bird signed, titled and dated “BIRD” YAYOI KUSAMA 1986’ on edge of the box wood, canvas, mesh, silver spray paint, synthetic fbre, feathers 30 x 30 x 15.5 cm (11 3/4 x 11 3/4 x 6 1/8 in.) Executed in 1986, this work has been registered in the Yayoi Kusama archives under registration number 0396. Provenance Private Collection, Tokyo Private Collection Sotheby’s, New York, 27 September 2010, lot 32 Private Collection, New York Phillips, New York, 15 May 2015, lot 220 Acquired at the above sale by the present owner

重要歐洲私人收藏

草間彌生 《鳥》 木 畫布 網片 銀色噴漆 合成纖維 羽毛 此作品於1986年作,並登記於草間彌生之文獻庫, 收錄於編號0396。 款識:BIRD YAYOI KUSAMA 1986 (盒邊) 來源 東京私人收藏 私人收藏 紐約,蘇富比,2010年9月27日,拍品編號32 紐約私人收藏 紐約,富藝斯,2015年5月15日,拍品編號220 現藏者購自上述拍賣

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

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5. Yoshitomo Nara

b. 1959

Six works: Untitled (Who Snatched the Babies) (ii) coloured pencil on paper (i), (iii)-(vi) pen and coloured pencil on paper Each: 29.5 x 21 cm (11 5/8 x 8 1/4 in.) Executed in 2001-2002. Provenance Marianne Boesky Gallery, New York Acquired from the above by the present owner

奈良美智 《無題 (誰搶了寶寶)》(六件作品) (ii) 彩色鉛筆 紙本 (i), (iii)-(vi)鋼筆 彩色鉛筆 紙本 2001-2002年作 來源 紐約,Marianne Boesky 畫廊 現藏者購自上述來源

Exhibited (vi) New York, Asia Society Museum, Yoshitomo Nara: Nobody’s Fool, 9 September 2010 - 2 January 2011, p. 211 (illustrated)

展覽 (vi) 紐約,亞洲協會博物館, 〈Yoshitomo Nara: Nobody’s Fool〉, 2010年9月9日 - 2011年1月2日,第211頁 (圖版)

Literature Yoshitomo Nara: The Complete Works Volume 2: Works on Paper 1984 – 2010, Tokyo, 2011, (i) p. 189, no. D-2002-138 (illustrated); (ii) p. 189, no. D-2002-134 (illustrated); (iii) p. 189, no. D-2002-140 (illustrated); (iv) p. 189, no. D-2002-143 (illustrated); (v) p. 189, no. D-2002-128 (illustrated) (vi) p. 188, no. D-2002-125 (illustrated); Who Snatched the Babies? Yoshitomo Nara, exh. cat., Impression Jouve, Paris; Tomio Koyama Gallery, Tokyo, 2002, (iv) p. 10 (illustrated); (v) p. 42 (illustrated)

出版 〈奈良美智作品全集 1984-2010,第2集:紙本作品〉 , 東京,株式會美術出版社,2011年, (i) 第189頁,作品全集編號 D-2002-138 (圖版); (ii) 第189頁,作品全集編號 D-2002-134 (圖版); (iii) 第189 頁,作品全集編號 D-2002-140 (圖版); (iv) 第189頁,作品全集編號 D-2002-143 (圖版); (v) 第189頁,作品全集編號 D-2002-128 (圖版) (vi) 第188頁,作品全集編號 D-2002-125 (圖版); 〈誰搶了寶寶?奈良美智〉 ,展覽圖錄,Impression Jouve, 巴黎;小山登美夫畫廊,東京,2002年, (iv) 第10頁 (圖版);(v) 第42頁 (圖版)

HK$ 1,200,000-1,800,000 US$ 154,000-231,000

Executed between 2001 and 2002, Untitled (Who Snatched The Babies) presents a group of six drawings, encompassing a series of mischievous behaviours and internal monologues of a child with short hair and neat fringe: from the frustration felt from being trapped in ball and chain, to the perplexity of being at a crossroads; from the excitement of riding a roller coaster, to singing along to the self-refexive and aptly named hit, “The End of the 20th Century” (20世紀の終わり) by the Japanese rock band The Strummers. These fgures serve as vehicles of the collective anxiety of the lost innocence in Japan’s youth in the face of cultural upheaval, and nowhere is this more convincingly depicted than in this emotionally charged portrayal of the fragility and uncertainty faced by the small child.

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《無題(誰搶了寶寶)》(六件作品) 作於2001至 2002年間,呈現出畫中短髮齊劉海小孩的一系列 淘氣舉動和內心獨白:有被鏈球鎖足的沮喪、身處 十字路口的茫然、坐過山車的興奮刺激,以及跟著 日本搖滾樂隊 The Strummers 的《20世紀之終結》 高歌吶喊。這些畫面代表的是日本年輕一代在面對 文化激變時的集體焦慮和迷失的純真。正如畫中 小孩般,在各種不確定現狀中顯得脆弱並彷徨。

i

ii

iii

iv

v

vi

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© Yoshitomo Nara

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Property of an Important American Collector

6. KAWS

b. 1974

NYT signed and dated “KAWS 12” on the reverse acrylic on canvas diameter 152.4 cm (60 in.) Painted in 2012. Provenance Private Collection, Miami Acquired from the above by the present owner

重要美國私人收藏

KAWS 《NYT》 壓克力 畫布 2012年作 款識: KAWS 12 (畫背) 來源 邁阿密私人收藏 現藏者購自上述來源

HK$ 1,000,000-1,500,000 US$ 128,000-192,000

NYT is a painting that portrays one of the characters that inhabit KAWS’ artistic universe, and demonstrates the artist’s creativity and striking ability to appropriate iconic characters and turn them at once into his own unique creation. Immediately reminiscent of the world of grafti, billboards and advertising posters, with its vibrant colours and visual vocabulary, NYT portrays a pufy, infated skull with crossed out 'X' eyes that lend a dark twist to the piece—a signature aspect of KAWS’ artistic language. The result is a fgure that conveys great attraction yet maintains its emotional distance, rendering the subject matter somehow devoid of human characteristics and instantly cartoon in its exaggerations. 《NYT》所描繪的是KAWS藝術世界裡其中一位人物, 亦展露了他的創意及挪用經典人物並將其變成自己 獨一無二的作品的驚人能力。畫作上的鮮艷顏色及 視覺詞彙,令人立即想起街頭塗鴉、廣告牌及海報。 在《NYT》中可以看到一個肥腫、膨脹的骷髏頭,它雙眼 的「X」是KAWS最知名的藝術語言,為作品帶來一個 黑暗新意。效果則是圖中人物成功吸引觀者而又能夠 保持情感上的距離,創了一個沒有人類特徵而又很 卡通的誇張主體。

The Artist © Photo by Michael Robinson Chavez/Los Angeles Times

藝術家本人

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Property of an Important European Collector

7. Danh Vo

b. 1975

Alphabet (Z) gold leaf on unfolded cardboard box 91 x 213 cm (35 7/8 x 83 7/8 in.) Executed in 2011. Provenance Galerie Buchholz, Berlin Acquired from the above by the present owner

重要歐洲私人收藏

傅丹 字母 (Z) 金箔 裱於紙板 2011年作 來源 柏林,Buchholz畫廊 現藏者購自上述來源

HK$ 1,500,000-2,500,000 US$ 192,000-321,000

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‘I see myself, like any other person, as a container that has inherited these infnite traces of history without inheriting any direction.’ Danh Vo

Danh Vo is an artist whose works forge links between the multifarious strands of his cultural identity—one that fnds its roots in Vietnam but which developed in Denmark. His works investigate the nuanced spaces created in cultural displacement and migration, and explore the broader implications of the consequences of global importation and exportation of both goods and ideas: particularly ftting and symptomatic of the 21st Century. Illustrated by Alphabet (Z) are Vo’s principal ideas of coexistence or perhaps convergence—where discarded Vietnamese cardboard boxes are lined with opulent gold leaf, and ironically given the same treatment as sanctifed objects in Southeast Asia. In so doing, the artist’s Alphabet (Z) interweaves reality with ideality, seamlessly contextualising revered traditions with modern-day sensibilities and preoccupations. This idea of concomitance of realities/ idealities is furthered by the letter Z. Dominating the foreground, it is extrapolated from the Bowditch alphabet as standardised in the maritime community in the early 19th century. This global language facilitated the centralisation of communication between the West and the East, supporting international trade and ultimately heralding colonisation.

傅丹的藝術作品鞏固了他的多重文化身份之間 的連繫—一面是越南裔的傳統,另一面則是成長 於丹麥的背景。他的作品調查文化置換與遷徙 背景下的微妙空間,並探索全球商品流通和思想 交流所產生的廣泛影響,尤其是二十一世紀下 的融合與徵兆。 《字母(Z)》描述的是傅丹關於趨同共存的重要想法, 廢棄的越南紙盒與奢侈的金箔並置,如同東南亞 宗教用品的處理方法使其頗具諷刺意味。以此種 方式, 《字母(Z)》將現實與理想融合,將飽受敬重 的傳統與現代情感及成見無痕銜接。現實與理想 的共存進一步被字母Z所闡述。據十九世紀早期 海事領域所使用的鮑迪奇字母表推斷,佔據整個 前景的字母爲當時的規範。這種全球用語促進了 東西方交流的集中化,支持了國際貿易發展, 並最終預兆了殖民統治的到來。 傅丹的作品融合個人、文化、歷史各個層面, 正如他所述, 「我不相信我的故事作爲單個個體地 存在。它穿梭於別人關於本地歷史與地緣政治 的故事中。與許多人一樣,我自認為是一個傳承了 無數歷史痕跡的容器但卻沒有繼承到方向。 我試圖彌補,我試圖理解它,並自己賦予其方向。」 (傅丹與佛朗琪絲卡.帕柳卡對話, 〈無路可退:傅丹 訪談〉, 《Mousse雜誌》,2009年2月,網上版)

Vo’s oeuvre is one that ultimately amalgamates the personal, the cultural, and the historical: “I don’t really believe in my own story, not as a singular thing anyway. It weaves in and out of other people’s private stories of local history and geopolitical history. I see myself, like any other person, as a container that has inherited these infnite traces of history without inheriting any direction. I try to compensate for this, I’m trying to make sense out of it and give it a direction for myself.” (Danh Vo, quoted in Francesca Pagliuca, “No Way Out: An Interview with Danh Vo,” Mousse Magazine, February 2009, online)

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Property of an Important European Collector

8. Ed Ruscha

b. 1937

The 1990s signed and dated ‘Ed Ruscha 2000’ lower right of margin dry pigment and acrylic on paper sheet: 58 x 73 cm (22 7/8 x 28 3/4 in.) Executed in 2000, this work will be included in a forthcoming volume of Edward Ruscha: Catalogue Raisonné of the Works on Paper, edited by Lisa Turvey. Provenance Gagosian Gallery, New York Private Collection, London Acquired from the above by the present owner

重要歐洲私人收藏

埃德·拉斯查 《90年代》 乾性顏料 壓克力 紙本 此作品於2000年作,並將收錄於 Lisa Turvey所編的《埃德·拉斯查:紙本作品全集》。 款識: Ed Ruscha 2000 (右下) 來源 紐約,高古軒畫廊 倫敦私人收藏 現藏者購自上述來源

HK$ 1,500,000-2,500,000 US$ 192,000-321,000

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‘What I’m interested in is illustrating ideas.’ Ed Ruscha

Ed Ruscha’s text-based works have revolutionised 埃德·拉斯查一系列植基於文字的繪畫,徹底改變了 the relationship between the visual and the semiotic. 視覺與符號之間的關係。拉斯查全然接收了洛杉磯 Ruscha fully embraced the visual culture of Los 的視覺文化,因此成為早期美國西岸藝術界的 Angeles, making him a leading fgure in the early 領銜人物。受到同樣以文字作為繪畫基底的藝術家 emergence of the West Coast scene. Inspired by 賈斯培·瓊斯與羅伯特·勞森伯格的影響,拉斯查 the text based works of fellow artists Jasper Johns 終其一生都在探索印刷文字的形式,以及流轉於 and Robert Rauschenberg, Ruscha has pursued a 文字符碼與視覺之間的關係。呈現於此的拍品: lifelong artistic exploration into the formal elements 《90年代》,體現了拉斯查的成熟風格,壯麗的畫面 of printed text and its fuid relationship to the 也充分表現出藝術家對於顏色與形式的掌握。通過 visual image. The present lot, The 1990s, embodies 淘選烙印在腦海中,或是印刷在大眾媒體上(印刷 Ruscha’s mature style and is a splendid and imposing 品、廣告牌等)的文字、影像與句構,使得觀賞他的 composition that fully represents the artist’s 作品,猶如翻閱一本涵蓋語法學乃至符號學的美國 determined mastery of colour and form. By culling 文化視覺百科全書。 words, images and phrases that have been imprinted in his memory and that are found in mass media 印刷媒體獨特的源起,深重地影響著拉斯查最終 (print culture, advertising billboards, etc.), his work 的美學。在他的作品之中,拉斯查賦予文字仿若實質 ofen serves as a visual encyclopedia of American 的聲音,並在凡俗與宏偉之間衝岸,將文字蠱惑人心 culture and its syntax and symbology. 的潛力發揮得淋漓盡致。他也常把畫作裡的單詞 短句,重新置入新的語境之中,藉此讓文字、字體 This distinct genesis in print media heavily infuenced 在其圖像上曖昧地相互影響。 「我喜歡將一個字眼轉 Ruscha’s eventual aesthetic. In his pieces, words are 換成一個圖像的概念,使字句幾乎脫離了自身, given a physical voice, and their evocative potential 然後再度回歸而成為文字。 」 (埃德·拉斯查1988年 fully realised in clashes between the banal and the 7月17日於洛杉磯蓋蒂中心的演講,錄於基利夫菲寶 majestic. Many of his paintings fnd a single word 及斯利安堡著, 《埃德·拉斯查:1962-1999年限量 or phrase recontextualised in suggestive interplay 作品》第二期,明尼亞波利斯,1999年,第14頁) with typeface and background. “I like the idea of a 由此可見,拉斯查開創了以文字作為視覺抽象 word becoming a picture, almost leaving its body, 的概念,其所選用的色彩、編排形式和置入關係, then coming back and becoming a word again.” (Ed 都能引發觀者實質的反應。 Ruscha, quoted in a lecture at the Getty Centre in Los Angeles, July 17, 1988; quoted in Clive Phillpot and Siri Engberg, Ed Ruscha: Editions 1962 - 1999, Volume 2, Minneapolis, 1999, p. 14) As such, Ruscha has pioneered the notion of words as visual abstractions, inducing a physical reaction based on their chosen hue, typography or context.

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Property of an Important American Collector

9. Keith Haring

1958-1990

Untitled signed and dated “K. Haring SEPT 25-81” on the reverse Sumi ink on paper 56.5 x 76.5 cm (22 1/4 x 30 1/8 in.) Executed on 25 September 1981. Provenance Vincent Lee Fine Art, Hong Kong Private Collection (acquired from the above) Christie’s, New York, 26 September 2013, lot 79 Acquired at the above sale by the present owner Exhibited Munich Kunsthalle; Rotterdam Kunsthal, Keith Haring: The Political Line, 1 May 2015 - 7 February 2016, p. 104 (illustrated)

重要美國私人收藏

凱斯·哈林 《無題》 日本水墨 紙本 1981年9月25日作 款識: K. Haring SEPT 25-81 (畫背) 來源 香港,Vincent Lee畫廊 私人收藏 (購自上述來源) 紐約,佳士得,2013年9月26日,拍品編號 79 現藏者購自上述來源 展覽 慕尼黑藝術館;鹿特丹藝術館, 〈Keith Haring: The Political Line〉, 2015年5月1日 - 2016年2月7日,第104頁 (圖版)

HK$ 1,000,000-1,500,000 US$ 128,000-192,000

Present lot exhibited in The Keith Haring: The Political Line exhibition at Kunsthalle Munich from 1 May – 30 August 2015

此拍品展於〈Keith Haring: The Political Line〉展覽 2015年5月1日 - 8月30日, 鹿特丹藝術館

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10. George Condo

b. 1957

Naked Lunch signed and dated ‘Condo 08’ on the reverse oil on canvas 91.7 x 102 cm (36 1/8 x 40 1/8 in.) Painted in 2008. Provenance Simon Lee Gallery, London Acquired from the above by the present owner in 2011

喬治·康多 《赤裸的午餐》 油畫 畫布 2008年作 款識:Condo 08 (畫背) 來源 倫敦,Simon Lee 畫廊 現藏者於2011年購自上述來源

HK$ 1,400,000-2,400,000 US$ 179,000-308,000

Édouard Manet Le Déjeuner sur L'Herbe, 1863 Collection of Musée d'Orsay, Paris

愛德華·馬奈 《草地上的午餐》1863年作 巴黎,奧塞美術館收藏

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Anselm Kiefer Zhang Enli Yoshitomo Nara Andy Warhol HK_TCA_MAY17_2-65.indd 38

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Property of an Important Private Collector

*O 11. Yoshitomo Nara

b. 1959

Last Warrior / The Unknown Soldier signed, titled and dated ‘“LAST WARRIOR / THE UNKNOWN SOLDIER” Nara [in Japanese] 2000’ on the reverse acrylic on canvas 165 x 150 cm (64 7/8 x 59 in.) Painted in 2000, this work is accompanied by a certifcate of authenticity issued by Rabbit Hills. Provenance Tomio Koyama Galleries, Tokyo Frahm Ltd., London Red Dot Ltd., New York Museum Works Galleries, Aspen Acquired from the above by the present owner Exhibited London, Frahm Ltd., In Your Face, 3 February - 21 March 2003 Literature Yoshitomo Nara: Lullaby Supermarket, exh. cat., Institut für Kunst Nürnberg, Nürnberg, 2002, p. 164 and p. 199 (illustrated) Yoshitomo Nara: The Complete Works Volume 1: Paintings, Sculptures, Editions, Photographs 1984 – 2010, Tokyo, 2011, no. P-2000-018, p. 168 (illustrated)

重要私人收藏

奈良美智 《最後的戰士 / 無名士兵》 壓克力 畫布 此作品於2000年作,並附設由Rabbit Hills所發之保證書。 款識: 《LAST WARRIOR / THE UNKNOWN SOLDIER》 奈良 (日文) 2000 (畫背) 來源 東京,小山登美夫畫廊 倫敦,Frahm 畫廊 紐約,Red Dot 畫廊 阿斯彭,Museum Works 畫廊 現藏者購自上述來源 展覽 倫敦,Frahm 畫廊, 〈In Your Face〉 , 2003年2月3日-3月21日 出版 〈奈良美智 :搖籃曲超級市場〉,展覽圖錄, 紐倫堡藝術學院,紐倫堡,2002年,第164、199頁 (圖版) 〈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-2000-018,第168頁 (圖版)

HK$ 20,000,000-30,000,000 US$ 2,560,000-3,850,000

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© Yoshitomo Nara

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The girl in Yoshitomo Nara’s Last Warrior/ The Unknown Soldier gazes at us with a fxed, determined stare that belies her age. The cutesy charm of this doll-like fgure is undercut by the downturned mouth, the pursed lips, the clenched fst and the frowning eyes, which fx us to the spot. She has been shown at an angle that emphasises the act of a child looking up—and in this case, confronting her audience. With this steely attitude, the girl well deserves her title of Last Warrior. She also clearly deserves her place within the extensive cast of bellicose youths who have become so iconic in Nara’s work, leading to his becoming one of the most celebrated Japanese artists of our age. Dating from 2000, this picture perfectly demonstrates the intoxicating allure of Nara’s paintings, and his subjects. This is a subversive sweetness, tapping into the kima-kawaii wave that had emerged in the 1990s, shortly before Last Warrior/ The Unknown Soldier was painted. Kima-kawaii is cuteness with an edge, ofen with a hint of either ugliness or, as here, violence. In Last Warrior/ The Unknown Soldier, it simmers beneath the surface, percolating through the girl’s rigid glare. Last Warrior/ The Unknown Soldier was painted at a pivotal point in Nara’s career, when his engaging paintings of subversively adult children were garnering him increasing international attention and acclaim. Only the previous year, his images had been used for a book by the celebrated author Banana Yoshimoto, as well as on album covers. In 2000, he was granted his frst one-man show at an American museum, at the Museum of Contemporary Art in Chicago. It was also in 2000 that Nara moved away from Cologne in Germany, which had been his base since 1988. Nara’s time studying and then teaching art in Germany—in Western Europe, rather than Japan— is evident in the sheer craf and skill that have gone into making Last Warrior/ The Unknown Soldier, as a closer inspection of its surface will attest. While the visual language of Nara’s paintings mimics anime, manga and children’s illustrations, explaining why he is so ofen associated with Japanese Neo Pop, Last Warrior/ The Unknown Soldier and many of its sister-pictures are painstakingly created using layers of oil on canvas in techniques that echo those of the Old Masters and 20th-century painters. The essentially monochrome background of Last Warrior/ The Unknown Soldier is deliberately made to resemble a sheet of paper lef in reserve, or a page, the fgure foating against it. At the same time, it flls the picture with a luminosity that recalls some European frescoes painted in tempera on plaster. The fgure itself has been rendered with an eloquent economy of means, deliberately mimicking the appearance of print media and cartoons despite the sheer efort that has gone into painting it. Unlike many of his contemporaries, Nara insists on this direct involvement with his pictures, employing no studio assistants, but instead

painting with a single-minded determination (see for example G. Harris, ‘Interview: Japanese Artist Yoshitomo Nara’, Financial Times, 10 October 2014, reproduced online). This reveals the wide panoply of infuences at work in Nara’s pictures. While manga, anime and Disney may be more obvious references, Nara is also touching upon the history of art in both the East and the West—and of course their crossover. Afer all, born in the 1950s, Nara was raised in a Japan that had been fooded with Western, and particularly American, culture, and which had responded by assimilating elements of it, co-opting it to its own purposes, for instance in anime series such as Speed Racer. Nara himself has discussed how his upbringing in a rural area of Northern Japan had an infuence in the way that he responded to all these infuences. ‘In the area I’m from there was no museum - and there still isn’t,’ he has explained. ‘I received my visual stimuli more from television, from Japanese and American comic books, and from European children’s books. That’s why comic books have a greater reality for me than the European painting that I later came to know and study intensively’ (Yoshitomo Nara, quoted in Stephan Trescher, ‘My Superfciality Is Only a Game: A Conversation between Stephan Trescher and Yoshitomo Nara’, pp. 103-07, Yoshitomo Nara: Lullaby Supermarket, exh.cat., Institut für Kunst Nürnberg, Nürnberg, 2002, p. 104). Likewise, punk and folk music would have an impact on Nara—the girl’s pose and haircut in Last Warrior/ The Unknown Soldier recalls pictures of the Ramones, the band he revered. During his childhood, Nara was largely isolated and lef to his own devices. The solitude and independence he experienced have fltered into his pictures of defant girls shown smoking, holding weapons or scowling as in Last Warrior/ The Unknown Soldier. Afer all, as he has explained, ‘They are all self-portraits in a way. But the emotions that I feel can, of course, be universal’ (Yoshitomo Nara, quoted in J. Lindon, ‘Kulturefash Interview’, kulturefash, 1 March 2006, online).

‘Fortunately nowadays it’s no longer forbidden to be into kitsch and kid’s stuf, and only people who want to be “very” grown up can’t relate to such things’ Yoshitomo Nara

© Yoshitomo Nara

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奈良美智在《最後的戰士/無名士兵》呈現的小女孩 堅定地凝視觀者,眼神與她幼嫩年紀不符。雖然造形 如可愛公仔,但她卻攥緊拳頭,崛起小嘴,皺著眉 盯住我們。觀者的角度恰好突顯她那反向上的孩童 眼神,與我們對視。她態度剛強,渾然便是畫作 題目中的《最後的戰士》,也是奈良美智 筆下標誌性的反叛好鬥小孩中的一員,這一系列 作品令他成為如今日本藝術界當之無愧的明星。 這幅2000年的作品充分體現出奈良美智繪畫和其 筆下對象的魅力所在,甜美中帶點破壞性,幾乎 像是1990年代興起的 kimo-kawaii 熱潮。 Kimo-kawaii 是一種別樣的可愛,有時帶點醜陋, 有時像此畫般帶點暴力。 《最後的戰士/無名士兵》 穿越表象,從女孩的頑固目光中滲透出這種情懷。 《最後的戰士/無名士兵》是奈良美智事業關鍵時期 的作品,他筆下那些擁有成年人深沉表情的兒童散 發出獨特魅力,讓他逐漸在國際上獲得關注與認可。 創作此畫的前一年,他的畫幅便出現在日本著名作家 吉本芭娜娜的書中,也被製成唱片封面。2000年, 他在芝加哥當代美術館舉辦展覽,是他在美國博物館 的首次個人展覽。同年他離開了自己從1988年開始 居住的德國科隆。

雖然畫家故意營造出印刷品和卡通感覺,但其繪畫 過程極費工夫。奈良美智與同期許多藝術家不同, 他堅持在創作上自己親力親為,沒有聘請工作室 助手,以自己的專注決心作畫。 ( G·夏里士, 〈訪談:日本藝術家奈良美智〉, 《金融時報》,2014年 10月10日,網絡版) 如此可見奈良美智創作中的廣泛靈感來源,動漫 和迪士尼的影響可能較為明顯,但他也很注重東西 方藝術史,以及兩個文化的交匯點。奈良美智生於 1950年代的日本,當時日本到處都充斥以美國為主 的西方文化,並吸收其中元素,融入自己的文化中, 動畫系列《馬赫GoGoGo》便是當時的典型產物。 奈良美智曾談到自己在日本北邊鄉村地方的成長 過程影響到他如何接收這些外來影響。 「在我成長的 地方當年沒有博物館,至今也沒有」他繼續講道, 「我得到的視覺資訊主要來自電視、日本和美國的 漫畫書以及歐洲的兒童書。因此漫畫書對我來說, 比後來認識到並認真學習的歐洲繪畫更為真實。」 (奈良美智,錄於史提芬·特里沙著, 〈我的外表只 是一場遊戲:史提芬·特里沙與奈良美智的對話〉, 第103-107頁, 《奈良美智:搖籃曲超級市場》展覽 圖錄,紐倫堡,2002年,第104頁)與此同時,龐克 和民謠音樂也對奈良美智影響頗深, 《 最後的戰士/ 無名士兵》中的女孩姿態和髮型都令人不禁想起他 喜愛的雷蒙斯合唱團。

奈良美智曾長時間在德國學習以及執教藝術,因此 如果細心觀察《最後的戰士/無名士兵》的表面處理, 會發現當中的細膩技巧和工藝受西歐影響比日本影響 在奈良美智的童年,他經常一人獨處,這種孤獨感和 為多。但他的視覺語言偏向動畫、漫畫和兒童畫冊, 自主的經歷轉換為他畫中挑戰權威的小女孩,或抽 因此人們時常把他與日本新普普文化掛鉤。 《最後的 煙,或手拿武器,又或像《最後的戰士/無名士兵》 戰士/無名士兵》等同系列畫作是奈良美智花費甚多 般一臉怒容。他曾解說道: 「他們都像是一種 心機時間,在畫布施以一層層油彩所得,與古典 自畫像,但我感受到的情感當然是普遍相通的。」 油畫家和二十世紀畫家作風不無相似之處。畫面的 (奈良美智,錄於 J·連頓著, 〈Kulturefash專訪〉, 單色背景像是刻意留白的紙張,或是讓人物從中 《kulturefash》,2006年3月1日,網絡版) 浮現的一頁,但它同時令畫面充滿光線,猶如歐洲 在石膏施以蛋彩的壁畫。畫中人物也經細膩雕琢,

Yoshitomo Nara Missing in Action, 2000 164.7 x 149 cm (64 7/8 x 58 5/8 in.) Sold at Phillips, London, 14 October 2015 Estimate: £700,000 – 1,000,000 (HK$ 7,000,000 – 10,000,000) Sold for: £1,986,500 (HK$ 19,865,000) Auction Record for Yoshitomo Nara at the time of auction

© Yoshitomo Nara

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奈良美智 《Missing in Action》2000年作 164.7 x 149 公分 (64 7/8 x 58 5/8 英寸) 賣於倫敦,富藝斯,2015年10月14日 估價:英磅700,000 – 1,000,000 (港幣7,000,000 – 10,000,000) 成交價:英磅1,986,500 (港幣19,865,000) 當時刷新奈良美智的世界拍賣紀錄

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12. KAWS

b. 1974

Seated Companion incised with the artist’s signature, date and number ‘KAWS 11 7/10’ on the underside painted bronze 120 x 51 x 75 cm (47 1/4 x 20 1/8 x 29 1/ 2 in.) Executed in 2011, this work is number 7 from an edition of 10 plus 2 artist’s proofs. Provenance Perrotin Gallery, Hong Kong Acquired from the above by the present owner in 2011

KAWS 《坐着的同伴》 塗漆銅雕 此作品於2011年作, 共有10版及2版藝術家試作版,此為第7版。 款識:KAWS 11 7/10 (刻於底部) 來源 香港,貝浩登畫廊 現藏者於2011年購自上述來源

HK$ 1,500,000-2,500,000 US$ 192,000-321,000

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Property of an Important European Collector

13. Andy Warhol

1928-1987

Mineola Motorcycle (positive) stamped by The Andy Warhol Art Authentication Board, Inc. and numbered PA 10.236 on the overlap synthetic polymer paint and silkscreen ink on canvas 182.9 x 203.2 cm (72 x 80 in.) Executed in 1985-1986. Provenance Galerie Bastian, Berlin Acquired from the above by the present owner Exhibited Los Angeles, Museum of Contemporary Art, Andy Warhol Retrospective, May 25 - August 18, 2002, no. 230, p. 273 (illustrated) Literature Charles Stuckey, ed., Andy Warhol, Heaven and Hell Are Just One Breath Away | Late Paintings and Related Works, 1984-1986, New York, 1992, p. 64 (illustrated)

重要歐洲私人收藏

安迪·沃荷 《米諾拉摩托車(正片)》 合成樹脂油漆 絲網印刷 畫布 1985-1986年作 鈐印:安迪·沃荷藝術作品鑑證委員會編號 PA 10.236 來源 柏林,Bastian 畫廊 現藏者購自上述來源 展覽 , 洛杉磯,洛杉磯現代藝術博物館, 〈安迪 ·沃荷回顧展〉 2002年5月25日-8月18日,圖錄編號230,第273頁 (圖版) 出版 Charles Stuckey 編, 〈Andy Warhol, Heaven and Hell Are Just One Breath Away| Late Paintings and Related Works, 1984-1986〉,紐約,1992年, 第64頁 (圖版)

HK$ 6,200,000-9,200,000 US$ 795,000-1,180,000

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Standing almost two metres tall, Andy Warhol’s Mineola Motorcycle (positive) is one of his largest paintings. Rendered by hand in stark black on white, this motorbike ad has been granted the glamour of monumentality, appearing on a billboard scale. By appropriating an advertisement, Warhol is exploring the type of ephemeral imagery that he had immortalised, turning them into the cornerstones of Pop Art. The restrained palette adds an emphatic dynamism to the image, the black paint on its luminous white background lending it an incredible visual impact that slyly recalls the Abstract Expressionist paintings of Franz Kline. When Mineola Motorcycle (positive) was created around 1985-1986, Warhol had returned to some of the themes and techniques that he had employed to such success at the beginning of his career. The motorcycle can be seen as a reference to the silkscreens of Marlon Brando he had created during the 1960s, taking an iconic still from The Wild One showing the star kitted out as a biker. In terms of techniques, Warhol used projectors to show images on a picture surface which he would then paint by hand, echoing the way he had painted his original Coca-Cola Bottles and Campbell’s Soup Cans. This hands-on technique also refected a new interest in the painterly that was inspired by Jean-Michel Basquiat. In the mid-1980s, Basquiat and Warhol created paintings in which each artist added their own elements. As Warhol would comment at the time, ‘Jean Michel got me into painting diferently, so that’s a good thing’ (Andy Warhol, diary entry for 16 September 1984, The Andy Warhol Diaries, ed. Pat Hackett, New York, 1989, p. 600).

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Warhol’s use of this hands-on technique came to prominence in what was to be one of his fnal great series — The Last Supper. Based on Leonardo’s celebrated mural in Milan, these pictures were created using a range of techniques, including several that were hand-painted as Mineola Motorcycle (positive) had been. Indeed, in one of Warhol’s largest paintings, The Last Supper (The Big C) from around 1985, now in the Andy Warhol Museum, Pittsburgh, the titular feast is punctuated by images of the same ad that served as the basis of Mineola Motorcycle (positive). ‘I painted them all by hand—I myself,’ Warhol explained of the related Last Supper works. ‘That’s why the project took so long’ (Andy Warhol, quoted in J.D. Ketner, II (ed.), Andy Warhol: The Last Decade, exh. cat., Milwaukee, 2009, p. 39). The theme of the motorbike was perfect for Warhol, tied up as it was with notions of freedom and rebellion, as encapsulated in Brando’s movie. At the same time, Warhol was also keenly aware of the subculture that had grown around the biker look, for instance in the gay scene explored in Kenneth Anger’s 1963 flm Scorpio Rising. It was the sheer multiplicity of meaning of the image of the biker that doubtless appealed to Warhol. In Mineola Motorcycle (positive), this is underscored by the fact that we are looking at an ad—the notion of the biker rebels roaming the roads is playfully defated by the declaration that credit cards are accepted. In Mineola Motorcycle (positive), as in so many of his most iconic Pop paintings, Warhol has managed to create a picture that invokes wit, subcultures and aesthetics, as well as the consumer culture that so fascinated him.

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Andy Warhol Marlon, 1966 silkscreen ink on canvas Private Collection Private Collection/Bridgeman Images © 2017 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

安迪•沃荷 《馬龍》 1966年作 絲網印刷 畫布 私人收藏

高近兩米, 《米諾拉摩托車(正片)》是安迪·沃荷最大 畫作的其中一幅作品。白底面上,手繪漆黑,好一幅 摩托坐騎廣告,聚集紀念意義的光輝,在如同告示牌 大小的畫面上閃現。透過挪用廣告,沃荷在探索意像 方面的某種瞬息即逝,他將曇花一現轉換成永不磨滅, 隨之搖身一變成為波普藝術的奠基。冷靜的色調為畫面 增添了一份執著,光亮的白底及漆黑的顏色帶來視覺 震撼,使人不禁暗自聯想弗朗茲·克蘭的抽象表現 主義畫作。 《米諾拉摩托車(正片)》於約1985-86 年創作完成, 當時沃荷的藝術創作回歸了他藝術生涯起步時一些令他 成功的主題和技法。摩托坐騎參照了他在 1960 年代 創作的馬·白蘭度絲網印刷,取材源自這位明星在電影 《美國飛車黨》中摩托騎手的偶像劇照,作畫技法類似 原創手作《可口可樂瓶》及《金寶湯罐頭》。用手作畫 的技法反映出這位畫家從藝術家尚·米榭·巴斯奇亞 身上感受到一股全然一新的靈感。1980 年代中期, 巴斯奇亞和沃荷共同創作,在他們的作品中,融入了 屬於各自的藝術創作元素。正如沃荷在當時評論到: 「尚·米榭帶著我以截然不同的方式作畫,這事挺好。」 (節錄自安迪·沃荷1984年 9 月 16 日的日記, 帕特·哈克特編, 《沃荷日記》,紐約,1989年, 第 600 頁)

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在沃荷藝術創作生涯的最後一段時期的佳作當中, 《最後的晚餐》系列成為了他手作畫的巔峰。 以位於米蘭的達文西最負盛名的壁畫《最後的晚餐》 為基礎,沃荷運用了一系列創作技法,其中幾幅 為手作,手法效仿《米諾拉摩托車(正片)》。的確, 在由沃荷畫的最大畫作之中, 現藏於匹茲堡安迪 沃荷博物館,創作於 1985 年左右的《最後的晚餐 (大 C)》,畫面及廣告與標題一致,打破了美如名曰 的宴席, 奠基了《米諾拉摩托車(正片)》的創意。 「完全用我的手畫,我自己的。」沃荷這樣闡述著 《最後的晚餐》。 「這就是為什麼花了很長時間 完成。」 (安迪·沃荷,J.D.科特納編, 《安迪·沃荷: 最後十載》 (展覽圖錄),密爾沃基,2009年, 第 39 頁) 對於沃荷來說,摩托坐騎的主題就再好不過了, 正如白蘭度電影的精髓一樣,緊貼自由和叛逆意識。 與此同時,沃荷樂於留心圍繞摩托騎手形象光影 衍生出的非主流文化,例如在肯尼斯·安格 1963 年 的電影《天蠍座升起》出現的同性戀場景。摩托騎手 交織著層層喻義,沃荷毫不猶豫地採納了這個主題, 對事實進行強調:我們看的是一則廣告,摩托騎手 叛逆馳騁, 聲稱接受信用卡支付,其實是詼諧調侃 摩托騎手精神。沃荷成就了屬於自己的創作意念, 引發人們對於他感興趣的題材:詼諧玩笑、非主流 文化、美感以及消費主義進行探討,正如《米諾拉摩 托車(正片)》以及許多其它由他創作出的極具象征意 義的波普藝術畫作之中的所見所現。

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Property of an Important European Collector

14. Rudolf Stingel

b. 1956

Untitled signed and dated ‘Stingel 2007’ on the reverse oil on canvas 70 x 100 cm (27 1/ 2 x 39 3/8 in.) Painted in 2007. Provenance Paula Cooper Gallery, New York Private Collection Gagosian Gallery, Paris Phillips, London, 2 July 2014, lot 24 Acquired at the above sale by the present owner

重要歐洲私人收藏

魯道夫·斯丁格爾 《無題》 油畫 畫布 2007年作 款識:Stingel 2007 (畫背) 來源 紐約,Paula Cooper 畫廊 私人收藏 巴黎,高古軒畫廊 倫敦,富藝斯,2014年7月2日,拍品編號 24 現藏者購自上述拍賣

HK$ 1,200,000-2,200,000 US$ 154,000-282,000

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Looking at Rudolf Stingel’s Untitled, the viewer is confronted by a monochrome canvas, with a decorative brocade pattern and parallel vertical lines painted in black on black. There is a bituminous quality to this vision—its gleam echoes the decorated silk wall hangings of the baroque period, yet the palette is defantly mute. In addition, the repetitions of the pattern are increasingly distorted towards the right of the picture, emphasising its nature as a work that is created, rather than manufactured. Stingel painted Untitled in 2008, the year afer his celebrated retrospective at the Museum of Contemporary Art in Chicago and the Whitney Museum of American Art, New York, and the picture probes many of the issues that underpinned that exhibition. Untitled is an exploration of the entire nature of painting in the contemporary world, and is loaded with a visual vocabulary that touches upon history and the history of art alike. Stingel hails from the Alto Adige region in the North of Italy, where large swathes of the population are German-speaking. He was partly educated in Vienna, eventually moving to the United States. The baroque style that was so highly developed in Austria and Italy is evident in the patterns in Untitled. Yet its reincarnation here as a painted monochrome performs several functions. Stingel uses this baroque motif both to underscore and undermine the decorative language of painting. Where in some of his stencilled paintings Stingel has used gold, emphasising the connection to the Baroque, the inscrutable monochrome of Untitled recalls instead the black paintings of Ad Reinhardt. However, the grandeur of the older American painter’s vision is playfully punctured by its association with decoration

觀望魯道夫·斯丁格爾的《無題》,單色一片, 征服視線,點綴織錦圖樣,黑上加黑,豎直平行 相間。畫面質感猶如瀝青,儘管啞色,卻閃爍著 巴洛克时期絲綢帷幔的亮澤。重複的圖樣,向右推進 逐漸變形,概括表現出這是一幅手繪作品,並非經 機器大量生產。繼芝加哥當代藝術館和紐約惠特尼 藝術館個人回顧展之後的一年,斯丁格爾於2008年 創作了《無題》,作品涉及了潛存於展覽之中的許多 問題。 《無題》是一幅探索當代繪畫本質的作品, 佈滿了觸及歷史及藝術史的視覺詞彙。 斯丁格爾來自意大利北部上阿迪傑地區,在這裡, 其中一大部分人說德文。他曾在維也納接受教育, 最終移居美國。《無題》的圖樣明顯呈現了巴洛克 藝術在奧地利和意大利的輝煌發展。此幅作品用單色 表現重生了巴洛克藝術,用意包含幾層。斯丁格爾 用巴洛克主題,在強調的同時削弱繪畫的裝飾性 語言。他的模板印畫運用了金這個元素,概括體現 與巴洛克藝術之間的藕斷絲連。 《無題》的單色令人 費解,但又不禁聯想起艾德·萊茵哈德的黑色畫作。 可是,美國老一代畫家的宏偉遠見卻被斯丁格爾 的畫飾戲謔。斯丁格爾式的單色戲弄般地模仿著 單色畫同行盧西奧·豐塔納和皮耶羅·曼佐尼的 作品,豎直的線條既像豐塔納的割破,又像曼佐尼

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under Stingel’s guidance. The monochrome traditions of Stingel’s contemporaries, Lucio Fontana and Piero Manzoni, are also parodied, be it in the vertical lines recalling the former artist’s slashes, or the notion of the self-creating artwork of the latter’s Achromes. The entire notion of authorship, of the cult of the artist, is challenged by Untitled. Stingel is deliberately colliding the worlds of high and low art, and cunningly avoids letting either have the upper hand. This is confrmed by the disrupted patterns, in particular to the right of the composition, which reafrm Stingel’s own direct involvement in its creation. Stingel has long sought to defate the heightened rhetoric of modern art, not least with his publication and exhibition of Instructions in 1989. These were multilingual, illustrated guides that showed how Stingel made his paintings, inviting others to participate. Stingel has long used unusual devices and materials, such as gauze, stencils and insulation panels, developing strategies for creating works that circumvent the modernist emphasis on the brushstroke. For instance, in some works, he walked on Styrofoam panels wearing boots soaked in chemicals that eroded the surface, making a wry comment on Action Painting. His vast photorealist ‘self-portraits’ were painted by hand, yet based on images taken by someone else, while in his Celotex murals, visitors to his exhibitions have been invited to make their own marks in the surface. Untitled echoes these unconventional approaches to painting in both its inscrutable palette and in the manner of its creation, simultaneously throwing into question the role of the artist—and validating it.

自成一格的畫作《無色》。 《無題》挑戰了作者身份 和對藝術家偶像狂熱崇拜的意識。斯丁格爾蓄意 將高級藝術與低級藝術相互碰撞,巧妙地迴避任何 與低級藝術相互碰撞,巧妙地迴避了其中一方對於 另一方的霸稱。圖樣的變形肯定了上述觀點,尤其 是畫面右邊的架構,再次肯定斯丁格爾直接參與了 此畫的製作過程。 斯丁格爾早就想鬆懈一下現代藝術高漲這種 花言巧語,尤其在他1989年的展覽《指示》及其出 版的圖錄當中可以看見。這是一本附有多國語言和 插圖的指南,展現了斯丁格爾邀請他人參與的作畫 方式。一直以來,斯丁格爾常用一些不平常的工具 和材料如紗網,模板和隔熱板等,他將這些材質 發揮,圍繞著現代藝術注重筆觸的這個理念進行 創作。例如在他的一些作品中,他穿著靴子在 被化學物品浸泡過後表面腐蝕的聚苯乙烯泡沫 塑料板上走過,是對行動繪畫的諷刺。他的大量 寫實照「自畫像」經親手繪製,可是參照的圖像卻 是出自他人的攝影作品。他的隔音板壁畫,來參觀 的當場觀眾被邀請在壁畫表面留下屬於自已的 印記。 《無題》的單色及作畫手法不可思議,反映了 斯丁格爾打破傳統的作畫行為,它質疑著藝術家 的角色,同時又從中肯定了藝術家的這個角色。

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Property of an Important European Collector

15. Anselm Kiefer

b. 1945

Voyage au Bout de la Nuit (Journey to the End of the Night) oil, acrylic, emulsion and metal on canvas 190.5 x 283 cm (75 x 111 3/8 in.) Executed in 2004. Provenance Galerie Bastian, Berlin Acquired from the above by the present owner Exhibited Texas, Modern Art Museum of Fort Worth; Musée d’art contemporain de Montréal; Washington D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution; San Francisco Museum of Modern Art, Anselm Kiefer. Heaven and Earth, 25 September 2005 - 14 January 2007, p. 149 (illustrated) Venice, Fondazione Emilio e Annabianca Vedova, Anselm Kiefer: Salt of the Earth, 1 June - 30 November 2011, p. 185 (illustrated)

重要歐洲私人收藏

安塞姆·基弗 《茫茫黑夜漫游》 油畫 壓克力 乳膠 金屬片 畫布 2004年作 來源 柏林,Bastian畫廊 現藏者購自上述來源 展覽 德克薩斯州,沃斯堡現代美術館;蒙特利爾當代藝術博物館; 華盛頓特區,赫施霍恩博物館與雕塑園,史密森尼學會; 三藩市現代藝術博物館, 〈Anselm Kiefer. Heaven and Earth〉 , 2005年9月25日-2007年1月14日,展覽圖錄,第149頁 (圖版) 威尼斯,Fondazione Emilio e Annabianca Vedova, 〈Anselm Kiefer: Salt of the Earth〉,2011年11月30日, 第185頁 (圖版)

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

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Standing almost two metres tall and absorbing the viewer in its vast, variegated surface, Anselm Kiefer’s Voyage au Bout de la Nuit (Journey to the End of the Night) is a monumental canvas from 2004. From a distance, this painting resembles a stellar chart, the constellations marked out by lines linking the various stars. On closer inspection, the sheer wealth of texture and detail becomes apparent: Kiefer has ensured that the entire surface is caked and impastoed. Scattered paint drops add iridescence while the background itself resembles an arid landscape, bringing the terrestrial and the celestial into alignment, hinting at the bond between existence on and above the Earth. The lines themselves are picked out with thin metal strips— as is the case in Kiefer’s most celebrated works, he has incorporated a range of materials in the picture, deigning to limit himself to the traditional oil on canvas. Just like its surface, on closer inspection the evershifing meanings and references of Voyage au Bout de la Nuit reveal themselves to be highly complex. Kiefer began to explore the constellations soon afer he had moved to the South of France. He ofen based his paintings on the night sky there. Kiefer’s longstanding interest in the mingling currents of science, myth and belief fnd their perfect expression in his constellations: afer all, the cosmos forms the foundation for both astronomy and astrology. The lines picked out in Voyage au Bout de la Nuit adopt the visual language of horoscopes and NASA alike. Mankind has long sought to impose some sort of logic upon the wild, infnite above us, and Kiefer’s painting seeks to mimic the history of these attempts.

高約兩米,令觀眾融入其龐大而斑駁的表面, 安塞姆·基弗2004年的作品《茫茫黑夜漫游》是一幅 標誌性的畫作。從遠處看,這幅畫猶如一張星圖, 以線條連繫不同星星,勾畫出星座輪廓。仔細 察看,無比豐富的質感和細節瞬間呈現,原來 基弗讓整個作品表面覆蓋著厚厚的顏料和結塊。 散佈的漆滴使色彩更斑斕,與乾旱地貌般的背景 將天與地連起來,暗示著上天與下地之間造物的 關聯。畫作上的線條以薄金屬條勾畫出來,就像 基弗眾多著名的作品一樣,他沒有屈從於傳統油彩 的限制,在畫布上採用了一系列不同的材料。 就如畫作的表面, 《茫茫黑夜漫游》不斷變化的意義 和關聯在細心觀察下變得異常複雜。基弗遷居到 法國南部後不久便開始探索星座,那裡的夜空 經常成為他畫作的題材。基弗長期以來將科學、 神話和信仰融合的興趣在他的星座中完美地表現 出來,畢安宇宙是天文學和占星學的基礎。活現於 《茫茫黑夜漫游》中的線條就如同占星術和美國 太空總署共通的視覺語言。人類自古以來一直想方 設法去理解荒涼無垠的太空,而基弗的畫作正試圖 將這些探索的經過展現出來。

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With its title invoking a journey to the end of the night, Voyage au Bout de la Nuit sounds almost romantic. Yet it is taken from the most famous novel of Louis Ferdinand Céline, Voyage au bout de la nuit. This introduces another tangled web of references: while the novel Voyage au Bout de la Nuit, published in 1932, remains celebrated as one of the most visceral works of 20th-century literature, the author himself is ofen reviled for his racism and his collaboration with occupying forces during the Second World War. Kiefer has used Voyage au Bout de la Nuit as the title for a number of works and an acclaimed exhibition. It perfectly refects his own fascination with the grand morass of history and humanity, which so much defes logic and categorisation. Céline’s novel was considered semiautobiographical, and charted its main character’s experiences as he became more cynical, abandoning the rigid security of science and idealism. In Voyage au Bout de la Nuit, Kiefer too is probing the fallible nature of these ways of seeing the world, hinting at the dangers that can lurk behind any philosophy— even Céline’s nihilism. This painting slyly reinforces the warning inherent in its own critique by enticing the viewer with the lure of star-speckled skies: with its formidable scale and resplendent surface Voyage au Bout de la Nuit probes, and embraces, the sublime.

《茫茫黑夜漫游》這個題目令人聯想到通往黑夜深處 的旅程,聽起來近乎浪漫。其實它源自路易·費迪南· 塞利納最著名的小說,因此引起了另一個糾結的 關聯:雖然1932年出版的小說《茫茫黑夜漫游》 至今仍被認定為二十世紀最具內涵的文學作品之一, 但作者本人卻因其種族主義思想和第二次世界大戰 期間與佔領軍合作而屢受唾罵。基弗的多個作品, 以及一個備受讚譽的展覽,都曾經起用《茫茫黑夜 漫游》作為標題,充分反映出他對歷史和人性巨大 困境的迷戀,與任何邏輯和歸類背道而馳。塞利納 被認為是半自傳式的小說描繪了主角的種種經歷, 包括他如何變得憤世嫉俗,並放棄了科學和理想主義 的嚴密保護。同樣,基弗在《茫茫黑夜漫游》中探索 以同等眼光看待世界的繆誤,暗示任何哲學背後 的潛伏危機,包括塞利納的虛無主義在內。這幅畫作 利用斑斕的星空來吸引觀眾,巧妙地強化了藏於其 自我批判中的警示。憑藉其驚人的規模和璀璨的 表面,基弗的《茫茫黑夜漫游》所探索以至所擁抱的, 是至上至高的境界。

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16. Park Seo-Bo

b. 1931

Écriture No.961128 signed, titled, inscribed and dated ‘Park, Seo-Bo [in English and Hanja] “Ecriture No. 961128” [in English and Hanja] 1996 Seoul’ on the reverse mixed media with Korean paper on canvas 172 x 138.8 cm (67 3/4 x 54 5/8 in.) Executed in 1996. Provenance Private Collection (acquired directly from the artist in 1997) Acquired from the above by the present owner

朴栖甫 《描法 – 961128號》 綜合媒介 韓國桑紙 畫布 1996年作 款識:朴栖甫《描法961128號》1996年作 《Ecriture No. 961128》1996 Seoul (畫背) 來源 私人收藏 (於1997年直接購自藝術家本人) 現藏者購自上述來源

HK$ 900,000-1,600,000 US$ 115,000-205,000

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Property of an Important Private Collector

17. Lee Ufan

b. 1936

From Line, No. 80033 signed and dated “L. UFAN 80” lower right; further signed and titled on the reverse pigment suspended in glue on canvas 78.7 x 99.7 cm (30 7/8 x 39 1/4 in.) Painted in 1980. Provenance Private Collection, Tokyo Private Collection (acquired from the above in 1995) Sotheby’s, New York, 13 May 2010, lot 229 Acquired at the above sale by the present owner

重要私人收藏

李禹煥 《始於線 – 80033號》 礦物顏料 膠水 畫布 1980年作 款識:L. UFAN 80 (右下) 來源 東京私人收藏 私人收藏 (於1995年得至上述來源) 紐約,蘇富比,2010年5月13日,拍品編號229 現藏者購自上述拍賣

HK$ 2,300,000-3,300,000 US$ 295,000-423,000

The present lot, painted in 1980, is a stunning example of Lee Ufan’s signature From Line series, of which the artist dedicated over ten years of his life between 1973 and 1984. A leading fgure of the Japanese avant-garde movement Mono-Ha, Ufan sought to abandon traditional western notions of representation in response to the rapid industrialisation of Japan occurring in the 1970s. Instead, Lee meditated upon his Confucian roots, drawing upon calligraphy and Nihon-ga (Japanesestyle painting) as sources of inspiration in his art. In From Line No. 80033, twenty-two vertical lines extend across the canvas, each one varying in thickness of stroke, and ultimately evaporating as the paint is used up. The rich blue hue, which the artist fashioned himself by mixing powdered cobalt pigment with glue, vibrates against the pale yellow wash of the canvas. Equal importance is placed on the line, and the deliberate absence of line, lending both a sense of rhythm and stillness to the composition as a whole. To create these works, the artist rotated the canvas 90 degrees, pulling the brush horizontally from lef to right in repetitive, fuid motions. In describing his practice the artist notes, “Before working, I calm my breathing, correct my posture, and hold my brush quietly” (Lee Ufan, quoted in Lee Ufan, exh. cat., PaceWildenstein, New York, 2008, p. 7). The act of painting thus becomes a ritualistic, meditative process, resulting in a work of art that possesses a dramatic, yet exquisite simplicity. 本件拍品,創作於1980年,是李禹煥標誌性 從線系列的絕佳作品,藝術家於1973至1984年間 將超過十年的心血致力於創作《始於線》系列作品。 作爲日本先鋒藝術運動「物派」的代表人物,李禹煥 力圖放棄傳統西方觀念中的具象表現以響應1970年 代日本飛速發展的工業化進程。相反,他從其儒教 傳統汲取思路,利用書法和傳統日本畫作爲靈感 源泉。在作品《始於線–80033號》中,二十二條直線 縱貫畫布,每根線條粗幼不一,顏色由深至淺直至顏 料用盡。藝術家運用鈷藍顏料與膠水混合製成濃郁 的藍色調,在淺黃色畫布上尤爲矚目。線條本身與 線條之間有意的留白同等重要,塑造出整體構圖 的韻律和寂靜。爲創作這些作品,藝術家將畫布旋轉 九十度,以一種重複而流暢的姿態由左至右地帶動 畫筆。藝術家曾自述創作過程, 「開始創作前,我會 平順呼吸,矯正姿態,然後輕輕地抓住我的畫筆。」 (引自李禹煥, 《李禹煥》展覽圖錄,佩斯畫廊, 紐約,2008年,第7頁)因此繪畫本身變成了一種 充滿儀式感的沉思過程,使得作品具備一種鮮明 而細膩的簡潔之美。

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18. Yun Hyong-Keun

1928-2007

Burnt Umber and Ultramarine signed, initialled and dated ‘Yun Hyong-Keun [in Hanja] 2004 H. K. Yun’ on the reverse oil on linen 46 x 61 cm (18 1/8 x 24 in.) Painted in 2004.

尹亨根 《焦赭及深青藍》 油畫 麻布 2004年作 款識:尹亨根 2004 H. K. Yun (畫背)

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

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Property of an Important American Collector

19. Sean Scully

b. 1945

Wall of Light Green signed, titled, and dated ‘“WALL OF LIGHT GREEN” Sean Scully 2013’ on the reverse oil on linen 150.4 x 140.3 cm (59 1/4 x 55 1/4 in.) Painted in 2013. Provenance Timothy Taylor, London Acquired directly from the artist

重要美國私人收藏

肖恩·斯庫利 《光之牆–淡綠色》 油畫 麻布 2013年作 款識:WALL OF LIGHT GREEN Sean Scully 2013 (畫背) 來源 倫敦,Timothy Taylor 畫廊 現藏者購自上述來源

HK$ 3,200,000-5,500,000 US$ 410,000-705,000

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Painted in 2013, Sean Scully’s Wall of Light Green presents the viewer with a group of bars and columns that shimmer and vibrate with colour. The paint has been applied in a gestural way, with the artist’s sweeping movements viscerally evident in the visible traces of each individual brushstroke. The various sections do not have hard borders: instead, they bleed into each other, creating intriguing, delicate plays of colour. At the same time, a light ground is feetingly glimpsed through some of the paint, introducing a luminosity that cuts to the heart of Scully’s notion of the Wall of Light Green. This was the title of a series of works begun in the late 1990s, and originally inspired by earlier trips Scully had made to Mexico. There, he had been struck by the play of intense light on the stone walls of the Mayan ruins, and this came to underpin the Wall of Light Green series, which in 2006 became the subject of Scully’s frst one-man museum show, held at the Metropolitan Museum of Art in his adopted home, New York. The Mayan walls came to serve as a springboard for explorations of the walls and light in a number of places— while anchored in his experiences in Mexico, paintings such as Wall of Light Green were inspired by places around the world, not least the cities in which Scully lives and works—New York, Barcelona and Munich. From early in his artistic career, Scully had been painting in a grid-like format, focusing on the horizontal and the vertical as universal elements, common visual denominators, originally fusing ideas from Abstract Expressionism with an aesthetic that recalled Minimalism. The experiences Scully encountered in Mexico helped push his paintings further from Minimalism, towards a more evocative, lyrical realm. This is clearly in evidence in Wall of Light Green, both in its palette and its application, with the various forms creating an arresting visual rhythm. Scully has deliberately avoided symmetry or an over-reliance on regularity to create a painting in which the blocks of colour are held together with a vivid, vital tension. The horizontal and vertical bars of colour serve as a formal architecture, a common denominator, upon which he is able to build his own subjective and ultimately expressive vision.

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肖恩·斯庫利的《光之牆–淡綠色》創作於2013年, 這幅作品以一組長條形及柱狀的形體,躍動著閃耀 的色彩,呈現在觀者面前。在顏料的使用上,藝術家 以大筆揮毫的方式,毫不修飾地將每筆所經之處 的痕跡都完全保留下來了。每個不同的色塊間, 並沒有清楚的界線。反之,它們彼此交錯著,創造出 色彩之間引人入勝又細膩的意趣。然而,淡色的背景 隱隱約約地從其他色彩的縫隙間浮現,將斯庫利 《光之牆–淡綠色》概念中的發光感完全展現出來。 《光之牆》是一系列在1990年代晚期所開始的作品, 靈感源自於斯庫利早先幾次遊歷墨西哥的旅程。 在那裡,他被強烈的光線照射在瑪雅遺跡石牆上 的視覺所震攝,因而創作出《光之牆系列》,並在 2006年成為他首次美術館個人展覽的主題。這個 展覽當時是在大都會美術館舉行,位於他所居的 紐約。瑪雅石牆的啟發,成為了他探索不同地方牆 與光的跳板。除了墨西哥的經歷,他一系列畫作 包括《光之牆 – 淡綠色》還受到世界各地啟發, 不僅限於他居住及工作的紐約、巴塞隆拿及慕尼黑。 從早期生涯開始,斯庫利一直鍾情以方格這個元素 來處理他的繪畫,專注於在水平線與垂直線所寓含的 普世性,所產生出一種視覺共通的交集。他最早 是由抽象表現主義出發,然而在美學表現上,則令人 聯想到極簡主義。然而,他在墨西哥的經歷,卻將他 的作品推向了愈加抒情、盪氣迴腸的意境,因而 也與極簡主義漸行漸遠。 《光之牆 – 淡綠色》一作 正體現了這樣的風格,無論在色彩和筆觸,甚或各式 的造型元素上,皆形成了讓人目不暇給的視覺韻律。 斯庫利向來總是刻意地迴避對稱及過度規律,因此 他畫中的色塊總是充滿了鮮明生動的張力。那些垂直 及水平的彩色長條就好似一個造型的架構,提供了 一種交集,藉此他得以創建出屬於自己的主觀世界 以及最終想傳達的宏觀視野。

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20. Takeo Yamaguchi

(1902 - 1983)

Sha signed, titled and dated ‘“Sha” September 1972 Takeo Yamaguchi [in Kanji]’ on the reverse oil on board 60.5 x 91.5 cm (23 7/8 x 36 in.) Painted in 1972. Provenance Private Collection, Japan SBI Art Auction Co., Ltd, Tokyo, 23 April 2016, lot 80 Acquired at the above sale by the present owner Literature Takeo Yamaguchi, The Works of Takeo Yamaguchi, Tokyo, 1981, no. 365, n.p. (illustrated)

山口長男 《斜》 油畫 木板 1972年作 款識: 《斜》 一九七二年九月 山口長男 (畫背) 來源 日本私人收藏 東京,SBI 拍賣行,2016年4月23日,拍品編號80 現藏者購自上述拍賣 出版 山口長男, 〈山口長男作品集〉 ,東京,一九八一年, 圖錄編號311,無頁數

HK$ 650,000-850,000 US$ 83,300-109,000

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‘My motif is always cosmic. In other words, man, beast, plant, wood, earth, stone and other things in existence are all comprehended and epitomised in the life of the cosmos.’ Takeo Yamaguchi

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Property of an Important European Collector

21. Gerhard Richter

b. 1932

Abstraktes Bild (454-4) signed, numbered and dated “454/4 Richter, 80” on the reverse. This work is listed in the Richter Catalogue Raisonné under number: 454-4. oil on canvas 45 x 35 cm (17 3/4 x 13 3/4 in.) Painted in 1980. Provenance Galerie Fred Jahn, Munich Private Collection Hauser & Wirth, Zurich Private Collection Phillips, New York, 15 May 2015, lot 239 Acquired at the above sale by the present owner Exhibited Kunsthalle Bielefeld; Mannheimer Kunstverein, Gerhard Richter: Abstract Paintings 1976 to 1981, 10 January – 16 May, 1982 Literature J. Harten et al, Gerhard Richter Bilder / Paintings 1962 - 1985, Düsseldorf, 1986, pp. 391, 392; p. 229 (illustrated) Gerhard Richter: Paintings, exh. cat., Marian Goodman Gallery/ Sperone Westwater, New York, 1987, p. 6 Kunst-und Ausstellungshalle der Bundesrepublik Deutschland ed., Gerhard Richter, Werkübersicht/ Catalogue Raisonné 1962 - 1993 vol. III, Ostfldern-Ruit, 1993, no. 454-4, n.p. (illustrated) Dietmar Elger, Gerhard Richter Catalogue Raisonné Nos. 389-651-2 Volume 3 1976-1987, Ostfldern, 2013, p. 172 (illustrated)

重要歐洲私人收藏

格哈特·里希特 《抽象畫 454-4 號》 油畫 畫布 1980年作 款識:454/4 Richter, 80 (畫背) 此作品附設格哈特·里希特作品全集編號454-4。 來源 慕尼黑,Fred Jahn 畫廊 私人收藏 蘇黎世,豪瑟與沃斯畫廊 私人收藏 紐約,富藝斯,2015年5月15日,拍品編號239 現藏家購自上述拍賣 展覽 比勒費爾德藝術館;曼海姆藝術協會, 〈格哈特·里希特:抽象畫1976至1981年〉 , 1982年1月10日-5月16 出版 J. Harten等著, 〈格哈特·里希特:抽象畫1962-1985年〉, 杜塞爾多夫,1986年,第391、392頁;第229頁 (圖版) 〈格哈特·里希特:畫作〉,展覽圖錄,Marian Goodman / Sperone Westwater畫廊,1987年,第6頁 Kunst-und Ausstellungshalle der Bundesrepublik Deutschland 編, 〈格哈德·里希特目錄全集: 1962 - 1993年:第三集〉 ,Ostfldern-Ruit,1993年, 目錄全集編號 454-4,無頁數 (圖版) Dietmar Elger著, 〈格哈德·里希特目錄 全集 389-651-2號 第三集 1976-1987年〉, 奧斯特菲爾登,2013年,第172頁 (圖版)

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

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The visceral surface of Abstraktes Bild (454-4), emerging through layers of dragged paint in varying hues of orange-red and tangerine, contributes to the work’s distinct palimpsest-like quality. Depth is both insinuated and eradicated as the vibrant surface of the picture plane displays the artist’s energetic movements. However, one can be deceived by its seemingly impulsive appearance

‘The whole thing looks very spontaneous. It is a highly planned kind of spontaneity.’ Gerhard Richter

Richter’s method for creating this work adopted a technique of building up layers of paint using a method similar to a la prima meaning ‘wet on wet’ usually between long intervals of time. By painting sections and then blending the top layers with the undercoat, Richter began not only to explore the levels that could be created through impastolike application but also to discover the efects that could be developed by adding carnation oil to the painting in order to keep the layers moist throughout the process. Thus, in Abstraktes Bild (454-4), Richter highlights one of the central paradoxes that lies at the core of his abstract experimentation; the marriage between an Abstract Expressionistic spontaneity and a planned rhythmical structure. The monochromatic works form perhaps the purest expression of Richter’s unique and vastly infuential investigation into the nature of painting, and ofer an insight into his most piercing of questions – ‘how painting could be made without treating colour as a compositional element, and how the practice of painting could continue without subjective content.’ (M. Godfrey, ‘Damaged Landscapes’, Gerhard Richter: Panorama, p. 86) 橙紅與橘黃的拖曳、堆疊,使《抽象畫 454-4 號》 富有原始情感的畫面,呈現猶如於舊跡上重複書寫般 的不凡特質。鮮明的畫面昭示藝術家運筆的精力, 力道影射著作品的深度,同時卻也將其泯滅。然而, 觀者很容易被畫作看似衝動的表象所蒙蔽,實際上, 層層顏料之間通常都隔了好一段時間 。 里希特研發出一種類似「濕畫法」 ( a la prima ) 的技巧,將顏料層層堆疊來創作此畫。他分區塊塗抹 顏料,並將上層的顏料與底層融合,藉此不僅開 發出厚塗技法所能堆厚而得的層次感,更透過添加 康乃馨油,讓每一層顏料在繪畫過程中保持濕潤, 從中發掘出獨創的效果。因此,在《抽象畫 454-4 號》中,里希特強調在其抽象藝術實驗核心的 悖論之一,即是自發性的抽象表現主義與精心架構的 結合。里希特的單色調作品或許最能表達,他對藝術 本質獨特且影響深遠的探討,也讓觀者能一窺其 最尖銳的提問: 「創作,該如何不將色彩視為畫面 元素;又如何不帶有主體內容地實踐繪畫。」 (M.高德菲, 〈被破壞的風景〉, 《格哈特·里希特: 全景》,第86頁)

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Property of an Important Asian Collector

22. Damien Hirst

b. 1965

In a Spin, the Action of the World on Things household gloss paint on canvas laid on fberboard 118 x 96 cm (46 1/ 2 x 37 3/4 in.) Painted in 2002. Provenance Private Collection, Dusseldorf Phillips, London, 29 June 2009, lot 111 Acquired at the above sale by the present owner Please note that this is the box cover of a folio set of etchings titled In a Spin the Action of The World on Things edited by The Paragon Press, London, 2002. The entire volume is recorded in the Damien Hirst archive.

重要亞洲私人收藏

達米恩·赫斯特 《在旋轉中,世界對事物的動態》 亮光漆 畫布 裱於纖維板 2002年作 來源 杜塞爾多夫私人收藏 倫敦,富藝斯,2009年6月29日,拍品編號111 現藏者購自上述拍賣 此作品為一組蝕刻版畫作品集之盒蓋封面, 標題為《 在旋轉中,世界對事物的動態》 , 2002年由倫敦Paragon出版社編, 作品集並收錄於達米恩·赫斯特之文獻庫。 HK$ 400,000-600,000 US$ 51,300-76,900

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23. Kim Whan-Ki

1913 -1974

Untitled signed and dated ‘whanki 70’ on the reverse oil on canvas 61.2 x 45.7 cm (24 1/8 x 17 7/8 in.) Painted in 1970. Provenance Meshulam and Jahudit Riklis, New York (acquired directly from the artist) Abraham Havilio, Jerusalem Private Collection, New York Phillip's de Pury & Company, London, February 12, 2009, lot 38 Acquired at the above sale by the present owner

金煥基 《無題》 油畫 畫布 1970年作 款識: Whanki 70 (畫背) 來源 紐約,Meshulam 及 Jahudit Riklis 收藏 (直接購自藝術家) 耶路撒冷,Abraham Havilio 收藏 紐約私人收藏 倫敦,富藝斯,2009年2月12日,拍品編號38 現藏者購自上述拍賣

HK$ 600,000-800,000 US$ 76,900-103,000

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Shiro Kuramata Finn Juhl Pierre Jeanneret Ron Arad

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24. Finn Juhl

1912-1989

Rare set of eight ‘Egyptian’ dining chairs, model no. FJ 49 Brazilian rosewood, leather Each: 89 x 54 x 57 cm (35 x 21 1/4 x 22 1/ 2 in.) Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Each underside branded with CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK/DESIGN: FINN JUHL. Designed in 1949. Provenance Private Collection, New York Acquired from the above by the present owner Literature Svend Erik Møller and Viggo Sten Møller, Dansk møbelkunst, Københavns Snedkerlaugs møbeludstilling 1927-1951, Copenhagen, 1951, p. 82 Esbjørn Hiort, Modern Danish Furniture, New York, 1956, p. 59 Arne Karlsen, ed., Contemporary Danish Design, Copenhagen, 1960, p. 53 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 125, 270-71 Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 40, 44-45 for images and drawings Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 36-37, 69, 126, 155, 158, 186-187

芬·祖爾 《埃及風格》餐椅 (八張) 型號 FJ 49 巴西黑黃檀木 皮革 此作品由丹麥哥本哈根木匠名師尼爾斯·弗德於1949年設計。 款識: CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK/DESIGN: FINN JUHL (刻於每張椅子底部) 來源 紐約私人收藏 現藏者得自上述來源 出版 Svend Erik Møller、Viggo Sten Møller 著 , 〈Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 1927-1951〉,哥本哈根,1951年,第82頁 Esbjørn Hiort 著, 〈現代丹麥家俱〉,紐約,1956年,第59頁 Arne Karlsen 著, 〈20世紀丹麥家俱設計:第2集〉, 哥本哈根,1960年,第53頁 Grete Jalk 編, 〈Dansk Møbelkunst gennem 40 aar, 第三集: 1947-1956年〉 ,哥本哈根,1987年,第125、270-71頁 Esbjørn Hiort 著, 〈芬·祖爾:家具、建築及應用藝術〉, 哥本哈根,1990年,第40頁、44-45頁 (草稿圖及圖版) Per H. Hansen 著, 〈芬·祖爾之家〉,奧斯特菲爾登, 2014年,第36-37、69、126、155、158、186-187 頁

HK$ 570,000-700,000 US$ 73,100-89,700

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The present two lots are exquisite examples and produced in Brazilian rosewood. Each work was designed by the Danish architect Finn Juhl and executed by the master cabinetmaker Niels Vodder for the Cabinetmakers’ Guild, which started in 1927 and was held annually in Copenhagen until 1966. Although the collaboration between Juhl, then aged twenty-fve, and Vodder began in 1937, it was not until the breakthrough period of 1944-1949 at the Cabinetmakers’ Guild in which Juhl began to incorporate his burgeoning organic and percipient approach towards furniture design. The synergy and symbiosis of these two artistic characters created many masterpieces of 20th century design. In 1949, Finn Juhl designed the ‘FJ 49’ dining chair which became primarily known as the ‘Egyptian’ chair. Much like the ‘Chiefain’ armchair, which was another of Juhl’s masterpieces, the ‘Egyptian’ chair designed the same year features handcrafed, accentuated and organic stiles, using exquisite Brazilian rosewood. The stiles support the backrest whilst elegantly revealing the interstice between the seat and the load-bearing legs. The following statement by Juhl is manifested within the construction of the ‘Egyptian’ chair: ‘I have always been interested in analysing a piece of furniture’s diferent parts, surely a consequence of my early excitement for Corbusier’s cubist architecture.’ Juhl continues to credit Le Corbusier further for the use of materials to ‘accentuate diferent planes and load-bearing parts’ (Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, p. 34). These distinctive, yet brief comments by Juhl amplify his pragmatic approach and reveal architectural principles, which he then applied to the design of the ‘Egyptian’ chair. Another salient infuence occurred when Finn Juhl

本場兩件拍品是巴西黑黃檀木制品的極佳代表。 每件作品均由丹麥建築師芬·祖爾設計,大師級工匠 尼爾斯·弗德爲哥本哈根傢俱匠師協會展制作, 該展覽於1927年始一年一度舉辦直至1966年。儘管 於1937年,彼時25歲的祖爾便開始與沃德合作, 但直至1944 - 1949年於匠師協會的突破時期,祖爾 才開始將其萌芽中的有機觀念和敏銳洞察融入傢俱 設計。充滿藝術天賦的兩人協手合作共創了二十世紀 設計領域的無數傑作。 於1949年,芬·祖爾設計了型號爲FJ 49的餐椅, 即廣爲人知的「埃及椅」。與另一件傑作「酋長椅」 相似,於同年設計的「埃及椅」運用雅緻的巴西黑黃 檀木着重突顯工藝精美的有機椅框。椅框支撐 椅背的同時優雅地呈現出座墊與承重腿之間的 空隙。 「埃及椅」的構造彰顯了祖爾的如下靈感 源泉, 「我始終對分析一件傢俱的不同部位飽含 興致,這與我早年對柯比意立體主義建築的欣賞 有必然的因果關係。」祖爾繼而爲其使用物料 強調不同平面和承重物的方法致謝勒·柯比意。 (Per H. Hansen, 《芬·祖爾之家》,奧斯特菲爾登, 2014年,第34頁)這些獨特而簡明的評論彰顯其隨後 運用於「埃及椅」設計中的實用手段和建築原則。 祖爾曾於羅浮宮見過的一把埃及椅子,亦對其有顯著 影響。他深受埃及傢俱啓發,被其構造打動,

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saw an Egyptian chair at the Musée du Louvre. He was inspired by Egyptian furniture and became impressed by the construction: ‘I honestly admit that I have stolen the construction, just as I have stolen the right angle and the circle. It should also be admitted that I have been and am more captivated by the most simple and elegant furniture from Egypt than by other furniture of the past’. (Politiken, 9th October 1976). Finn Juhl was always eager to assert that he functioned as an autodidact when designing furniture and that he was never formally trained. Finn Juhl does not imitate profundity; he does not leave us masterpieces of modern furniture but masterpieces of modern design. Edgar Kaufmann, Jr., whom Finn Juhl worked with extensively, refects upon the architect in his essay, ‘Product and Process’: ‘His forms are masterful, now as when they were new. They are capable of a plenitude of embodiments still unexplored. Juhl is no performer, he is a creator. We need more of him.’ (Patricia Yamada, ed., Finn Juhl Memorial Exhibition, p. 13). When discussing Niels Vodder, the master cabinetmaker of the ‘Egyptian’ chair, the Danish architectural journalist Henrik Sten Møller accurately refers to him as an ‘original crafsman with a distinct sense of humour.’ He then goes further to explain possibly why Vodder had ever agreed to collaborate with Juhl: ‘The reason why Niels Vodder became Finn Juhl’s cabinetmaker was that nobody else wanted to produce his furniture. They thought the furniture too strange and furthermore ofen technically complicated’ (Ibid, Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, p. 18).

「我必須承認我偷走了這個構造,正如我偷走了右側 視角與圓形一樣。相比任何其他往昔的傢俱,我爲 這些最簡潔明了又優雅精美的埃及傢俱所着迷。」 (丹麥報紙《Politiken》,1976年10月9日) 芬·祖爾堅稱其傢俱設計均爲自學,從未接受任何 正式訓練。芬·祖爾從不故作深奧,其留給世人 的不是現代傢俱的精品而是現代設計的傑作。 小埃德加·考夫曼,曾與芬·祖爾廣泛合作, 於其思索建築的論文《產品與流程》中提及「他 (芬·祖爾)的作品形態今夕與往日一同精湛,充滿了 尚未探索的化身可能性。祖爾不是一個表演者, 他是一個創造者。我們需要更多像他一樣的人。」 (Patricia Yamada, 《芬·祖爾紀念展》展覽圖錄, 大阪,1990年,第13頁) 當談及「埃及椅」的製作者,大師級工匠尼爾斯· 弗德時,丹麥建築記者亨里克·斯滕·莫勒曾稱 其爲「帶有獨特幽默色彩的原創工匠」。他進一步 解釋沃德與祖爾合作的原因: 「尼爾斯·弗德之所以 成爲芬·祖爾的傢俱匠師,是因爲沒有其他人願意 生產他的傢俱。其他人都認爲他的傢俱形態過於奇怪 而且製作工藝複雜。」 (同上, 《芬·祖爾紀念展》展覽 圖錄,大阪,1990年,第18頁)

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25. Finn Juhl

芬·祖爾

1912-1989

罕有的伸縮型餐桌子,型號 FJ 49 T 巴西黑黃檀木 及 用巴西黑黃檀木之實木貼面 此作品由丹麥哥本哈根木匠名師尼爾斯·弗德於1949年設計, 並附設一對用於伸縮的木板。

Rare and large extendable dining table, model no. FJ 49 T Brazilian rosewood-veneered wood, Brazilian rosewood 71 x 310 x 140 cm (27 7/8 x 122 x 55 1/8 in.) fully extended Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Designed in 1949. Together with two leaves.

來源 科羅拉多州,戴爾滑雪場 現藏者得自上述來源

Provenance Dail Ski Resort, Colorado Acquired from the above by the present owner

出版 Esbjørn Hiort 著, 〈現代丹麥家俱〉 ,紐約,1956年,第58頁 尼爾斯.弗德 著, 〈家俱〉 ,哥本哈根,1959年,第16、26頁 Patricia Yamada 著, 〈芬·祖爾紀念展〉 , 展覽圖錄,大阪,1990年,第25頁 Henrik Wivel 著, 〈芬.祖爾〉 ,Humlebæk,2004年,第65頁 Per H. Hansen 著, 〈芬·祖爾之家〉,哥本哈根, 2009年,第101、126、186-87頁

Literature Esbjørn Hiort, Modern Danish Furniture, New York, 1956, p. 58 Niels Vodder, Furniture, Copenhagen, 1959, pp. 16, 26 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, p. 25 Henrik Wivel, Finn Juhl, Humlebæk, 2004, p. 65 Per H. Hansen, Finn Juhl and his house, Copenhagen, 2009, pp. 101, 126, 186-87

此拍品專門為《埃及風格》餐椅而設, 並比標準型號長及寬多20公分 (7 7/8 英寸)。

The present lot was specifcally designed for the ‘Egyptian’ dining chair and is 20 cm (7 7/8 in.) larger in both length and width than the standard model.

HK$ 230,000-330,000 US$ 29,500-42,300

Detail

(局部)

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Property from a Distinguished Private Collection

O

26. Zhang Enli

b. 1965

Eating #4 signed and dated ‘ENLI 2000’ lower right oil on canvas 247.7 x 198.1 cm (97 1/ 2 x 77 7/8 in.) Painted in 2000. Provenance ShanghART Gallery, Shanghai Acquired from the above by the present owner in 2007. Literature Zhang Enli: Human, Too Human, exh. cat., BizArt, Shanghai, n.p. (illustrated)

重要私人收藏

張恩利 《盛宴4號》 油畫 畫布 2000年作 款識:ENLI 2000 (右下) 來源 上海,香格納畫廊 現藏者於2007年購自上述來源 出版 〈張恩利 : 人性,太人性的〉 ,展覽圖錄,上海比翼藝術中心, 上海,無頁數 (圖版)

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

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The Shanghai based Chinese artist, Zhang Enli, is widely celebrated for interrogating the mechanics of painting. With works collected by Tate Modern, London in 2007, he is among one of the earliest contemporary Chinese artists to be appreciated by prominent Western collections and galleries. Unlike many of his contemporaries, Zhang strategically avoids any political association in his oeuvre and engages himself solely with the depiction of experience and sensation. Inspired by German Expressionism in his earlier career, the artist concentrated on portraying the inner struggle and helpless frustration experienced by ordinary people in the 1990s. Since 2000, he gradually shifed his interest into tackling various subjects as disparate and mundane as still lifes, trees, the sky, and wire fences. Painted in 2000, the year marking the climax of Zhang’s early Portrait series, Eating #4 exemplifes the artist’s mastery of portraying psychological nuances. The present lot is one of the fnest examples of the Portrait series to ever come up at auction. Rendered primarily in dark blue and crimson, Zhang deliberately applies the paint layer by layer, so as to make the wild brushstrokes visible, unchangeable and even a formative trait of the painting. This work presents a scene from a supposed festival feast with an overlooking perspective, creating a distance between the depicted fgures and the viewer, thus allowing the latter to observe the complicated human nature as a bystander. Starting from the indiferent facial expressions of the people indulging in food at the table in the foreground, then to the fattery themed table in the mid-lef with a distorted female ofering massage and two males serving wine and cigarette for the central fgure, fnally to the strained forearm muscle in ochre and revealing vessels resulting from a confict at the corner table, the viewer’s attention is easily drawn into the canvas by the zigzag dynamism of the carefully rendered composition. The art critic Li Xu once compared Zhang’s early works with The Scream by Edvard Munch and found “Zhang Enli’s works might rather be described as a long and fowing chant in the darkness, a chant for all the anonymous people in a moonless and starless night, with quiet all around and darkness hanging low.” (Li Xu, “Canto in Tenebris”, Zhang Enli, 1992-2000 Works, exh. cat., ShanghART Gallery, Shanghai, 2000, p. 11)

張恩利是一位在上海生活的藝術家,他不斷專注對油畫 的積極探討。其作品於2007年便被倫敦泰特現代藝術館 納入館藏,屬最早一批得到西方頂尖收藏和畫廊欣賞 的中國現代藝術家。張恩利與許多同期藝術家不同, 他刻意在創作中避開任何政治元素,著重對個人體驗和 感知的表達。他早期受德國表現主義啟發,在1990年代 專注描繪平民百姓的內心掙扎和無助挫折。而自2000年 開始,他逐漸把焦點放在靜物、樹木、天空和鐵絲, 以另開生面的角度重新審視平凡事物。 2000年是張恩利早期肖像系列的巔峰之時, 《盛宴4號》 便是此時的作品,彰顯他刻畫人物微妙心理的極高 造詣,可謂是其肖像系列的典範之作。畫面以深藍和 深紅色為主,顏料層層相疊,清楚可見狂放筆觸, 不留修改空間,形成畫作的基調。觀者俯瞰眼下的 節慶盛宴,與畫中人物保持距離,以旁觀者的角度慢慢 審視其中的複雜人性。畫面前方一桌的人們面無表情, 沉醉在美食當中;中間靠左一桌則盡是諂媚奉承, 扭捏作態的女子為中間之人殷勤按摩,旁邊兩人則為他 奉上美酒香煙;後方角落一桌看似正在爭執,個個 磨拳擦掌,青筋暴現。觀者的注意力一下子便被帶入 張恩利仔細編排構造的精彩畫面。 藝評家李旭曾以蒙克的《吶喊》來比較張恩利的早期 作品,他說道: 「張恩利的系列作品更像是黑暗中低沉 而綿長的吟唱,唱給那些無名的人們,而此時此刻, 星月無光,四野寂寥,夜幕低垂。」 (李旭, 〈黑暗中的 吟唱〉, 《張恩利1992-2000年作品》 (展覽圖錄), 上海,香格納畫廊,2000年,第11頁) 表面的宴席背後,人物並非純粹在大快朵頤,他們 的身體語言不無透露出各人的社會地位,呈現百姓平凡 卻堅韌的人生。

Zhang Enli Dancing No. 2, 2000 215.2 x 147.4 cm.; (84¾ by 58 in.) Sold at Sotheby’s, Hong Kong, 6 April 2014 Estimate: HK$2,500,000 – 3,800,000 Sold For: HK$6,640,000

張恩利 《舞蹈2號》2000年作 215.2 x 147.4 公分 (84¾ x 58 英寸) 賣於香港,蘇富比,2014年4月6日 估價:港幣2,500,000 – 3,800,000 成交價:港幣6,640,000

Underneath the surface of eating as a pastime in this work, the actions of each fgure are demonstrative of their social status rather than mere enjoyment, ofering a probe into the life experience of the ordinary yet tenacious people.

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Property of an Important American Collector

27. Yue Minjun

b. 1962

Mushroom Cloud signed and dated ‘yue minjun 2002’ lower right acrylic on canvas 300 x 220 cm (118 1/8 x 86 5/8 in.) Painted in 2002. Provenance Private Collection, Beijing (acquired directly from the artist) Private Collection, New York Acquired from the above by the present owner Literature Yue Minjun: Soaking in Silly Laughter, exh. cat., Soobin Art Gallery, Singapore, 2002, pp. 10-11 (illustrated) Reproduction Icons: Yue Minjun Works, 2004-2006, exh. cat., He Xiangning Art Museum, Shenzhen, 2006, p. 27 (illustrated)

重要美國私人收藏

岳敏君 《蘑菇雲》 壓克力 畫布 2002年作 款識:yue minjun 2002 (右下) 來源 北京私人收藏(直接購自藝術家本人) 紐約私人收藏 現藏者購自上述來源 出版 〈岳敏君: 沐浴在傻笑中〉 ,展覽圖錄,新加坡, Soobin Art畫廊,2002年,第10-11頁 (圖版) 〈復制的偶像: 岳敏君作品 2004-2006〉,展覽圖錄, 何香凝美術館,深圳,2006年,第27頁 (圖版)

HK$ 4,500,000-6,500,000 US$ 577,000-833,000

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Yue Minjun is internationally acclaimed for his distinctive iconography and implicit political commentary in his oeuvre. Considered as one of the main protagonists of “Cynical Realism”, an art movement which emerged in the 1990s in response to the transitional period Chinese society was experiencing with rapid economic growth and ambiguous political ideology, Yue frequently depicts grinning male fgures against bright color palettes, which combines both pictorial and historical references. Starting from the relatively fgurative depictions of himself or his friends in historical settings in the 1990s, his style evolves into repetitive use of self-portrait in grotesque poses in the 2000s. Painted in 2002, Mushroom Cloud is an epitome of Yue’s almost immediately recognisable style. This work presents nine identical bright pink faces of the artist himself with his signature rictus grin against the background of a mushroom cloud and vivid blue sky. Drawing connotation from the disparate laughing Buddha, the artist replicated his self-portrait over and over to form a battalion of grinning frozen-faced clones in the foreground. While grinning normally indicates a joyful atmosphere, the way Yue portrays the faces in an almost jaw-breaking laughter with eyes tight shut and white teeth bared invokes the character of an obedient and literally blind follower. The repetition motif forces the audience to look behind what was delineated and ponder about what was not explicitly depicted. In the background, the contour of the mushroom cloud bears an allusion to that of the explosion of China’s frst atomic bomb in 1964, marking their entrance into the ranks of global nuclear powers. The juxtaposition of the lighthearted laughter and potential severe result of an atomic bomb brings out the absurdity, thus creating an atmosphere of disquiet. Yue deliberately employs the skills suggestive of the character “red, bright, and luminescent” in the propaganda art of “Social Realism”, which were ofen used to advocate the greatness of labourers or heroes, and turns it into a satiric commentary on how the nation sugar-coats reality in propaganda art, ofering an implicit parody of contemporary Chinese society.

岳敏君的作品以其獨特顯明的圖像及隱晦的政治批判, 因而享譽全球藝術圈。1990年代以來,中國社會在急速 經濟發展及模稜兩可的政治意識型態下,經歷了巨大的 轉變,這樣的社會現象催生了「玩世現實主義」的藝術 風潮,而岳敏君正是其中領軍的重要藝術家。他往往 運用了鮮明的色調,在畫中勾勒出開懷大笑的男子, 同時寓含著繪畫上及歷史典故的引用。這個風格最早源 起於1990年代,岳敏君以頗為具象的方式,在歷史 事件的背景設定中,來描繪自己和友人。2000年以後, 其風格也逐漸演變,不斷以怪誕的姿態將自畫像重複出 現在他的作品之中。 上述辨識度極高的風格,在這幅創作於2002年的 《蘑菇雲》作品裡完美地體現。畫中可以見到九張一模 一樣、明亮粉紅色的臉孔,也就是藝術家本人,臉上 掛著招牌式的咧齒大笑,背景則是晴朗藍空中一朵高聳 的蘑菇雲。就像笑臉迎人的彌勒佛一般,岳敏君不斷地 複製著自己面部笑到僵硬的肖像,直到他們一字排開 的龐大陣仗,填滿了畫布的整個前景。大笑,一般來說 表示著歡樂的氣氛,但其筆下的笑臉,嘴巴張得都快 裂開了,再加上緊閉的雙眼、白亮的牙齒,不禁讓人 覺得畫中主角就是個盲目、服從的追隨者。另外,透過 不斷重複的圖像,藝術家也迫使著觀者去超越表象所 見,而更深層地去思考畫中隱藏的意涵。背景的蘑菇雲 則讓人聯想起中國在1964年第一次試爆了原子彈,標誌 著中國成為擁有核武的國家之一(圖1)。肖像的詼諧嘻笑 與原子彈潛在的嚴重後果,形成了十分荒謬的對比, 同時也製造出一種不安的氣氛。社會現實主義下的政治 宣傳畫中常見的「紅、光、亮」,宣揚著勞動者或烈士的 偉大,岳敏君在塑造畫中人物時,也刻意地採用了 這樣的風格,繼而將他的繪畫乘載了充滿譏諷的批判, 不僅對於政治宣傳藝術中被國家糖衣包裝的現實做出 嘲諷,也隱隱訕笑著當今中國社會類似的現狀。

Lef: Mushroom cloud from China’s frst test of an atomic bomb on 16 October 1964

左: 1964年10月16日, 中國第一顆原子彈爆炸成功所引發的蘑菇雲 Right: Andy Warhol Atomic Bomb: Red Explosion, 1965 silkscreen on canvas Saatchi Collection, London © 2017 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

右: 安迪•沃荷 《原子彈:紅色》1965年作 絲網印刷 畫布 倫敦,薩奇收藏

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Property of an Important European Collector

28. Zeng Fanzhi

b. 1964

A Man with a Straw Hat signed and dated ‘Zeng Fanzhi [Chinese and Pinyin] 2004’ lower right oil on canvas 239.9 x 162 cm (94 1/ 2 x 63 3/4 in.) Painted in 2004. Provenance ShanghART Gallery, Shanghai Acquired from the above by the present owner in 2004 Exhibited Hong Kong, Hanart TZ Gallery, Recent Works by Zeng Fanzhi, 30 March - 16 April 2005, pp. 24-25, 61 (illustrated) Singapore, Singapore Art Museum, Zeng Fanzhi: Idealism, 30 April - 3 June 2007, p. 181 (illustrated) London, Gagosian Gallery, Zeng Fanzhi, 17 November 2012 - 19 January 2013, p. 32 (illustrated)

重要歐洲私人收藏

曾梵志 《戴草帽的人》 油畫 畫布 2004年作 款識: 曾梵志 2004 Zeng Fanzhi (右下) 來源 上海,香格納畫廊 現藏者於2004年購自上述來源 展覽 香港,漢雅軒畫廊, 〈曾梵志近作〉 ,2005年3月30日-4月16日, 第24-25、61頁 (圖版) 新加坡,新加坡美術館, 〈曾梵志:理想主義〉 , 2007年4月30日-6月3日,第181頁 (圖版) 倫敦,高古軒畫廊, 〈曾梵志〉 , 2012年11月17日-2013年1月19日,第32頁 (圖版)

HK$ 5,000,000-7,000,000 US$ 641,000-897,000

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Lef: Vincent van Gogh Self-Portrait with a Straw Hat (obverse: The Potato Peeler), 1887 Collection of the Metropolitan Museum of Art, New York

左: 梵高 《戴草帽的自畫像》1887年作 紐約,大都會博物館收藏 Right: Poster based on Hou Bo's Mao Zedong Inspecting a Farming Village in Henan, 1958

右: 候波攝 《毛澤東在河南農村視察》之海報 1958年作

Zeng Fanzhi’s position as the famed ‘Mask Artist’ shifed at the turn of the millennium, when the artist began a new form of artistry. Developing another mode of ‘masking’ his fgures, Zeng explored the act of concealment with his radical luanbi method in the early 2000s. With the use of palette knives, Zeng’s electric luanbi method is achieved by scraping away paint and dragging impasto in expressionistic gestures, guided by raw emotion. The outcome of this technique is a body of rich, dense pieces usually depicting unbridled nature and sprawling landscapes. The central fgure in A Man with a Straw Hat is an adaptation of a well-known photograph of Chairman Mao, taken by Hou Bo, one of the most well-known photographers of Mao Zedong. This piece features the rare depiction of Mao, a fgure whom only sporadically appears in Zeng’s oeuvre. This bold allusion to and evocation of The Chairman is in great contrast to the artist’s other works, where specifc fgures are rarely rendered outright, but instead are merely hinted at through subtle symbols such as red kerchiefs of Mao jackets. Extending the artist’s exploration of the remnant imageries and collective experiences from the Cultural Revolution, A Man with a Straw Hat is a continuation of Zeng’s investigation into his Chinese heritage and childhood. 曾梵志的面具肖像繪畫為他在畫壇樹立了名聲, 然而在2000年之際則出現了轉變,因為他開拓了一 個嶄新的創作形式。自2000年初,他試圖以狂野的 「亂筆」去隱藏他的畫中主體,用這作為另一種方式 去為他的形體戴上「面具」。他以表現派的筆觸用 畫刀將厚重的油彩刮散,拖曳出動感的亂筆技法, 充滿了毫不掩飾的情感。其這一系列豐富而凝重的 作品,描繪的往往是肆無忌憚蔓延著的自然風景。 《戴草帽的人》畫中人是從一張毛澤東相片所改編 而來的形象,原照片則是由毛主席一位著名的專屬 攝影師侯波所拍攝的。此幅畫出現了鮮少在他作品 現身的毛主席身影,在曾梵志的作品中是相當罕見 的。此處他大膽地暗示對毛主席的描繪,和其他 作品中極少針對個人特質多做細節修飾的處理, 形成了強烈的對比,因為他通常只是用一些隱晦的 象徵來表現,例如像是毛主席風格的外套、加上紅色 的領巾等符號。 《戴草帽的人》延伸了曾梵志對於 文化大革命殘留的影像及集體經驗所做出的追憶, 也是他持續對於身為中國人以及自己童年的探索。

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The present lot’s scale immediately evokes Mao’s immense infuence and almost god-like status. Obscured by a dense wall of grass, as well as elusively referred to as the titular A Man in a Straw Hat, Mao is both concealed but also immediately recognisable. This interplay highlights the paradox in The Chairman’s ubiquity in China, but also the distance between the fgure and present day. The crops in the original image are replaced by jagged branches typical of Zeng’s luanbi scenes, injecting the work with a sense of the unknown, decontextualising the work. That such a recognisable image of Mao is used here is bold, but that it also quietly references any number of Self-Portrait[s] in a Straw Hat painted by Vincent van Gogh in 1887 is a testament to Zeng’s wide range of stimuli—an important infuence which the artist himself has acknowledged. Speaking in an interview in 2015, the artist stated that “Van Gogh saw colours rather than three-dimensional objects”, a manner of painting that no doubt lends itself to the vibrancy and visceral energy in A Man with a Straw Hat (Zeng in an interview with Phong Bui, in ‘In Conversation: Zeng Fanzhi with Phong Bui’, The Brooklyn Rail, 9 December 2015, reproduced online).

這幅作品偌大的尺寸,彷彿呼應了毛主席深厚的 影響力及近乎化被神化的地位。雖然被一片厚厚的 亂草所遮掩,又以《戴草帽的人》這樣一個模糊而 間接的方式來命題,毛主席的形象似乎被刻意地 隱藏起來,但同時卻又馬上能被人辨識出來。 如此衝突的對比,似乎也陳述了毛澤東在中國無所 不在的矛盾點,另外也呈現出這個歷史人物在時間 軸上與現在當下之間所存在的巨大鴻溝。原始照片 中前景的稻作,被曾梵志具代表性的亂筆手法 所取代,變成了一片恣意叢生的雜草,藝術家藉此 為作品營造出一個未知空間,在文本上也脫離了 原本的相片的語境。 毛主席的形象在此固然是個顯明的借用,但曾梵志同 時也向梵谷在1887年所繪一系列《戴草帽的 自畫像》致敬。這也顯示了其創作靈感來源之廣泛, 藝術家也曾經表示這對他的藝術創作相當重要。 在2015年的一次訪問中,他提到: 「梵谷見到的是 色彩,而非物體的立體型態」,這樣的畫風也在 《戴草帽的人》作品中充沛活力及深刻情感盡顯無遺 (曾梵志, 《曾梵志與裴峰的對談》,2015年12月 9日,網上複製版)。

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Property of an Important Private Collector

O

29. Christine Ay Tjoe

b. 1973

Small Flies and Other Wings signed and dated ‘Christine 13’ lower right; further signed, titled and dated ‘ay tjoe Christine “Small Flies and Other Wings” 2013’ on the reverse oil on canvas 165.3 x 150.5 cm (65 1/8 x 59 1/4 in.) Executed in 2013. Provenance Ota Fine Arts, Tokyo Acquired from the above by the present owner

重要私人收藏

克裡絲汀·艾珠 《小蒼蠅及其他翅膀》 油畫 畫布 2013年作 款識:Christine 13 (右下); ay tjoe Christine《Small Flies and Other Wings》 2013 (畫背) 來源 東京,大田畫廊 現藏者購自上述來源

HK$ 900,000-1,200,000 US$ 115,000-154,000

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Born in the 1970s and achieving international recognition by the early 2000s, Christine Ay Tjoe is situated within a pivotal group of Indonesian contemporary artists such as I Nyoman Masriadi, Handiwirman Saputra, and Rudi Mantofani. Distinguishing herself from her peers not only as a female artist, but as a leading abstract artist of her generation, Christine Ay Tjoe’s works are immediately recognisable and deeply evocative. While Ay Tjoe’s works frst confront the viewer with her distinctive use of overlapping lines and seemingly abstract application of colour, a closer investigation ofen reveals amorphous or skeletal biological forms representing her thematic preoccupations with the fragility of life, the inevitability of death, and the beauty found within the individual experience of these universal truths. In Small Flies and Other Wings, the deceptively inviting use of rose pink and other bright accents of colour quickly gives way to the frenetic energy of the central composition as we locate the delicate and almost translucent bodies of fies absorbed within a cacophony of colour and lines. The expressively gestural quality of Ay Tjoe’s lines draws the eye darting across the canvas until we reach an awareness of the scene as a veritable graveyard of fies amidst disjointed wings of other insects. Plunging the viewer into an immersive experience, the work provokes introspection into our own attitudes towards death by highlighting its pervasiveness, and our morbid fascination with it. Ay Tjoe afords some visual respite in the lower half of the composition where the muted background is allowed to show through, but even then the space is interrupted by smears of red and black paint – colours that are respective signifers of life and death. Like insects drawn to a lightsource, we too approach life with a single-minded fervour, and it is this insastiable lust for life despite an awareness of death that Ay Tjoe celebrates.

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生於上世紀 70 年代並於二十一世紀早期獲得國際認可, 克裡絲汀·艾珠與米斯尼亞迪、蘇普塔拉及曼度凡尼 等藝術家位列印尼當代藝術翹楚。不僅憑藉女性藝術家 身份有別於同僚,而且作爲同輩中的先鋒抽象藝術家, 克裡絲汀·艾珠的作品極具辨識度並引起深刻共鳴。 其作品給觀者第一印象是獨特的重疊線條以及看似抽象 的顏色運用,仔細端詳之後,會發現不規則亦或是 骨骼狀的生物形態,以代表她對於生命的脆弱、死亡的 無可避免以及藏身於個人體驗普世真理之美感等主題 的關注。 在作品《小蒼蠅及其他翅膀》中,當我們注意到構圖 中央蒼蠅精細且幾近晶瑩剔透的身體融在色彩與線條 紛紜的背景時,頗具迷惑性的動人玫瑰粉與其他亮色 的使用便不如構圖中央的躁動活力引人注目了。艾珠 所繪線條的傳神姿態令觀者的眼神在畫布上掃視直至 確認畫面所呈現的場景無疑是置身於其他昆蟲翅膀中 的蒼蠅墓地。讓觀者仿佛身臨其境,作品通過強調 死亡的無所不在促使觀者反思對待死亡的態度以及對此 的病態着迷。艾珠在畫面下方讓無色背景隱約顯露, 爲構圖留有些許視覺喘息的空間,不過下方仍有紅、 黑色顏料的塗抹痕跡,分別象徵着生與死。正如昆蟲被 光源所吸引,我們也一樣,帶着率真的熱情嚮往生活, 艾珠所讚美的正是這種明知死亡無可避免,仍然永無止 境渴望生活的熱忱。

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30. Kazuo Shiraga

1924-2008

Untitled signed and dated ‘Kazuo Shiraga [in Japanese] 1962’ lower lef oil on canvas 72.8 x 60.7 cm (28 5/8 x 23 7/8 in.) Painted in 1962. Provenance Private Collection Est-Ouest Auctions, Hong Kong, 26 November 2010, lot 59 Acquired at the above sale by the present owner

白髮一雄 《無題》 油畫 畫布 1962年作 款識: 白髮一雄 1962 (左下) 來源 私人收藏 香港,伊斯特拍賣行,2010年11月26日,拍品編號59 現藏者購自上述拍賣

HK$ 1,000,000-2,000,000 US$ 128,000-256,000

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31. Atsuko Tanaka

1932-2005

83D signed and titled ‘”83D” Atsuko Tanaka [in English]’ on the reverse synthetic polymer paint on canvas 100 x 80 cm (39 3/8 x 31 1/ 2 in.) Painted in 1983. Provenance Private Collection Zhong Cheng Auctions, Taipei, 20 December 2015, lot 202 Acquired at the above sale by the present owner

田中敦子 《83D》 合成樹脂漆 畫布 1983年作 款識: 《83D》Atsuko Tanaka (畫背) 來源 私人收藏 台北,中誠國際藝術,2015年12月20日,拍品編號202 現藏者購自上述拍賣

HK$ 1,800,000-2,800,000 US$ 231,000-359,000

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32. Sadamasa Motonaga

1922-2011

Untitled signed and dated ‘S. Motonaga ‘65’ lower lef oil, synthetic resin paint on canvas laid down on panel 91.6 x 116.7 cm (36 1/8 x 45 7/8 in.) Painted in 1965. Provenance Private Collection Shiwa Art Auction, Japan, 17 November 2012, lot 37 Acquired at the above sale by the present owner

元永定正 《無題》 油畫 丙烯樹脂漆 畫布 裱於木板 1965年作 款識: S. Motonaga‘65 (左下) 來源 私人收藏 日本,親和拍賣行,2012年11月17日,拍品編號 37 現藏者購自上述拍賣

HK$ 800,000-1,200,000 US$ 103,000-154,000

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Property of an Important European Collector

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33. Shiro Kuramata

重要歐洲私人收藏

倉俣史朗

1934-1991

‘Miss Blanche’ chair acrylic, synthetic roses, anodised tubular aluminium. 90.8 x 62.8 x 59.8 cm (35 3/4 x 24 3/4 x 23 1/ 2 in.) Manufactured by Ishimaru Co., Tokyo, Japan. From the edition of 56. Designed in 1988. Literature Ko Tanaka, ed., Star Piece: sketch of image by Shiro Kuramata, Tokyo, 1991, passim for drawings Matthias Dietz and Michael Mönninger, Japanese Design, Cologne, 1994, front cover, pp. 74-75 Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, pp. 26-27, 39-40, fg. 1, p. 48, p. 187, fg. 8, p. 192 , fg. 4 Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, p. 205 Ettore Sottsass, ‘An Exhibition Dedicated to Shiro Kuramata’, Domus, no. 788, December 1996, p. 56 Akari Matsuura, Japan Design to the new generation, Japan, 2001, p. 77 ‘Kuramata’s Tokyo’, Domus, no. 858, April 2003, pp. 121, 126 Phaidon Design Classics, Volume Three, London, 2006, no. 878 for an image and a drawing Jean-Louis Gaillemin, ed., Design Contre Design: Deux siècles de créations, exh. cat., Galerie Nationale du Grand Palais, Paris, 2007, p. 301 Glenn Adamson and Jane Pavitt, eds., Postmodernism: Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 153 Shiro Kuramata and Ettore Sottsass, exh. cat., 21_21 Design Sight, Tokyo, 2011, p. 68 for a drawing, p. 69, p. 208 for a detail, p. 211, fg. 27 Deyan Sudjic, Shiro Kuramata: Essays & Writings, London, 2013, pp. 77, 104-105 Deyan Sudjic, Shiro Kuramata: Catalogue of Works, London, 2013, p. 362, no. 541

《布蘭琪小姐》椅子 壓克力 仿製玫瑰 鋁管 此作品於1988年設計,並由日本東京Ishimaru 有限公司製作, 共有56版。 出版 田中一光編, 〈Star Piece: 倉俣史朗圖像素描 〉,東京,1991年 Matthias Dietz 、Michael Mönninger 著, 〈日本設計〉, 科隆,1994年,封面,第74-75頁 〈倉俣史朗 :1934-1991年〉 ,展覽圖錄,原美術館,東京,1996年, 第26-27、第39-40頁、圖形1、第48頁,圖形1、第187,圖形8 、 第192頁、圖形4 Alexander von Vegesack 等編, 〈維特拉設計博物館收藏:100件傑作〉展覽圖錄,維特設計博物館, 萊茵河畔魏爾,1996年,第205頁 Ettore Sottsass 著, 〈獻給倉俣史朗其展覽〉 ,Domus 雜誌, 第788期,1996年12月,第56頁 松浦弘明著, 〈新一代之日本設計〉 ,日本,2001年,第77頁 〈倉俣史朗的東京〉Domus 雜誌,第858期,2003年4月, 第121、126頁 〈Phaidon 經典設計:第三集〉,倫敦,2006年, 圖形878 (圖版及草稿圖) Jean-Louis Gaillemin 編, 〈設計對設計:兩個世紀之創作〉 展覽圖錄,巴黎大皇宮國家展覽館,巴黎,2007年,第301頁 Glenn Adamson、Jane Pavitt 編, 〈後現代主義:風格和顛覆〉,第1970-1990年,展覽圖錄, 維多利亞和阿爾伯特博物館,倫敦,2011年,第153頁 〈倉俣史朗、Ettore Sottsass〉,展覽圖錄,21_21 Design Sight, 東京,2011年,第68頁 (圖版)、第69頁、第208頁 (局部)、 第211頁,圖形27 迪耶·薩德奇著, 〈倉俣史朗:文章、著作〉, 倫敦,2013年,第77、104-105頁 迪耶·薩德奇著, 〈倉俣史朗:作品圖錄〉 倫敦,2013年,第362頁,圖形541

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

Shiro Kuramata’s sketch of the ‘Miss Blanche’ chair, reproduced in Star Piece: sketch of image by Shiro Kuramata

《布蘭琪小姐》 椅子之草稿,印於 〈Star Piece: 倉俁史朗圖像素描〉

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Shiro Kuramata was one of the greatest designers of the 20th century. A distinctive, brilliant and complex talent, he helped push modern Japan into becoming an exporter of creativity, not just an importer. Kuramata designed a series of remarkably beautiful interiors, almost all of them now destroyed. His furniture has survived and is now his principle legacy. It is the Miss Blanche chair that most powerfully embodies his poetic approach to design. It combines an unnerving kind of beauty, a strong narrative, and a commitment to the craf values of making. Named afer the central character in the famed play A Streetcar Named Desire, Blanche Dubois, the chair resonates with the idea of her tragic beauty, shelled in dreamlike delusion. It is impossible not to be touched by the serene seeming beauty of a graceful transparent object, in which roses foat in air, held in place by nothing tangible. The chair seems efortless. However, the crafsmanship behind the creation of the chair was so demanding that many of the crafsmen were reluctant ever to work with Kuramata aferwards.

A total of 56 Miss Blanche chairs have been produced over the years - a number that refects Kuramata’s age at the time of his death. Kuramata experimented with real roses and expensive artifcial fowers, but cheap acrylic fowers turned out to work best in retaining colour and shape. Three crucial relationships demonstrate the signifcant infuence that Kuramata has lef in the world of design. Japanese fashion designer Issey Miyake, who still collects his work, commissioned him to design some of his most beautiful shops. Kuramata was also a close friend of Italian architect and designer Ettore Sottsass, who later invited Kuramata to join the Memphis Group that Ettore founded in 1981. British architectural designer John Pawson was so inspired by the experience of working in Kuramata’s studio in Japan that he returned to England and eventually began his own practice in 1981.

Working through trial and error, Kuramata’s crafsmen found that pouring liquid acrylic resin to various heights of the mould, then dropping in the fowers, waiting eight hours for the acrylic to harden, and subsequently repeating this, created the best efect. The roses needed to be held in position with tweezers until the resin hardened enough to ensure that they did not sink. Care was taken to make sure there was a good spread of fowers throughout the

Deyan Sudjic Director of the Design Museum, London

倉俁史朗是二十 世紀最重要的設計師之一,擁有著 獨特、傑出、多元的天賦,他大力推動讓近代日本成為 不單單只是個進口舶來品的國家,更將創意出口到 全世界。他曾經設計了一系列風采絕倫的室內設計, 時至今日已所剩無幾。其設計傢俱則幸得留存,並成為 他著名的傳世經典。名為「布蘭琪小姐」的這張椅子, 正是他以極其詩意表現手法的代表之作,結合了一種 近乎如坐針氈的奇特美感、強烈的敘事,並且對追求 精湛工藝價值的堅持。

終其一生,倉俁總共製作了 56 張《布蘭琪小姐》椅, 恰巧和他的過世時的年歲一樣。他也曾經試過使用真的 玫瑰,或是昂貴的人造花,但唯獨平價的壓克力玫瑰 卻在顏色及形狀維持上的表現最佳。

靈感來自於頗負盛名的舞台劇《慾望號街車》中女主角 布蘭琪·杜布瓦,倉俁所設計的這把椅子,映照著 她被如夢幻般的妄想所籠罩之下悲劇式的美麗。優雅、 透澈,玫瑰懸浮在空中,如此寧靜般的美麗,很難不去 觸動到觀者的心弦。然而,這個看似絲毫不費吹灰之力 的設計,背後卻涉及了極度繁複的技術,以至於後來 許多工匠都不願意和倉俁合作。 倉俁手下的工匠經過不斷試煉,發現了最佳效果的 製作方法。他們先將液態壓克力樹脂度注入模具中不同 高度,接下來放入人造玫瑰,等待八小時讓壓克力 變硬,隨後再重覆整個過程。為了避免玫瑰下沈, 在壓克力硬化前,必須一直要用鉗子夾住,小心翼翼 固定著,確保平均分置在模具裡,而且整體必須呈現出 一個完好的圖樣。第一批做好內嵌的玫瑰壓克力板, 僅僅生產出八張可用的椅子,另有一張則宣告失敗。

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mould, and that they made a good pattern. The frst batch of rose-studded acrylic sheet yielded just eight useable chairs, with one failure.

The ‘Miss Blanche’ is included in the following important and international museum collections: Museum of Modern Art, New York; Museum of Modern Art, San Francisco; DMA, Dallas; M+ Museum, Hong Kong.

三段耐人尋味的軼事,或許正好訴說了倉俁為設計界 所留下的影響。日本時尚設計師三宅一生,向來是 倉俁作品的收藏家,也曾經邀聘他為自己品牌設計了 好幾個絕美的店面。此外,倉俁也是義大利建築師 及設計師艾托勒.索薩思的摯友,他後來邀請了倉俁 加入其創立於 1981 年的「孟菲斯派」。另外,英國建築 設計師約翰·保森則是受到在倉俁日本工作室裏工作 經驗的啟發,當他在 1981 年回到英國後,開展了自己 的設計生涯。 迪耶·薩德奇 倫敦設計博物館總監 《布蘭琪小姐》椅子已被下列重要及國際級美術館 收納在館藏之一:紐約現代藝術博物館、三藩市現代 藝術博物館、達拉斯藝術博物館及香港M+博物館。

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Property of an Important Asian Collector

34. Yoshitomo Nara

重要亞洲私人收藏

奈良美智

b. 1959

Study for Miss Spring signed, titled, and dated ‘“Study for Miss Spring” Nara [in Japanese] 2012’ on the reverse acrylic on canvas 60.3 x 55.1 cm (23 3/4 x 21 3/4 in.) Painted in 2012, this work is accompanied by a certifcate of authenticity issued by Rabbit Hills. Provenance Pace Gallery, Hong Kong Acquired from the above by the present owner

《春季小姐之草圖》 壓克力 畫布 此作品於2012年作,並附設由Rabbit Hills所發之保證書。 款識: 《Study for Miss Spring》奈良 (日文) 2012 (畫背) 來源 香港,佩斯畫廊 現藏者購自上述來源

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

Provoking an expansive discourse around themes of mischief and innocence in childhood, Yoshitomo Nara’s prolifc oeuvre harnesses a profound visual language that is both highly personal and universally relatable. In Study for Miss Spring, Nara places his viewer in an encounter with a fgure that embodies the very essence of childhood by confating two important archetypes – the rebellious youth and the lonely child – in order to privilege both innocence and mischief. One may sense remnants of the artist’s longstanding desire to reconnect with a lost childhood transformed into the depiction of this iconic girl fgure with a large head, upturned eyes and abbreviated body in an ethereal pastel-hued palette. By enshrining the eternal mystery embodied in the innocent yet wicked looking girl, Nara proposes the endless imaginative possibilities aforded to us by daring to conjure the prejudice-free state of childhood in the adult-present.

奈良美智的作品豐富多彩,令人想起一個個圍繞著 童年既淘氣亦純真的故事,其藝術語言十分親暱,卻又 極具普世性。通過作品《春季小姐之草圖》,奈良美智 帶領觀者來到小女孩面前,她叛逆而且孤獨,代表了 童年的兩個重要特點,也突出了純真和淘氣的難能 可貴。觀者或許依稀可以感覺到,藝術家長久以來希望 與逝去的童年重新連接的情懷轉化為其筆下標誌性 的小女孩,飄渺柔和的淡色彩中是她的偌大腦袋、 上翹雙眼和短小身體。她看似天真但眼神卻帶著點 邪惡,永遠是不可解開的謎題,加上奈良美智在成年人 角度中融入毫無成見的童年狀態,從而引發無盡的 思考和想像空間。

Yoshitomo Nara Miss Spring, 2012 Private Collection

奈良美智 《春季小姐》2012年作 私人收藏

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© Yoshitomo Nara

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35. François-Xavier Lalanne

1927-2008

‘Agneau’ bronze and epoxy stone 53 x 63 x 20 cm (20 7/8 x 24 3/4 x 7 7/8 in.) Edited by Blanchet-Landowski, Bagnolet, France. Executed in 1997, this work is number 42 from the edition of 500. Impressed Blanchet Fondeur 1997/42/500. Provenance Gallery Guy Pieters, Knokke, Belgium Acquired from the above by the present owner Literature Daniel Marchessau, The Lalannes, France, 1998, p. 37 Daniel Abadie, Lalanne(s), Paris, 2008, p. 188

弗朗索瓦-格扎維埃·拉蘭內 《小羔羊》 銅 環氧石 此作品由法國,巴尼奧萊,Blachet-Ladowski 鑄造廠於1997年製造,共有500版,此為第42版。 款識:1997/42/500 來源 比利時,克諾克,Guy Pieters 畫廊 現藏者購自上述來源 出版 Daniel Marchessau 著, 《拉蘭內》 ,法國,1998年,第37頁 Daniel Abadie 著, 《拉蘭內》,巴黎,2008年,第188頁

HK$ 650,000-950,000 US$ 83,300-122,000

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36. François-Xavier Lalanne

1927-2008

Mouton ‘Brebis’ bronze and epoxy stone 92 x 102 x 41 cm (35 3/8 x 40 7/8 x 14 7/8 in.) Edited by Blanchet-Landowski, Bagnolet, France. Executed in 1994, this work is number 22 from the edition of 250. Impressed Blanchet Fondeur 1994/22/250. Provenance Gallery Guy Pieters, Knokke, Belgium Acquired from the above by the present owner Literature Robert Rosenblum, Claude et François-Xavier Lalanne, exh. cat., Château de Chenonceau, Chenonceaux, 1991, pp. 122, 124, 127 Daniel Marchessau, The Lalannes, France, 1998, p. 37 Daniel Abadie, Lalanne(s), Paris, 2008, p. 188 Daniel Marchesseau, Les Lalannes, exh. cat., Les Arts Décoratifs, Paris, 2010, p. 143

弗朗索瓦-格扎維埃·拉蘭內 《母羊》 銅 環氧石 此作品由法國,巴尼奧萊,Blachet-Ladowski 鑄造廠於1994年製造,共有250版,此為第22版。 款識:Blanchet Fondeur 1994/22/250 來源 比利時,克諾克,Guy Pieters 畫廊 現藏者購自上述來源 出版 Robert Rosenblum 著, 《克勞德與弗朗索瓦-格扎維埃·拉蘭內》, 展覽圖錄,舍農索城堡,舍農索,1991年,第122-124、127頁 Daniel Marchessau 著, 《拉蘭內》,法國,1998年,第37頁 Daniel Abadie 著, 《拉蘭內》,巴黎,2008年,第188頁 Daniel Marchessau 著, 《拉蘭內》,展覽圖錄, Les Arts Décoratifs,巴黎,2010年,第143頁

HK$ 950,000-1,500,000 US$ 122,000-192,000

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37. François-Xavier Lalanne

1927-2008

Mouton ‘Transhumant’ bronze and epoxy stone 92 x 102 x 41 cm (36 1/4 x 40 1/8 x 16 1/8 in.) Edited by Blanchet-Landowski, Bagnolet, France. Executed in 1992, work is number 42 of 250. Impressed 42/250/FXL/LALANNE. Provenance Gallery Guy Pieters, Knokke, Belgium Acquired from the above by the present owner Literature Daniel Marchessau, The Lalannes, France, 1998, p. 115

弗朗索瓦-格扎維埃·拉蘭內 《遊牧羊》 銅 環氧石 此作品由法國,巴尼奧萊,Blachet-Ladowsk 鑄造廠於1992年製造,共有250版,此為第42版。 款識:42/250/FXL/LALANNE 來源 比利時,克諾克,Guy Pieters 畫廊 現藏者購自上述來源 出版 Daniel Marchessau 著, 《拉蘭內》 ,法國,1998年,第115頁

HK$ 950,000-1,500,000 US$ 122,000-192,000

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37

36 35

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François-Xavier Lalanne frequented l'Académie Julian before being called for mandatory military service. Upon his return he established both his studio in Montparnasse and a friendship with the Romanian artist Constantin Brâncuși, whose infuence led to Lalanne’s transition from painting to sculpture. Lalanne’s frst solo exhibition of paintings was held at Galerie Cimaise in Paris in 1953, and it was here where Lalanne was introduced to Claude Dupeux, his future wife and lifelong collaborator. In 1964, the Lalannes had their frst solo and revered exhibition. Lalanne was inspired by naturalistic animal forms, and his frst fock of sheep titled Pour Polyphème were submitted to the Salon de la Jeune Peinture in 1966, revisiting the concept of Magritte’s The Treachery of Images. In reference to his exhibit Lalanne commented: “If you come with a snail as big as a thumb, nobody notices; you have to go with something immodest and slightly embarrassing”. Pour Polyphème was destined to constitute a precedent for the rest of the artist prolifc career. From this moment onwards his work evoked the ‘shared spirit’ of the Surrealist philosophy (Daniel Abadie, Lalanne(s), Paris, 2008, p. 143) and became recognisable for its iconic absurdity. François-Xavier Lalanne wrote: “If there exists a planet where plants moved on feet, you might see grass run of at the approach of a cow. Unless on that particular planet, animals where rooted to the spot the way oysters are stuck to their rock. Suddenly the immobile would seize the mobile, turning plants into meat-eaters. Thus animal would be vegetable. Ultimately we just might be living on some other planet.”

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弗朗索瓦-格扎維埃·拉蘭內在應募入伍前時常 流連於朱利安學院。服役後,他在蒙帕納斯開立 工作室,並與羅馬尼亞藝術家康斯坦丁·布朗庫西 成為好友,後者影響前者從繪畫轉向雕塑。拉蘭內 的首次個展於1953年在巴黎Cimaise畫廊舉行。 正是於此,拉蘭內認識了他未來的妻子和終生伴侶 克洛德·杜波。1964年,拉蘭內夫妻舉辦了備受 推崇的首次個展。 拉蘭內從自然動物形態中獲得靈感,其首件羊群作品 《為了波里菲姆》於1966年參展於青年繪畫沙龍, 重新討論馬格利特作品《形象的背叛》所提出的 觀點。拉蘭內在提及他的展覽時說到: 「當你帶著 一個拇指大小的蝸牛來時,沒安人會注意到。 你必須出其不意甚至造成些許困窘。」 《為了波里 菲姆》旨在為藝術家多產的職業生涯開闢先例。 自此其作品喚起超現實主義哲學中的「共享精神」 (Daniel Abadie, 《拉蘭內》,巴黎,2008年, 第143頁) ,並憑藉其獨特的荒謬性機具辨識度。 拉蘭內曾寫到: 「如果世間存在一個植物可以自由 行走的星球,你或許會看到青草在奶牛靠近時逃跑。 除非在那個特定的星球上,動物像生蠔一樣困在 自己的殼上。突然間不能移動的生物將變成肉食者, 開始捕捉行動自如的生物。動物反而成了植物。 也許最終我們確是生活在異度星球。」

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Ai Weiwei Ju Ming Franรงois-Xavier Lalanne Li Chen

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Property of an Important Asian Collector

38. Ai Weiwei

b. 1957

Coloured Vases (in 9 parts) Neolithic Vases (5000-3000 BC) and industrial paint (i) 24.8 x 21 x 20 cm (9 3/4 x 8 1/4 x 7 7/8 in.) (ii) 24 x 20 x 19.5 cm (9 1/ 2 x 7 7/8 x 7 5/8 in.) (iii) 19.5 x 21 x 19 cm (7 5/8 x 8 1/4 x 7 1/ 2 in.) (iv) 19 x 12.8 x 20 cm (7 1/ 2 x 5 x 7 7/8 in.) (v) 22.5 x 20.5 x 20 cm (8 7/8 x 8 1/8 x 7 7/8 in.) (vi) 17 x 13 x 14 cm (6 3/4 x 5 1/8 x 5 1/ 2 in.) (vii) 18 x 12.5 x 14 cm (7 1/8 x 4 7/8 x 5 1/ 2 in.) (viii) 11.5 x 12.5 x 10.5 cm (4 1/ 2 x 4 7/8 x 4 1/8 in.) (ix) 12.8 x 13 x 11 cm (5 x 5 1/8 x 4 3/8 in.) Executed in 2008, this work is accompanied by a certifcate of authenticity signed by the artist. Provenance Acquired directly from the artist by the present owner

重要亞洲私人收藏

艾未未 《上色陶瓶》(共9件) 新石器時代罐(公元前5000-3000年) 工業漆 此作品於2008年作,並附設由藝術家所簽署之保證書。 來源 現藏者直接購自藝術家本人

HK$ 800,000-1,200,000 US$ 103,000-154,000

i

ii

iii

v

iv vii

vi ix viii

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39. Sadamasa Motonaga

1922-2011

Work signed and dated ‘S. Motonaga ‘74’ lower lef; further signed, titled, and dated ‘“Work” [in Japanese] 1974 Sadamasa Motonaga [in Japanese and English]’ on the reverse oil and acrylic on canvas 162.2 x 130 cm (63 7/8 x 51 1/8 in.) Painted in 1974. Provenance Private Collection SBI Art Auction, Japan, 23 January 2016, lot 200 Acquired at the above sale by the present owner

元永定正 《作品》 油畫 壓克力 畫布 1974年作 款識: S. Motonaga ’74 (左下);《作品》1974年作 原永定正 Sadamasa Motonaga (畫背) 來源 私人收藏 日本,SBI 拍賣行,2016年1月23日,拍品編號200 現藏者購自上述拍賣

HK$ 900,000-1,500,000 US$ 115,000-192,000

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40. Hsiao Chin

b. 1935

Untitled signed and dated ‘Hsiao Chin [in Pinyin and Chinese] 1962’ lower centre acrylic on canvas 100 x 130 cm (39 3/8 x 51 1/8 in.) Painted in 1962. Provenance Private Collection Finarte Auction, Milano, 18 March 1997, lot 128 Private Collection, Italy Acquired from the above by the present owner

蕭勤 《無題》 壓克力 畫布 款識: Hsiao 勤 1962 (下中) 1962年作 來源 私人收藏 米蘭,Finarte 拍賣行,1997年3月18日,拍品編號128 意大利私人收藏 現藏者購自上述來源

HK$ 220,000-320,000 US$ 28,200-41,000

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Property of an Important European Collector

41. Peter Doig

b. 1959

Bird House signed, titled and dated ‘Peter Doig “BIRD HOUSE” 96’ on the reverse. oil on panel 48 x 35 cm (18 7/8 x 13 3/4 in.) Painted in 1996. Provenance Sprüth Magers Lee, London McCabe Fine Art, Stockholm Private Collection Phillips, London, 14 October 2015, lot 3 Acquired at the above sale by the present owner Exhibited London, Ridinghouse Editions, Peter Doig- Small Paintings, 11 December 1996 - 25 January 1997

重要歐洲私人收藏

彼得·多伊格 《鳥屋》 油畫 木板 1996年作 款識:Peter Doig《BIRD HOUSE》96 (畫背) 來源 倫敦,Sprüth Magers Lee 畫廊 斯德哥爾摩,McCabe Fine Art 私人收藏 倫敦,富藝斯,2015年10月14日,拍品編號3 現藏者購自上述拍賣 展覽 倫敦,Ridinghouse Editions, 〈彼得·多伊格:小型畫作〉, 1996年12月11日-1997年1月25日

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

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Peter Doig’s paintings exude an otherworldly quality, and represent alluring syntheses of the artist’s nostalgia and adept mastery and melange of painting and photographic realism. Bird House, painted in 1996, is a beautiful ode to the artist’s memories of snowy Canada, a country in which he spent his formative years, characterised by an itinerant childhood and subsequent adult life, moving between Scotland, Canada, England, and Trinidad. Bird House hails from an extremely desirable period of Doig’s works, during which time he produced his most sought-afer snowscapes. These works from the 1990s foreshadowed Doig’s quick rise to critical acclaim, highlighted by his Whitechapel Artist Award in 1991, and his becoming a Trustee of the Tate Gallery in 1995. In the early 1990s the artist began creating pieces that depicted motifs of snow and skiing: works which were at once fgurative and fantastical, and intensely retrospective. “I ofen paint scenes with snow because snow somehow has this efect of drawing you inwards and is frequently used to suggest retrospection and nostalgia and make-believe.” (Peter Doig, quoted in Paul Bonaventura, “A Hunter in the Snow,” Artefactum 9, 1994, p.12) This nostalgic propensity for retrospection can perhaps be likened to his steadfast commitment to painting: then a refreshing contrast to the works of his peers in the 1990s, typifed by shock tactics and a stark presentational mien. Doig’s ardent study of modern masters such as Claude Monet, Edvard Munch, and Paul Gauguin is thus self-evident in Bird House. In the present work, the titular bird house is engulfed by a spectacular web of gnarling branches, a testament to Doig’s endless fascination with portraying areas on the periphery of civilisation, where an unbridled nature comes to the fore but equally where the presence of Man leaves a small but noticeable imprint. The spindly lines that sprawl outwards in the top half of the canvas create an impenetrable web of fractal lines, denying the viewer access to the fence in the background. The collapsed and compressed image is at once abstract, an efect achieved by Doig’s painterly method of working ‘backwards’ when creating his works—beginning with the foreground’s birdhouse, extended rope, and the tree bark, he then works into the painting, flling in the gaps between the branches, and adding in the fence. The muted hues of pinks, blues, and yellow are immediately reminiscent of Monet’s snowscapes, an infuence which the artist himself has noted as important. Set against the tactile, grainy wooden panel, Bird House is meticulously rendered, and imbued with a hallucinatory or dreamlike quality. Doig’s careful selection of hues and varying levels of saturation of pigments, as well as light, fuid brushstrokes injects the piece with a palpable surrealism, a quality that is undeniably Doig, and which has earned him his title as the painter’s painter.

彼得·多伊格的畫作非比尋常,他將個人的念舊情懷 及對繪畫和攝影現實主義的精湛掌握和融會貫通出色地 混為一體。1996年完成的《鳥屋》,是對雪中加拿大 的記憶所作的頌讚。多伊格在童年和隨後的成年生活中 一直遊走於蘇格蘭、加拿大、英格蘭和千里達之間, 而他的成長階段就是在加拿大度過。 《鳥屋》出自多伊格作品的輝煌時期,那段期間他創造了 最受歡迎的雪景畫作。這些1990年代的作品預示了多 伊格在備受好評中迅速崛起,至1991年他獲得白教堂 藝術家大獎,再於1995年成為泰特美術館的受託人。 1990年代初,多伊格開始在作品中描繪雪和滑雪的 景象,使畫作同時具有比喻、幻想以及強烈追溯 的味道。「我經常繪畫雪景,因為雪可以將你引進 內心深處,並經常令人聯想起回顧、懷舊和假象。」 (多伊格,引自保羅·博納文圖拉著, 〈雪中獵人〉, 《藝術 作品》第9期,1994年,第12頁)這種回顧的懷舊傾向 也許可與他對繪畫的堅定投入相媲美,並與九十年代 同行當中慣以震撼及明確表現手法為特色的作品形成 鮮明對比。多伊格對現代大師如克勞德·莫奈、 愛德華·蒙克和保羅·高更熱切研究的心得在《鳥屋》 中可見一斑。 在這幅畫中,作為主旨的鳥屋被錯綜複雜的樹枝包圍, 反映出多伊格對描畫文明邊緣部分的無窮迷戀。在這裡 放任的大自然成為主導,但正正在這裡人類的存在 亦留下了一個細小但明顯的印記。向外擴展的幼線 在畫布上半部形成一幅不可逾越的網,將觀眾與背景中 的圍欄隔開。折疊和壓縮的圖像立時變得抽象,這是 通過多伊格創作時利用「逆向」繪畫方法所實現的一種效 果 — 從前景的鳥屋、延伸的繩索和樹皮開始,然後 深入畫中,填滿樹枝間的間隙,並加入圍欄。 低調的粉紅、藍色和黃色讓人立即聯想起莫奈的雪景, 這是多伊格本人所認同的重要影響。繪畫在粗糙木板上 的《鳥屋》,以匠心獨運的畫工,給人如夢如幻的感覺。 多伊格精心挑選的色調和顏料的混搭,加上輕柔流暢 的筆觸,讓超現實主義色彩活現畫中。這種多伊格的 獨特風格,為他贏得「畫家中的畫家」的稱號。

Claude Monet Snow at Argenteuil, 1875 Collection of the National Gallery, London

克勞德•莫奈 《阿讓特伊雪景》1875年作 倫敦,國家美術館收藏

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Property of an Important Asian Collector

42. Zao Wou-Ki

1920-2013

09.08.50 signed ‘Wou-Ki ZAO [in Chinese and Pinyin]’ lower right; further signed ‘ZAO WOU-KI’ on the stretcher and titled ‘9.8.50’ on the reverse oil on canvas 33 x 41.3 cm (12 7/8 x 16 1/4 in.) Painted in 1950, this work is referenced in the archive of the Fondation Zao Wou-Ki and will be included in the artist's forthcoming catalogue raisonné prepared by Françoise Marquet and Yann Hendgen (Information provided by Fondation Zao Wou-Ki). Provenance Private Collection, USA Christie’s, Hong Kong, 28 November 2010, lot 1073 Acquired at the above sale by the present owner

重要亞洲私人收藏

趙無極 《09.08.50》 油畫 畫布 此作品1950年作,並附設趙無極基金會所發之保證書。 此作品已登記在趙無極基金會之文獻庫, 並將收錄於梵思娃·馬凱及揚·亨德根正籌備編纂的 《趙無極作品編年集》(資料由趙無極基金會提供) 。 款識: 無極 ZAO (右下); ZAO WOU-KI《9.8.50》(畫背) 來源 美國私人收藏 香港,佳士得,2010年11月28日,拍品編號1073 現藏者購自上述拍賣

HK$ 1,800,000-2,800,000 US$ 231,000-359,000

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43. Chu Teh-Chun

1920-2014

Alentours Verdoyants II signed and dated ‘CHU TEH-CHUN [in Chinese and Pinyin] . 88.’ lower right oil on canvas 92.3 x 65.2 cm (36 3/8 x 25 5/8 in.) Painted in 1988. Provenance Private Collection Christie’s, Hong Kong, 26 November 2006, lot 246 Private Collection, Paris Ravenel, Taiwan, 7 December 2014, lot 169 Acquired at the above sale by the present owner Exhibited Tokyo, The Ueno Royal Museum, Solo Exhibition of Chu Teh-Chun, 23 June 23 - 10 July 2007, p. 208 (illustrated) Hong Kong, de Sarthe Gallery, Chu Teh-Chun: Nature in Abstraction, 5 October - 3 November 2012, p. 33 (illustrated)

朱德群 《碧綠光景 II 》 油畫 畫布 1988年作 款識:朱德群 CHU TEH-CHUN . 88. (右下) 來源 私人收藏 香港,佳士得,2006年11月26日,拍品編號246 巴黎私人收藏 台灣,羅芙奧,2014年12月7日,拍品編號169 現藏者購自上述拍賣 展覽 東京,上野之森美術館, 〈朱德群個展〉 , 2007年6月23日-7月10日,第208頁 (圖版) 香港,德薩畫廊, 〈朱德群:自然抽象〉 , 2012年10月5日-11月3日,第33頁 (圖版)

HK$ 1,200,000-2,200,000 US$ 154,000-282,000

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44. Ju Ming

b. 1938

Taichi each incised with the artist’s name, number and date ‘Ju Ming [in Chinese] 17/20 94’ on the lower back bronze sculpture (i) 30 x 25.5 x 17 cm (11 3/4 x 10 x 6 3/4 in.) (ii) 27 x 32.5 x 16.5 cm (10 5/8 x 12 3/4 x 6 1/ 2 in.) Executed in 1994, this work is number 17 from an edition of 20 and is accompanied by a certifcate of authenticity signed by the artist. Provenance Kwai Fung Hin Art Gallery, Hong Kong Acquired from the above by the present owner

朱銘 《太極系列》 銅雕 雕塑 此作品於1994年作,共有20版,此為第17版, 並附設由藝術家所簽署之保證書。 款識:朱銘 17/20 94 (印於下背部) 來源 香港,季豐軒 現藏者購自上述來源

HK$ 500,000-700,000 US$ 64,100-89,700

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45. Miguel Covarrubias

1904-1957

Balinese Woman signed ‘COVARRUBIAS’ (lower lef) gouache and watercolour on paper laid on board 55.9 x 38.1 cm (22 x 15 in.) Painted circa 1934, this work is accompanied by a certifcate of authenticity signed by Adriana Williams and dated April 8, 2017. Provenance Ms. Keith Coppage and Dr. Eyler N. Simpson, Mexico City (acquired directly from the artist circa 1934) Mr. and Mrs. Frederic Fries, Mexico City (acquired from the above circa 1939) Private Collection, Austin (by descent from the above)

米高·柯瓦盧畢亞斯 《巴厘島女子》 粉彩 水彩 紙本 裱於紙板 此作品約1934年作,並附設Adriana Williams於 2017年4月8日所發之保證書。 款識: COVARRUBIAS (左下) 來源 Keith Coppage女士及Eyler N. Simpson醫生收藏,墨西哥城 (約1934年直接得自藝術家本人) Frederic Fries夫婦收藏,墨西哥城 (約1934年得自上述來源) 奧斯汀私人收藏 (現由上述藏家家屬繼承作品)

HK$ 620,000-720,000 US$ 79,500-92,300

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Returning to Bali in 1933 afer becoming enamoured with the island during an earlier brief visit, Mexican artist Miguel Covarrubias immersed himself in a detailed study and appreciation of Balinese life and culture. Culminating with the publication of his seminal anthropological work Island of Bali in 1937, Covarrubias distinguishes himself as an artist deeply invested in a desire to preserve and express the sophistication and pride of the Balinese way of life. This was particularly so in his depiction of the Balinese female form, a subject that inspired many Indo-European painters such as Adrien-Jean Le Mayeur de Merprès, Rudolf Bonnet, and Willem Gerard Hofer. Conveying a sense of timeless, sculpted beauty, Covarrubias’ Balinese woman is at once stylised as well as exact. Having begun his career as a caricaturist, Covarrubias retained throughout his lifetime a preference for paper as a medium to aford his works a freshness and immediacy. Compounded by the difculty of obtaining oils and canvases in Bali, paper became the ideal medium for Covarrubias to depict his subjects. The richly coloured and sharply detailed Balinese Woman expresses the key features of Covarrubias’ art that have become synonymous with the art from the region. Her serene expression and fuidly rendered posture suggest an efortless elegance that is presented as the central focus of the painting. A highlight of the painting is in the brightly coloured sarong that sensuously drapes the girl’s waist. Known for his use of colour to evoke mood and atmosphere, Covarrubias employs a combination of tropical tones to complement her deep olive skin – bringing her into harmony with the subtle blend of blues and greens in the background. The unity of people and land in the mythology and legacy of Bali is perhaps best expressed by Covarrubias himself:

在之前的短暫逗留中迷上了這個島嶼後,墨西哥 藝術家米高.柯瓦盧畢亞斯在1933年重臨巴厘, 從此沉醉於細心研究和品味巴厘島的生活及化。 1937年他出版開創性人類學著作《巴厘島》,柯瓦盧 畢亞斯已然成為一位銳意保存及表現巴厘島豐富 多姿、讓人驕傲的生活方式的藝術家。這一點顯見於 他對巴厘女性形象的描摹,同樣的主題也啟發了許多 遊印歐籍畫家,如阿德里安-尚·勒邁耶·德·莫赫普 赫斯、鲁道夫·邦尼和威廉·杰拉德·霍克爾。柯瓦 盧畢亞斯筆下的巴厘島女子簡潔而明確,表現出 一種永恆如雕塑般的美。 柯瓦盧畢亞斯以漫畫家作為職業開始,終其一生 偏愛利用紙張作為給予作品新鮮感和直接性的媒介。 加上在巴厘不容易找到油彩和畫布,紙張便成為 柯瓦盧畢亞斯作畫的理想媒介。 《巴厘島女子》的 豐富色彩和清晰細節表達了柯瓦盧畢亞斯的主要藝術 特徵,並等同區內藝術作品的特色。女子安詳的表情 和流動的體態散發著不經意的優雅,是畫作的焦點 所在。這幅畫作的重點是輕柔地纏於女孩腰間的 鮮色紗籠。以色彩煥發情緒和營造氣氛見稱的 柯瓦盧畢亞斯起用不同的熱帶色調襯托她深橄欖色 的皮膚,使她與背景中的藍色和綠色微妙地融合在 一起。最能表達巴厘神話和傳統中人與地融為一體的 或許是柯瓦盧畢亞斯本人: 「巴厘人細長的身軀猶 如棕櫚和麵包果樹般成為景觀的一部分,他們滑溜 的皮膚有著土地和賴以沐浴的棕色河流般的色調。 四周大致以綠、灰、黃為主要色調,點綴著顏色 鮮豔的窗扇和熱帶花朵。」 (米高·柯瓦盧畢亞斯, 《巴厘島》,牛津大學出版社,1972年,第11頁) 柯瓦盧畢亞斯透過畫作抒發情感,同時表達他對 如清泉般的巴厘文化的看法。

“The slender Balinese bodies are as much a part of the landscape as the palms and the breadfruit trees, and their smooth skins have the same tone as the earth and as the brown rivers where they bathe; a general colour scheme of greens, greys and ochres, relieved here and there by bright-coloured sashes and tropical fowers.” (Miguel Covarrubias, Island of Bali, Oxford, 1972, p.11). Through his paintings, Covarrubias realised his lyrical prose, and his vision of the unspoiled essence of Balinese culture.

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46. Léonard-Tsuguharu Foujita

1886-1968

Portrait de Femme signed, inscribed and dated ‘Foujita [in Japanese and English] Juin 1932 Buenos - Aires’ lower lef pencil, gouache, pastel and wash on paper laid down on card 91 x 62.6 cm (35 7/8 x 24 5/8 in.) Executed in June 1932 in Buenos Aires. Provenance Carola Carcano de’ Martinez de Oz (Buenos Aires) in 1932 (commissioned directly from the artist) Private Collection (Thence by descent from the above) Private Collection Christie’s, London, 8 February 2001, lot 427 Acquired at the above sale by the present owner Literature Sylvie Buisson, Léonard-Tsuguharu Foujita: Volume 2, Paris, 2001, no. 32.160, p. 332 (illustrated)

藤田嗣治 《女子肖像》 鉛筆 粉彩 蠟筆 水彩 紙本 裱於卡紙 此作品1932年6月於布宜諾斯艾利斯作 款識: 嗣治 Foujita Juin 1932 Buenos - Aires (左下) 來源 此作品由藝術家本人1932年於布宜諾斯艾利斯直接為 Carola Carcano de’Martinez de Oz創作 上述藏家家屬繼承作品 私人收藏 佳士得,倫敦,2001年2月8日,拍品編號427 現藏者購自上述拍賣 出版 Sylvie Buisson著, 〈藤田嗣治:第2集〉,巴黎,2001年, 作品全集編號32.160,第332頁 (圖版)

In the early 1930s, Foujita travelled to South America with Madeleine Lequeux (his model and partner, also known as Mady), and arrived in Argentina in 1932, where they spent a brief fve months. It was in Buenos Aires that Foujita received one of his greatest welcome ever by adoring art fans. He greeted an overwhelming sixty thousand visitors to his exhibition at the time, and sold all his works. In his travel accounts, Foujita also noted of Buenos Aires’ similarity to Paris in its high culture and arts. The present work, Portrait de Femme, was painted in Buenos Aires during this successful and brief trip, and depicts Maria Carolina Carcano Zumaran, the wife of Martinez de Hoz Acevedo, the Minister of Economy in Buenos Aires at the time. Rendered in Foujita’s signature ‘blancheur de lait’, a pearlescent translucent white, the seated fgure’s dress and pearls take on an oneiric quality, injecting it with a sense of mystery and history. 於1930年代早期,藤田嗣治和他的模特兒及伴侶 馬德萊·勒克遊歷南美洲,並於1932年抵達阿根廷 並生活了短暫的五個月。那時候在布宜諾斯艾利斯 的藤田嗣治仰慕者,為他帶來有生以來其中一個 最盛大的歡迎。他在當地所舉辦的展覽更吸引到 六萬名訪客到來,他的作品亦全部售罄。在他的 旅遊筆記上,藤田嗣治認為布宜諾斯艾利斯不論 在高雅文化或藝術都可與巴黎媲美。而此作品 《女子肖像》就是在這個成功且短促的布宜諾斯 艾利斯之旅中所畫,畫中女子就是當時布宜諾斯 艾利斯經濟大臣馬天尼斯·迪奧斯·阿斯維多的妻子 瑪莉亞·卡露蓮娜·加卡奴·蘇馬蘭。藤田嗣治 的作品中最為人熟悉就是一種半透明珍珠般白的 「乳白色」,它不但令畫中女子的裙及珍珠呈現夢幻 的感覺,還注入了神秘感及歷史感。

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

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Property of an Important American Collector

O♦

47. Fernando Botero

b. 1932

Fin de Fiesta signed and dated ‘BOTERO 09’ lower right oil on canvas 167 x 208.2 cm (65 3/4 x 81 7/8 in.) Painted in 2009, this work is accompanied by a certifcate of authenticity signed by the artist. Provenance Tasende Gallery, Los Angeles Felipe Grimberg Fine Art, Miami Acquired from the above by the present owner Exhibited Los Angeles, Tasende Gallery, Botero in LA, Drawings, Paintings, Sculpture, September 14 - October 30, 2010, p. 17 (illustrated)

重要美國私人收藏

費爾南多·博特羅 《終曲》 油畫 畫布 此作品於2009年作,並附設由藝術家所簽署之保證書。 款識: BOTERO 09 (右下) 來源 洛杉磯,Tasende畫廊 邁阿密,Felipe Grimberg 畫廊 現藏者購自上述來源 展覽 洛杉磯,Tasende畫廊, 〈博特羅於洛杉磯: 繪畫、油畫、雕塑〉, 2010年9月14日10月30日,第17頁 (圖版)

HK$ 4,600,000-6,200,000 US$ 590,000-795,000

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“There was a red-light district in Medellín at the time,” Fernando Botero reminisces of his precocious adolescence in Colombia. “It was an easy-going place; class lines blurred in a sort of never-ending carnival, a permanent street party.” If he sometimes “felt like [he] was the local Toulouse-Lautrec,” a sensitive observer of brothels and their late-night habitués, he began to see beauty in all the vagaries of the human body and humor, as well, in its feshy famboyance and grandiosity (Fernando Botero, quoted in Ana María Escallón, “From the Inside Out: An Interview with Fernando Botero,” Botero: New Works on Canvas, New York, 1997, p. 13). Famed for the lushly proportioned, pillowy bodies of his noweponymous nudes, Botero has for decades applied his facetious wit to subjects ranging from Colombia’s military junta, Catholic churchmen, and mannered bourgeoisie to scenes and drollery from everyday life. Since frst departing for Europe in 1952, he has drawn from myriad art-historical sources— Titian and Velázquez; Giotto and Masaccio; Rubens and Ingres—and embraced the classical sensuality of volume, space, and color in his inimitable fgures. “For me,” Botero explains, “the pleasure comes from the exaltation of life, which expresses the sensuality of forms. For this reason, my formal problem is to create sensuality through forms.”(Fernando Botero, quoted in Mario Vargas Llosa, “A Sumptuous Abundance,” in Fernando Botero exh. cat., Institut. Stockholm, 2001, p. 19) In the mid-2000s, Botero ventured into starkly political terrain with a series of paintings, but in the past decade he has returned to a more innocuous

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iconography of circus performers, family groups, and female nudes. The candy-colored Fin de festa reprises the brothel scenes that have long been a fxture in his work, among them House of Mariduque (1970) and House of Amanda Ramírez (1988), and which may have a more distant source in 17th century Dutch paintings of the same subject.Two guitar players preside over a strangely dispassionate bacchanalia, its pairs of lovers pneumatic and lifeless; a bare-breasted woman props her foot on the edge of the bed, a cigarette between her fngers. The scattered cigarette butts and single, exposed lightbulb are familiar embellishments in Botero’s paintings; here, they accent the enveloping, roseate palette of the room, which spreads from the bubble-gum pink walls to the ruddy fesh of its occupants. The tonal harmony is minimally interrupted by slight, faintly ironic contrasts of green: the drawn curtain, the guitarist’s necktie, the man’s briefs, the discarded socks, the cloverleaf-patterned pillowcase. Indeed, the painting’s sensuality derives less from its naked eroticism than from the intensity and equilibrium of its color, which reconciles the makeshif messiness and outlandishness of the scene. “Colors experience friendship, and they produce an atmosphere. And, when there is atmosphere, there is poetry,” Botero once remarked (Fernando Botero, quoted in Marie Pierre Colle, “Fernando Botero,” in Latin American Artists in their Studios, New York, 1994, p. 42). “I am looking for poetry in improbability.” (Fernando Botero, quoted in Ana María Escallón, “From the Inside Out: An Interview with Fernando Botero,” Botero: New Works on Canvas, New York, 1997, p.28.)

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更為引人入勝。窗簾、結他手的領帶、男人的短褲、 「那時,麥德林有個紅燈區。」費爾南多·博特羅 脫下的襪子及三葉草圖案的枕頭,對比的淡綠色 這樣回憶起他在哥倫比亞時早熟的青少年時期。 微微地干擾著色調的和諧。的確,相比裸露的色慾, 「那個隨和的地方,永不停息的嘉年華及永遠的街頭 作品的感性更多來自色彩的強烈和色調的和諧, 派對,模糊了社會等級。」就像他有時「感覺自己 將臨時的雜亂與古怪的場景調和。 「顏色經歷著友 是圖盧茲-勞特蕾克的本地人」,他敏感地觀察著妓院 情,構成氣氛。那麼,氣氛一來,詩歌就到。」 和深夜的常客,開始欣賞人體的變化及其中的 (費爾南多·博特羅, 〈費爾南多·博特羅〉,錄於 幽默,這一切飽含了浮華肉慾(費爾南多·博特羅, 瑪麗·皮耶·科萊著, 《畫室中的拉丁美裔藝術家》, 〈由內至外:費爾南多·博特羅專訪〉,錄於安娜· 紐約,1994年,第42頁)博特羅重申到。 「我在不大 瑪利·艾斯卡龍著, 《博特羅:畫布新作》,紐約, 可能的事中尋找詩歌。」 (費爾南多·博特羅, 〈由內 1997年,第13頁)。憑著豐滿的比例和柔軟的身體, 至外:費爾南多·博特羅專訪 〉,錄於安娜·瑪利· 博特羅作的裸體畫與他一起舉世聞名。幾十年來, 艾斯卡龍著, 《博特羅:畫布新作》,紐約,1997年, 博特羅在包括哥倫比亞軍政府、天主教傳教士、舉止 第28頁) 文明的中產階級和日常生活故事的題材當中添加了 他的玩笑和詼諧。自1952年第一次離開故鄉踏足 歐洲大陸,他就開始參閱無數,包括提香和委拉茲 開斯;喬托和馬薩喬;魯本斯和因格等的藝術 史料 。他畫的人物不可複製,交融了古典藝術在 體積、空間和顏色的感性。 「對於我本人來說」博特羅 解釋道「作畫的愉悅源於對生命本身的興奮,表達出 的是對形狀的感性。正因這樣,我要解決的問題 就是如何用形狀創作感性。」 (費爾南多·博特羅, 〈奢華的豐富〉,錄於馬里奧·瓦加斯·羅薩著, 《費爾 南多·博特羅》斯德哥爾摩,2001年,第19頁) 2000年代中期,博特羅開始赤裸裸地與政治抗衡, 但在這之前的十年,他的畫是平淡無味地畫著的馬戲 團表演員,家庭成員和裸女。色彩如糖果一般的 《終曲》重演妓院一幕,與《馬里杜克之家》 (1970年 作)和《阿曼達拉米勒斯之家》 (1988年作)一樣, 此類場景長期以來成為的博特羅畫作的固定主題, 這或許是源於涉及相同主題十七世紀荷蘭油畫作品。 兩位結他手在一場毫無情感的奇怪酒宴中彈奏著 結他,畫面上成對如充氣般的情侶,面部毫無表情; 一個女人袒露著胸部將一隻腳抬在床邊,手裡 還夾著煙;一地的煙頭及報廢的燈泡,都在博特羅 的畫中十分常見。此幕場景比包圍在四周,粉紅 泡泡糖色的墻和住客紅潤的肌膚,這玫瑰色調的房間

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Titian The Bacchanal of the Andrians, 1523-1526 Collection of the Museo del Prado, Madrid

提香 《酒神祭》1523-1526年作 馬德里,普拉多博物館收藏

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48. Yu Youhan

b. 1943

The People are the Heroes of their Time signed ‘Yu Youhan [in Chinese]’ lower right oil on canvas 115 x 160 cm (45 1/4 x 62 7/8 in.) Painted in 1997. Provenance ShanghART Gallery, Shanghai Acquired from the above by the present owner Literature Yu Youhan, The Paintings by Yu Youhan 1989-1998, China, 1998, n.p. (illustrated) Paul Gladston, Yu Youhan, Hong Kong, 2015, p. 169 (illustrated)

余友涵 《數風流人物還看今朝》 油畫 畫布 1997年作 款識:余友涵 (右下) 來源 上海,香格納畫廊 現藏者購自上述來源

出版 余友涵, 〈余友涵的畫 1989-1998年〉,中國,1998年,無頁數 (圖版) Paul Gladston著, 〈余友涵〉 ,香港,2015年,第169頁 (圖版)

HK$ 800,000-1,200,000 US$ 103,000-154,000

Yu Youhan People’s Heroes of Today I, 1997 110.5 x 90 cm. (43½ x 35⅜ in.) Sold at Sotheby’s Hong Kong, “The Ullens Collection: The Nascence of Avant-Garde China”, 3 April 2011 Estimate: HK$200,000 – 300,000 Sold For: HK$1,340,000

余友涵 《今天的人民英雄之一》 110.5 x 90公分 (43½ x 35 ⅜ 英寸) 賣於香港,蘇富比, 《尤倫斯重要當代中國藝術收藏》 ,2011年4月3日 估價:港幣200,000 – 300,000 成交價:港幣1,340,000

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49. Max Ingrand

1908-1969

‘Dahlia’ sixteen-armed chandelier, model no. 1563 Coloured glass, clear glass, brass, tubular brass. 50.9 cm (20 in.) drop, 126.5 cm (49 3/4 in.) diameter Manufactured by Fontana Arte, Milan, Italy, in circa 1954. Literature Domus, no. 298, September 1954, n.p. for an advertisement Fontana Arte Illuminazione, sales catalogue, Italy, 1960s, p. 25 ‘Lastre di vetro e cristallo’, Vitrum, no. 100, p. 38; no. 147, January-February 1965, p. 32 Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano Degli Anni ’50, Milan, 1985, p. 231, fg. 804 Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 109 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fgs. 23, 308

馬克斯·英格蘭 《天竺牡丹 》十六臂吊燈型號 1563 彩色玻璃 玻璃 銅 此作品約1954年由意大利米蘭 Fontana Art 製造。 出版 《Domus》雜技,第298期,1954年9月,無頁數 (廣告) 《Fontana Arte Illuminazione》 ,銷售目錄, 意大利,1960年代,第25頁 〈Lastre di vetro e cristallo〉 ,Vitrum 雜技, 第100期,第38頁;第147期,1965年1-2月,第32頁 Andrea Branzi 及 Michele De Lucchi 編, 《Il Design Italiano Degli Anni ’50》 , 米蘭,1985年,第231,圖版 804 Laura Falconi 著, 《Fontana Arte: Una Storia Trasparente》 , 米蘭,1998年,第109頁 Franco Deboni 著, 《Fontana Arte: 吉奧·蓬蒂、, Pietro Chiesa、馬克斯·英格蘭》 ,都靈,2012年,圖版23、308

HK$ 120,000-150,000 US$ 15,400-19,200

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50. Tracey Emin

b. 1963

Wanting You super turquoise and pink neon 96 x 113.5 cm (37 3/4 x 44 5/8 in.) Executed in 2014, this work is number 3 from an edition of 3. Provenance Galleria Lorcan O'Neill Roma, Rome Acquired from the above by the present owner

翠西·艾敏 《想要您》 松色 粉紅色 霓虹燈 2014年作 此作品於2014年作,共有3版,此為第3版。 來源 羅馬,Lorcan O'Neill 畫廊 現藏者購自上述來源

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

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51. Li Chen

b. 1963

All in One incised 'Li Chen [in Pinyin] 1998' and numbered ‘8/8’ lower back bronze sculpture 70.5 x 31.5 x 30 cm (27 3/4 x 12 3/8 x 11 3/4 in.) Executed in 1998, this work is number 8 from an edition of 8. Provenance Asia Art Center, Taipei Acquired from the above by the present owner

李真 《合十》 銅雕 雕塑 此作品於1998年作,共有8版,此為第8版。 款識:Li Chen '8/8' 1998 (下背) 來源 台北,亞洲藝術中心 現藏者購自上述來源

HK$ 300,000-500,000 US$ 38,500-64,100

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Property of an Important American Collector

52. Zeng Fanzhi

b. 1964

Portrait signed and dated ‘Zeng Fanzhi 2006 [in Chinese and Pinyin] lower right oil on canvas 149.4 x 129.2 cm (58 7/8 x 50 7/8 in.) Painted in 2006. Provenance Private Collection (acquired directly from the artist) Bonhams, Hong Kong, 23 November 2013, lot 843 Acquired at the above sale by the present owner

重要美國私人收藏

曾梵志 《肖像》 油畫 畫布 2006年作 款識:曾梵志 2006 Zeng Fanzhi (右下) 來源 私人收藏 (直接購自藝術家本人) 香港,邦瀚斯,2013年11月23日,拍品編號843 現藏者購自上述拍賣

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

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As one of the most globally recognised Chinese contemporary artists, Zeng Fanzhi has created a body of work so rich and diverse that it spans several distinctly diferent periods, among which the portrait has always played a key role in his artistic expression. Zeng once said, “I’m interested in portraying people, individual people and their attitudes and moods, experimenting and giving expression to a kind of direct reaction, all for the sake of conveying this person’s expressions, emotions, and thoughts, as well as my personal feelings towards this person.” (Zeng Fanzhi, quoted in i/We: The Paintings of Zeng Fanzhi, 1991-2003, Shanghai Art Museum, Shanghai, 2003, p. 56) His Hospital and Meat series in the early 1990s displays his humanistic concern towards the sufering of ordinary people. The Mask series, which began in 1993, the year when he moved to the more cosmopolitan Beijing, captures his piercing observation of the contradiction between the external pomposity and the inner emptiness of urban dwellers. Afer 2000, the artist went on to unmask the protagonists in his canvases. Completed in 2006, Portrait is a quintessential example of his style in this period. With his carefully calibrated expressionistic technique, Zeng portrayed a man holding his head with his over-sized hand, slumped in a chair, with hollow eyes looking away. While the lower body of the fgure is presented partially with ethereal outlines and thin wash marks below his knees, the upper body is depicted with vivid red colour in dense layers and large proportioned hands. The stark contrast centres the viewer’s attention on the fgure’s upper body, building further on which, the painterly brushstrokes render the creases from the fgure’s frown broadly visible, thus building a character lost in deep contemplation and drawing the viewer to ponder what he might be dwelling on.

身為全球知名度最高的中國當代藝術家之一,曾梵志 創作了一系列豐富而多元的作品,每個時期皆有 獨特的風格。然而在那其中,肖像一直在他的藝術 表達上扮演著重要角色。曾梵志曾經說過: 「我對於 表現人,一個個體的人的態度和心緒有興趣,並且 嘗試用一種直接的反應來予以表現,目的在於傳達 這個人的表情、情感、思想以及我自己對於這個人 的感受。」(曾梵志, 《我·我們:曾梵志的繪畫 19912003》,上海美術館,2003年,第56頁)在1990年代 初, 《協和醫院》與《肉》一系列畫作展現了他對普羅 大眾所遭受苦痛的人道關懷。1993年,曾梵志 剛剛搬到北京這個大城市,此時他開始創作《面具》 系列,捕捉了他對人們在都市環境下,外在所 表現出的自大以及內在空虛之間強烈對比的敏銳察。 2000年後,他不再創作《面具》系列,決定將面具 卸下。 創作於2006年, 《肖像》是體現曾梵志這個時期風格 的代表之作。藝術家以精準刻劃的表現派手法來呈現 主角,畫中男子以誇大的手掌托著他的頭部,慵懶地 坐在椅子上,空洞的眼神看著遠方。下半身跟膝蓋處 僅以虛空薄稀的筆觸,聊聊數筆勾勒出概略輪廓, 相較之下,上半身鮮紅厚重的油彩堆叠以及刻意 放大的手部描繪,則更顯突出,緊緊抓住觀者的視覺 焦點。仔細觀察則不難看見,藝術家更悉心地去描 繪了畫中人因眉頭深鎖而生的皺紋,推砌出主角 陷入沈思的神態,也吸引著觀者去探究畫中人的 思緒所在。 這幅畫的構圖讓人聯想起曾梵志早期作品《憂鬱的 人》,那幅重要的作品是他在大學三年級時 所繪,標誌著他藝術生涯的起點。藝術家在2010年 特地將那幅畫在拍賣中買回,彰顯了此幅早期作品的 重要性。其後並多次在重要展覽中展出,包括了 去年在尤倫斯中心的回顧展。跟那幅早期作品相比, 此幅《肖像》除了承襲一貫風格之外,更看到曾梵志 在背景簡化以及油畫肌理表現上的精進,見證了他 在藝術生涯上持續用肖像畫來訴說一種既個人又能 打動多數人的情感與自省。

The composition of this work bears similarity to that of Zeng’s early work A Man in Melancholy, a crucial work painted in the artist’s junior year at college, marking the beginning of Zeng’s artistic career. The importance of this early work is testified by the fact the artist bought it back from auction in 2010 and that it was exhibited in several important exhibitions, including his most recent retrospective in UCCA last year. Compared to the early work, this present lot Portrait, while staying true to his inherent characters, has evolved in terms of the reduced backdrop and the approach of representing texture, testifying to the artist’s continuous exploration of portraiture as a method for conveying personal yet universally appealing emotions and self-refection on his artistic journey.

Zeng Fanzhi A Man in Melancholy, 1990 Artist’s Private Collection

曾梵志 《憂鬱的人》 1990年作 藝術家私人收藏

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‘I’ve always been playing with the symbols of the ’80s. The series is about the confusion of living in the juxtaposition between now and the past.’ Zhang Xiaogang

Property of an Important Asian Collector

53. Zhang Xiaogang

b. 1958

Amnesia and Memory Series signed and dated ‘Zhang Xiaogang [in Chinese] 2005/4’ lower right oil on canvas 149.5 x 120 cm (58 7/8 x 47 1/4 in.) Executed in 2005. Provenance Private Collection Sotheby’s, Hong Kong, 4 October 2010, lot 776 Acquired at the above sale by the present owner

重要亞洲私人收藏

張曉剛 《失憶與記憶》 油畫 畫布 2005年作 款識:張曉剛 2005/4 (右下) 來源 私人收藏 香港,蘇富比,2010年10月4日,拍品編號776 現藏者購自上述拍賣

HK$ 1,800,000-2,800,000 US$ 231,000-359,000

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54. Finn Juhl

1912-1989

Pair of rare armchairs, model no. FJ 53 Brazilian rosewood, brass, linen. Each: 73.7 x 72 x 77 cm (29 x 28 3/8 x 30 3/8 in.) Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Underside of one armchair branded with CABINETMAKER NIELSVODDER/COPENHAGEN DENMARK/ DESIGN: FINN JUHL. Designed in 1953. Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 271-72, 311 Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 58-59 for images and drawings Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 76-79, 139 for images and drawings Noritsugu Oda, Danish Chairs, San Francisco, 1999, p. 98 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 101, 103

芬·祖爾 罕有扶手椅一對,型號 FJ 53 巴西黑檀木 黃銅 麻布 此作品由丹麥哥本哈根木匠名師尼爾斯.弗德於1953年設計。 款識: CABINETMAKER NIELSVODDER/COPENHAGEN DENMARK/DESIGN: FINN JUHL (椅子其一底部) 出版 Grete Jalk , 〈Dansk Møbelkunst gennem 40 aar, 第三集: 1947-1956〉 , 哥本哈根,1987年,第271-72、311頁 Esbjørn Hiort 著 , 〈芬·祖爾:家具、建築及應用藝術〉 , 哥本哈根,1990年,第58-59頁 (草稿圖及圖版) Patricia Yamada 編, 〈芬·祖爾紀念展〉 ,展覽圖錄, 大阪,第76-79、139 (草稿圖及圖版) 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頁

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

Detail

(局部)

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55. Pierre Jeanneret

1896-1967

Set of six ‘Committee’ armchairs, model no. PJ-SI-30-A, designed for the High Court, the Assembly and Punjab University administrative buildings, Chandigarh teak, hide each: 87 x 58 x 66 cm (34 1/4 x 22 7/8 x 25 7/8 in.) Provenance Chandigarh, India Galerie Patrick Seguin, Paris Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-Art-Architecture, Paris, 2010, pp. 232-33, 563 Galerie Patrick Seguin, ed., Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, pp. 158-59, 161-62, 283

皮埃爾·讓納雷 《Committee》扶手椅 (六張) 型號PJ-SI-30-A 柚木 皮革 來源 印度,昌迪加爾 巴黎, Patrick Seguin 畫廊

出版 Eric Touchaleaume、Gerald Moreau著, 〈勒·柯布西耶,皮埃爾·讓納雷, 印度之旅:設計—藝術—建築〉,巴黎,2010年, 第232-33頁及第563頁 Patrick Seguin 畫廊, 〈勒·柯布西耶·皮埃爾.讓納雷: 昌迪加爾,印度〉 , 巴黎,2014年,第158-159、161-162及283頁

HK$ 900,000-1,100,000 US$ 115,000-141,000

Addressing the urgent need for a Punjabi capital, Prime Minister Nehru commissioned the planning and construction of Chandigarh, a model city to be built in the foothills of the Himalayas. Named afer the Hindu goddess Chandi (bearer of lotus and lightning), Chandigarh would function as the symbol of a progressive and auspicious India. American planner Albert Mayer and Polish architect Matthew Nowicki drafed the frst drawings of the city, a rectangular grid of ‘superblocks’ intended to house 500,000 residents. Nowicki died in a plane crash in 1950, and Mayer withdrew from the project. In their stead, Le Corbusier and his cousin Pierre Jeanneret undertook the design and completion of the capitol complex, including the ‘sectors’ for housing, government ofces, and industry. Jeanneret became chief architect afer Le Corbusier’s departure in 1959. Aided by admiring Indian colleagues, Jeanneret built a series of residential and civic buildings including the dramatic Ghandi Bhawan, the library of Ghandian studies at Punjab University. For Jeanneret, no detail was too small; he designed furniture, lampposts, manhole covers, paddle boats-everything. The architectural critic Patwant Singh wrote: ‘His solutions were not impatient impositions.’ Jeanneret achieved to build what the border Commissions chair Sir Cyril Radclife could not: a modern India. When Jeanneret returned to Europe in 1965, ill and unable to work, he reportedly lamented, ‘I am leaving my home and going to a foreign country.’ His ashes were returned to Chandigarh and scattered on Lake Sukhna.

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針對為旁遮普增添一座都會城市的急切需求, 受尼赫魯總理委託,開啟了昌迪加爾的規劃和建造, 這是一座建立在喜馬拉雅山腳下的現代都市。 昌迪加爾,名字取自印度女神昌迪(蓮花和光的 守護神),象征著印度的進步發展和它的前途希望。 美國城市規劃師艾伯特·梅耶和波蘭建築師 馬修·諾維奇起草了這座城市的首份藍圖,這是 一塊可容納500,000居民的長方形「超級方塊」。 1950年,諾維奇因飛機失事與世長辭,梅耶也就退 出了這項計劃。為了頂替他們,勒·柯布西耶和他 的表弟皮埃爾·讓納雷承接了這座錯綜複雜的國會 都市包括住房,政府辦公室和產業「部門」的設計和 完工。繼勒·柯布西耶離職後,讓納雷於1959年成為 了這項工程的總建築師。 讓納雷的印度同事對他十分崇拜,在他們的輔助下 尚納雷建立了一系列居民和市政大樓,包括引人 注目的甘地·巴哈旺,旁遮普大學的甘地文化學習 圖書館。對於讓納雷,他對任何細節都一絲不苟。 他設計了家具、燈柱、檢修孔蓋、划槳船,這座城市 的一切。建築評論家帕特旺·辛寫到「對於問題的 解決方案,他不是毫不耐煩地加以強迫,他耐著 性子,從容不迫。」讓納雷建造了邊境事務委託主席 西里爾·拉德克利夫爵士所不能建造的:一個現代 的印度。因病不能工作的讓納雷於1965年回到了 歐洲,據報道,他悲哀地歎息道「我離開了我的家, 到異鄉去了。」他的灰燼回到了昌迪加爾,灑向蘇赫 納湖。

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56. Qiu Yacai (Chiu Ya-Tsai) 1949-2013 Femme à la Robe Rouge signed 'Qiu Yacai [in Chinese]' lower right oil on canvas 130 x 96.7 cm (51 1/8 x 38 1/8 in.) Executed in 1994, this work is accompanied by a certifcate of authenticity issued by Galerie Elegance, Taipei.

Provenance Galerie Elegance, Taipei Acquired from the above by the present owner

邱亞才 《紅裙女郎》 油畫 畫布 此作品於1994年作,並附設愛力根畫廊所發之保證書。 款識:邱亞才 (右下) 來源 台北,愛力根畫廊 現藏者購自上述來源

HK$ 300,000-400,000 US$ 38,500-51,300

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57. Qiu Yacai (Chiu Ya-Tsai) 1949-2013 Portrait de Femme signed 'Qiu Yacai [in Chinese]' lower right oil on canvas 130 x 96.5 cm (51 1/8 x 37 7/8 in.) Executed in 1994. Provenance Galerie Elegance, Taipei Acquired from the above by the present owner

邱亞才 《女子肖像》 油畫 畫布 1994年作 款識:邱亞才 (右下) 來源 台北,愛力根畫廊 現藏者購自上述來源

HK$ 300,000-400,000 US$ 38,500-51,300

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Signature

簽名

58. Ron Arad

b. 1951

‘Southern Hemisphere’ chair polished aluminium 146.5 x 131.7 x 116.8 cm (57 5/8 x 51 7/8 x 45 7/8 in.) Editioned by The Gallery Mourmans, the Netherlands. From the edition of 6. Incised with Ron Arad. Executed in 2007. Provenance Ben Brown Fine Arts, London Acquired from the above by the present owner Literature Paola Antonelli, Jonathan Safran Foer, Marie-Laure Jousset, Ron Arad: No Discipline, exh. cat., The Museum of Modern Art, New York, 2009, p. 169

羅恩·阿拉德 《南半球》椅子 拋光鋁 此作品於2007年作,共有6版,並由荷蘭, The Gallery Mourmans 製造版本。 款識: Ron Arad 來源 倫敦,Ben Brown畫廊 現藏者購自上述來源 出版 Paola Antonelli,Jonathan Safran Foer,Marie-Laure Jousset, 〈羅恩·阿拉德: No Discipline〉, 現代藝術學博物館,紐約,2009年,第169頁

HK$ 1,800,000-2,400,000 US$ 231,000-308,000

Ron Arad’s works, such as this ‘Southern Hemisphere’ chair, walk the line between design and sculpture. Distancing himself from mass-production, Arad focused on unique or limited edition objects, with a particular afnity for metal. Whilst a common approach at the time for handcrafed wooden furniture, metalwork was still perceived as a material to be mechanically mass produced. It was this decision that would make Arad a landmark designer in Britain in the 1980s and 1990s. Arad’s work cannot be defned solely by its ofen questionable practicality, with the production methods and ideas represented being of equal importance to the work. Having an exceptional skill to coax volume and undulation out of his objects, the welding and polishing involved in the production of the bulky and heavy works required the assistance of a larger workshop. Arad, a self-taught crafsman, handcrafed the frst proof himself; later examples were executed in collaboration with his three skilled metal workers: Bob Booth, Ian Whittaker and Shaun Crown.

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羅恩·阿拉德的作品,如同本件《南半球》椅子,時常 遊走於設計與雕塑的邊緣。阿拉德拒絕大批量生產, 專注於獨一無二或者版本限量的作品,尤爲喜好金屬。 純手工藝製作的木質傢俱在當時已然常見,但金屬製品 仍被認爲是機械批量生產的產物。正是這樣的決定驅使 阿拉德成爲英國上世紀 80、90年代標誌性的設計師。 阿拉德的作品不能僅因其時常引人質疑的實用性而被 定義,其創作手法及作品寓意一樣值得重視。雖然擁有 卓越的技巧來塑造作品的空間感和波伏,焊接和拋光 這些體積龐大沉重的作品需要一個更大的工作室的 支持。阿拉德,一位自學成才的工匠,通常親手製作 第一版作品,而隨後其他版本則由他與三個技藝熟練 的金工:鮑勃·布斯、伊恩.惠特克和肖恩·克羅恩 合作完成。

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59. Yoshitomo Nara

b. 1959

You graphite on paper 64 x 49 cm (25 1/4 x 19 1/4 in.) Executed in 2015. Provenance Johnen Galerie, Berlin Acquired from the above by the present owner Exhibited Berlin, Johnen Galerie, Yoshitomo Nara, 16 September - 31 October 2015

奈良美智 《你》 鉛筆 紙本 2015年作 來源 柏林,Johnen 畫廊 現藏者購自上述來源 展覽 柏林,Johnen畫廊, 〈奈良美智〉, 2015年9月16日-10月31日

HK$ 380,000-580,000 US$ 48,700-74,400

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© Yoshitomo Nara

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60. Gerhard Richter

b. 1932

Flow lacquer on glass mounted on Alu Dibond 100 x 200 cm (39 3/8 x 78 3/4 in.) This fascimile object is unsigned and numbered 428/500 on the reverse, published by Heni Publishers, London. Executed in 2013, this work is from an edition of 500 plus 2 artist’s proof. Provenance Foundation Beyeler, Basel Acquired from the above by the present owner

格哈特·里希特 《流動》 亮漆 玻璃鑲於鋁合板 款識: 428/500 此作品於2013年作,共有500版及一版藝術家試作版, 此為第428版,並由倫敦,Heni Publishers 製造版本。 來源 巴塞爾,Foundation Beyeler 現藏者購自上述拍賣

HK$ 70,000-90,000 US$ 9,000-11,500

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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.

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.

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.

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.

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$1,600,000, 20% of the portion of the hammer price above HK$1,600,000 up to and including HK$22,500,000 and 12% of the portion of the hammer price above HK$22,500,000. 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 on Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in Hong Kong dollars, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of the property, as well as the exhibition history and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property. While condition reports are prepared honestly and carefully, our staf are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of signifcant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

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Deposit If you wish to bid on a lot designated with the symbol * (a “Premium Lot”), Phillips may require you to pay a deposit of HK$2,000,000 or such higher amount as Phillips in our sole discretion deems appropriate and to provide such fnancial references, guarantees and/or other security as Phillips may require in our sole discretion as security for the bid. Phillips will also require you to complete the Premium Lot pre-registration prior to the date of the auction at which the Premium Lot will be ofered for sale. Upon our receipt of the deposit and a completed preregistration form, Phillips will provide you with a numbered Premium Lot paddle for identifcation purposes. The auctioneer will usually only accept bids on Premium Lots made with the Premium Lot paddle or by its registered bidder. This applies to saleroom, telephone and absentee bids. Payment of the deposit may be made by wire transfer or credit card acceptable to Phillips for the prospective purchase. If you are not the successful bidder on a Premium Lot and do not owe Phillips or any of our afliated companies any debt, the deposit will be refunded to you by wire transfer (in the same currency in which you paid the deposit) or credit card refund, as the case may be, the refund will be processed within seven days afer the date of the auction. Symbol Key The following key explains the symbols you may see inside this catalogue. O ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ♦. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated accordingly. The compensation will be a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the fnal purchase price. If the lot is not sold, the third party may incur a loss. Δ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. ∑ Endangered Species Lots with this symbol have been identifed at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. * Premium Lots Lots with this symbol carry a low pre-sale estimate of HK$8,000,000 or more and are referred to by Phillips as Premium Lots. Prospective buyers who wish 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.

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Adrian Ghenie Charles Darwin as a Young Man oil on canvas 20 7/8 x 13 3/8 in. (53 x 34 cm.) Painted in 2014.

20th Century. Contemporary. Now. 20th Century & Contemporary Art Day Sale 17 May 2017, 11am Evening Sale 18 May 2017, 5pm View the work in person 4-18 May at 450 Park Avenue, New York or at phillips.com Enquiries contemporary@phillips.com

phillips.com

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▼ 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.

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.

2 Bidding in the Sale

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

Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identifcation may be required, as may an original signature. We may also require that you furnish us with a bank reference. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staf members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least HK$8,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium, which we can execute on your behalf in the event we are unable to reach you by telephone. To arrange a telephone bid please contact the Hong Kong bids department at +852 2318 2029. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com.The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe Flash Player. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then preregister by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

HK$5,000 to HK$10,000 HK$10,000 to HK$20,000 HK$20,000 to HK$30,000 HK$30,000 to HK$50,000 HK$50,000 to HK$100,000 HK$100,000 to HK$200,000 HK$200,000 to HK$300,000 HK$300,000 to HK$500,000 HK$500,000 to HK$1,000,000 Above HK$1,000,000

by HK$100s by HK$200s by HK$200, 500, 800 (i.e., HK$4,200, HK$4,500, HK$4,800) by HK$500s by HK$1,000s by HK$2,000s by HK$2,000, HK$5,000, HK$8,000 by HK$5,000s by HK$10,000s by HK$20,000s by HK$20,000, 50,000, 80,000 (i.e., HK$320,000, HK$350,000, HK$380,000) by HK$50,000s at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion. 3 The Auction As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the benefciary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. 4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale. Payment must be made in Hong Kong dollars by wire transfer, as noted in Paragraph 6 of the Conditions of Sale. Cash and cheques are not accepted. Credit Cards As a courtesy to clients, Phillips accepts payment by credit card up to HK$800,000. A processing fee will apply. For details on credit card payment please contact the Client Services department at +852 2318 2000. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. Afer the auction, all lots will be stored externally, please call our shipping department on 852-2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots.

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Important Notices Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction. Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Premium Lots Any prospective buyer interested in any Premium Lot, which is marked in the catalogue with the symbol *, must complete Premium Lot pre-registration and make a deposit of HK$2,000,000 or such higher amount as Phillips shall require in order to bid on a Premium Lot. For details, please contact the Client Services Department at +852 2318 2000.

Export and Import Licences Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from Hong Kong or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certifcate prior to exportation and additional licences or certifcates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certifcate does not ensure the ability to obtain an import licence or certifcate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certifcates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis regarding continent of origin and confrmation the object is more than 100 years old. We have not obtained a scientifc analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientifc analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the object qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

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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. (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

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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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© 2017 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

Warhol in China. Mandarin Oriental, Hong Kong Auction 28 May 2017, 6pm Phillips is proud to present a unique selection of photographs by Andy Warhol to be ofered in Hong Kong this Spring.

Andy Warhol The Great Wall of China, 1982–1987 four stitched gelatin silver prints 54.6 x 69.9 cm. (21 1/ 2 x 27 1/ 2 in.) Estimate HK$ 600,000-900,000 US$ 76,900–115,000

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

phillips.com

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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, reofer a lot for sale (including afer the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in Hong Kong dollars and payment is due in Hong Kong dollars. For the beneft of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will refect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable taxes and charges (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including HK$1,600,000, 20% of the portion of the hammer price above HK$1,600,000 up to and including HK$22,500,000 and 12% of the portion of the hammer price above HK$22,500,000. 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.

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(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 anti-money 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

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from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notifcation by any of our afliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notifcation by any of our afliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an afliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our afliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale. 11 Export, Import And Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from Hong Kong or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot.

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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 Data Protection (a) In connection with the supply of auction and related services, or as required by law, Phillips may ask clients to provide personal data. Phillips may take and retain a copy of government-issued identifcation such as a passport or driving license. We will use your personal data (i) to provide auction and related services; (ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks; (iv) to implement and improve the management and operations of our business and (v) for other purposes set out in our Privacy Policy published on the Phillips website at www.phillips.com (the “Privacy Policy”) and available on request by emailing dataprotection@phillips.com. By agreeing to these Conditions of Sale, you consent to our use of your personal data, including sensitive personal data, in accordance with the Privacy Policy. The personal data we may collect and process is listed, and sensitive personal data is defned, in our Privacy Policy. Phillips may also, from time to time, send you promotional and marketing materials about us and our services. If you would prefer not to receive such information, please email us at dataprotection@phillips.com. Please also email us at this address to receive information about your personal data or to advise us if the personal data we hold about you is inaccurate or out of date. (b) In order to provide our services, we may disclose your personal data to third parties, including professional advisors, shippers and credit agencies. We will disclose, share with and transfer your personal data to Phillips’s afliated persons (natural or legal) for administration, sale and auction related purposes. You expressly consent to such transfer of your personal data, including sensitive personal data. We will not sell, rent or otherwise transfer any of your personal data to third parties except as otherwise expressly provided in this Paragraph 12. (c) Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy. 13 Limitation of Liability (a) Subject to 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.

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Authorship Warranty 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specifed at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notifed by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and efect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 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. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the salesroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our afliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our afliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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Executive Management CEO Edward Dolman Chairman Cheyenne Westphal

Worldwide Deputy Chairman Svetlana Marich

Chief of Staf Lisa King

Senior Advisors to the CEO Hugues Joffre Francesco Bonami Arnold Lehman

Deputy Chairmen Robert Manley Matt Carey-Williams Miety Heiden

Chief Financial Ofcer Annette Schwaer

Senior Directors Jean-Paul Engelen Henry Allsopp Cary Leibowitz Zach Miner Scott Nussbaum Kelly Troester

Deputy Chairmen, Europe Alexander Payne Peter Sumner

Chief Communications & PR Ofcer Michael Sherman

Deputy Chairmen, Americas August O. Uribe Vanessa Hallett Vivian Pfeiffer

Senior Consultants Aurel Bacs Livia Russo

Deputy Chairmen, Asia Jonathan Crockett Sam Hines

Directors Alex Heminway Nazgol Jahan Paul Maudsley

Chief Creative & Marketing Ofcer Damien Whitmore

Chief General Counsel Richard Aydon Chief Operating Ofcer, Americas Sean Cleary Chief Operating Ofcer, UK Europe & Asia Frank Lasry International Business Director Myriam Christinaz, Jewellery, Watches & Business Development International Director, Chairman’s Ofce Bart van Son Senior Directors, Human Resources Jennifer Garvin Nicola Mason Strategy Projects Director Caroline Conegliano Associate General Counsel Jonathan Illari

International Specialists & Regional Directors Chicago Carol Ehlers Specialist, Consultant +1 773 230 9192

Brazil Cândida Sodré Regional Director +55 21 999 817 442

Japan Kyoki Hattori Regional Director +81 90 2245 6678

Denver Melyora de Koning Senior Specialist +1 917 657 7193

Cologne Dr. Alice Trier Specialist +49 173 25 111 69

Korea Jane Yoon International Specialist +82 10 7389 7714

Los Angeles Blake Koh Regional Director +1 323 383 3266

Istanbul Deniz Atac Specialist, Consultant +90 533 374 1198

Moscow Kalista Fenina Specialist +7 905 741 15 15

Miami Valentina Garcia Specialist +1 917583 4983

Italy Clarice Pecori Giraldi Regional Director +39 02 86 42 453

Paris Laurence Calmels Regional Director +33 686 40 85 15

Seattle Silvia Coxe Waltner Regional Director +1 206 604 6695

Carolina Lanfranchi Specialist, Consultant +39 33 8924 1720 Mexico Cecilia Laffan Regional Director +52 1 55 5413 9468 Portugal Maura Marvão Specialist, Consultant +351 917 564 427

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Maria Cifuentes Caruncho Specialist +33 142 78 67 77 Taiwan Cindy Yen Regional Director, Taiwan & Senior Specialist, Watches & Jewellery +886 963 135 449

Worldwide Offices Sale Rooms

Regional Ofces

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

Milan Via Monte di Pietà, 1/A Milan 20121

London 30 Berkeley Square London W1J 6EX, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011 Geneva 15 quai de l’Ile 1204 Geneva, Switzerland tel +41 22 317 81 81 fax +41 22 317 81 80 Hong Kong Room 1301-13/F, York House, The Landmark Building, 15 Queen’s Road Central, Hong Kong tel +852 2318 2000 fax +852 2318 2002

Moscow Nikolskaya Str 19–21, 5th foor, 109012 Moscow, Russia tel +7 495 225 88 22 fax +7 495 225 88 87 Paris 46 rue du Bac 75007 Paris, France tel +33 1 42 78 67 77 fax +33 1 42 78 23 07 Taipei 1409 F14/Shin Kong Manhattan Building 8 Xin Yi Road, Section 5 Taipei, 11049 tel +886 2 8758 2310 Tokyo Shin-Yurakucho Building 12-1, Yurakucho 1-chome Chiyoda-ku Tokyo tel +81 3 6273 4818

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Specialists and Departments 20th Century & Contemporary Art Jean-Paul Engelen, Worldwide Co-Head 20th Century & Contemporary Art Robert Manley Worldwide Co-Head of 20th Century & Contemporary Art Jonathan Crockett Head of 20th Century & Contemporary Art, Asia New York Scott Nussbaum, Head of 20th Century & Contemporary Art, New York Kate Bryan, Head of Evening Sale John McCord, Head of Day Sale Rebekah Bowling, Head of New Now Sale Zach Miner Rachel Adler Rosan Kevie Yang Karen Garka-Prince Amanda Lo Iacono Katherine Lukacher Samuel Mansour Annie Dolan Paula Campolieto Carolyn Mayer Maiya Aiba London Henry Highley, Head of Evening Sale Tamila Kerimova, Head of Day Sale Simon Tovey, Head of New Now Sale Jonathan Horwich Nathalie Zaquin-Boulakia Matthew Langton Oskana Katchaluba Iori Endo Alex Dolman Ava Carleton-Williams Chiara Panarello Florencia Moscova

Design Alexander Payne, Worldwide Head, Design +1 212 940 1390 +1 212 940 1358 +852 2318 2023

+1 212 940 1354 +1 212 940 1267 +1 212 940 1261 +1 212 940 1250 +1 212 940 1256 +1 212 940 1333 +1 212 940 1254 +1 212 940 1204 +1 212 940 1260 +1 212 940 1215 +1 212 940 1219 +1 212 940 1288 +1 212 940 1255 +1 212 940 1212 +1 212 940 1387 +44 20 7318 4061 +44 20 7318 4065 +44 20 7318 4084 +44 20 7901 7935 +44 20 7901 7931 +44 20 7318 4074 +44 20 7318 7933 +44 20 7318 4039 +44 20 7901 7911 +44 20 7901 7904 +44 20 7318 4073 +44 20 7318 4082

Hong Kong Sandy Ma, Head of Evening Sale Charlotte Raybaud Danielle So Annie Tang

+852 2318 2025 +852 2318 2026 +852 2318 2027 +852 2318 2024

Latin American Art Henry Allsopp, Worldwide Head Kaeli Deane, Head of Sale Valentina Garcia Carolina Scarborough Isabel Suarez

+44 20 7318 4060 +1 212 940 1352 +1 917 583 4983 +1 212 940 1391 +1 212 940 1227

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

+1 212 940 1222 +1 212 940 1221

New York Jannah Greenblatt Jason Osborne Dakota Peschel

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

London Robert Kennan, Head of Editions, Europe Anne Schneider-Wilson Ross Thomas Rebecca Tooby-Desmond Louisa Earl

HK_TCA_MAY17_122-203.indd 186

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

New York Alex Heminway, New York Director Meaghan Roddy Cordelia Lembo, Head of Sale Kimberly Sørensen Jillian Pfferling Marcus Tremonto London Domenico Raimondo Adam Clay Madalena Horta e Costa, Head of Sale Marcus McDonald Sofia Sayn-Wittgenstein Marta De Roia Lisa Stevenson Ben Williams

+44 20 7318 4052 +1 212 940 1268 +1 212 940 1266 +1 212 940 1265 +1 212 940 1259 +1 212 940 1268 +1 212 940 1268 +44 20 7318 4016 +44 20 7318 4048 +44 20 7318 4019 +44 20 7318 4095 +44 20 7318 4023 +44 20 7318 4096 +44 20 7901 7926 +44 7769 94 7177

Photographs Vanessa Hallett, Worldwide Head, Photographs

+1 212 940 1243

New York Sarah Krueger, Head of Sale Caroline Deck Rachel Peart Marijana Rayl Clare Milliken

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

Chicago Carol Ehlers

+1 773 230 9192

London Genevieve Janvrin, Co-head of Photographs, Europe Yuka Yamaji, Co-head of Photographs, Europe Julia Scott Sophie Busby

+44 20 7318 7996 +44 20 7318 4098 +44 20 7901 7940 +44 20 7318 4092

Watches Sam Hines, International Head of Watches

+852 2318 2030

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

+41 22 317 81 85 +41 22 317 81 86 +41 22 317 8188 +41 22 317 8181 +41 22 317 81 83 +41 22 317 81 82 +41 22 317 8187

Hong Kong Amy Chow Jill Chen Joey Luk Tiffany To Angel Ho Zachary Lu

+852 2318 2035 +852 2318 2000 +852 2318 2032 +852 2318 2036 +852 2318 2031 +852 2318 2034

Japan Genki Sakamoto Kaz Fujimoto

+81 3 6273 4818 +81 3 6273 4818

Taiwan Cindy Yen New York Paul Boutros Douglas Escribano Leigh Zagoory London Paul David Maudsley Kate Lacey

+886 963 135 449 +1 212 940 1293 +1 212 940 1382 +1 212 940 1285 +44 20 7901 7916 +44 20 7901 2907

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Specialists and Departments Jewels Hong Kong Terry Chu, Head of Jewellery, Asia Charlene Lau Anellie Manolas Sammie Leung

+852 2318 2038 +852 2318 2038 +852 9383 3041 +852 2318 2040

New York Nazgol Jahan

+1 212 940 1283

London Lane Clements McLean

+44 20 7318 4032

Exhibitions Edwin Pennicott

+44 20 7901 2909

Arts Partnerships London Isa Tharin

+44 20 7318 4024

New York Cecilia Wolfson

+1 212 940 1258

Private Sales Susanna Brockman

+44 20 7318 4041

Proposals London Arianna Webb

+44 20 7901 7941

New York Lauren Zanedis

+1 212 940 1271

Executive Assistant to the Chairman & CEO and Chief of Staff Lucinda Newman

+44 207 318 4099

Executive Assistant to the Chairman & CEO and Senior Advisor to the CEO Elizabeth Anne Wallace +1 212 940 1303

Operations Hong Kong Juliana Cheung, Chief Operating Ofcer Client Advisory London Guy Vesey Dawn Zhu

+852 2318 2020

+44 20 7901 7934 +44 20 7318 4017

New York Philae Knight Sara Tayeb-Khalifa

+1 212 940 1313 +1 212 940 1383

Communications and Marketing Michael Sherman, Chief Communications and Public Relations Ofcer +1 212 940 1384 Katie Carder, PR Manager, EMEA +44 20 7901 7938 Jaime Israni, PR Specialist +1 212 940 1398 Emma Miller Gelberg, Communications & Marketing Manager +1 212 940 1291 Charlotte Adlard, Marketing Associate +44 207 901 7905 Georgia Trotter, Events Manager +44 20 7318 4085 Creative Services Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production London Ify Anyanwu, Creative Services Manager Moira Gil, Graphic Designer Laurie-Ann Ward, Graphic Designer New York Jef Velazquez, Production Artist Christine Knorr, Graphic Designer James Reeder, Graphic Designer

+1 212 940 1326 +1 212 940 1281 +44 20 7901 7919 +44 20 7901 7917 +44 20 7901 7918 +1 212 940 1211 +1 212 940 1325 +1 212 940 1296

Sale Information 20th Century & Contemporary Art & Design Evening Sale Auction and Viewing Location Mandarin Oriental 5 Connaught Road Central Hong Kong Auction 28 May 2017, 7pm (Lots 1–60) Viewing 25 May 2017 26 May 2017 27 May 2017 28 May 2017

Head of Department Jonathan Crockett +852 2318 2023 jcrockett@phillips.com Head of Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Specialists Sandy Ma +852 2318 2025 sma@phillips.com

10am – 6pm 10am – 6pm 10am – 7pm 10am – 2pm

Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010117 or 20th Century & Contemporary Art & Design Evening Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com

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Sale Department

Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Associate Cataloguer Danielle So +852 2318 2027 dso@phillips.com Administrator Annie Tang +852 2318 2024 atang@phillips.com The 20th Century & Contemporary Art department would like to thank Ernie Hui for his research, writing and assistance in producing this catalogue.

Auctioneer Henry Highley Photographer Arnold Lee Chris Wong Catalogues catalogues@phillips.com HKD400/$50/€35/50CHF +852 2318 2000 Client Accounting clientaccountslondon@phillips.com +852 2318 2000 Client Services Unit 1301 – 13/F, York House The Landmark Building 15 Queen’s Road Central, Hong Kong +852 2318 2000 Shipping Beatrix Yiu +852 2318 2010 byiu@phillips.com

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Unit 1301 – 13/F, York House, The Landmark Building, 15 Queen’s Road Central, Hong Kong

Please return this form by fax to +852 2318 2010 or email it to bidshongkong@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company.

• PRIVATE PURCHASES Proof of identity in the form of government-issued identification and proof of address will be required.

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

• COMPANY PURCHASES We require a Letter of Authorisation signed by a company director for the noted individual to transact on the company’s behalf and a copy of governmentissued identification (such as the certificate of incorporation) to verify the status of the company.

In-person Absentee Bidding Telephone Bidding

Paddle Number

• CONDITIONS OF SALE All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

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

As a private individual On behalf of a company

Sale Title Title

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

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable) Address

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$1,600,000, 20% of the portion of the hammer price above HK$1,600,000 up to and including HK$22,500,000 and 12% of the portion of the hammer price above HK$22,500,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.

State/Country

Post Code Phone

Mobile

Email

Fax

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

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

2.

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

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

Brief description

In Consecutive Order

Maximum bid price in HK$* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by fax at +852 2318 2010 or scan and email to bidshongkong@phillips.com at least 24 hours before the sale. You will receive confirmation by email within one business day. If you have not received our confirmation, please resubmit your bids(s) and contact the Bid Department at +852 2318 2029. • Payment for lots can be made by credit card (up to HK$800,000) or by wire transfer. Please note that credit cards are subject to a surcharge. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you consent to our use of your personal data, including sensitive personal data, in accordance with Phillips’s Privacy Policy published on our website at www. phillips.com or available on request by emailing dataprotection@phillips.com. We may send you materials about us and our services or other information which we think you may find interesting. If you would prefer not to receive such information, please email us at dataprotection@phillips.com.

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

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Editions. Evening & Day Sales London, 7 June 2017 Phillips defnes the Editions category. Our June sale will present museum-quality, original artist prints and multiples - inviting collectors to add the heavyweights of modern and contemporary art to their collections. Visit our public viewing from 1 – 7 June at 30 Berkeley Square, London W1J 6EX or visit phillips.com

Gerhard Richter Kassel, 1992 Ofset print with nitro varnish and unique overworking in black and white lacquer Estimate £15,000-20,000

Enquiries +44 207 318 4069 editionslondon@phillips.com

© Gerhard Richter 2017 (11042017)

phillips.com

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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。

符號圖例 圖錄內提述有關以下符號之意思

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。

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並獲得相應之報酬。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。若該方競投成功,報酬將於最終購買價中抵銷。若拍賣 品未有賣出,第三方則可能產生虧損。

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1,600,000 元之25%,加逾港幣1,600,000 元以上至 港幣22,500,000元部份之20%;加逾港幣22,500,000元之餘款的12%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 + 852-23182000, +41 22317 8181, +44 20 73184010 , +1 212 940 1240 聯絡我們。 拍賣前估價 拍賣前估價用意為提供指引予準買家。本公司認為任何介乎於高至低估價範圍之間的 競投價皆有成功機會。然而,拍品亦有可能在低於或高於拍賣前估價拍出。如欲對標示 為「估價待詢」之拍賣品了解更多,請與專家部門聯繫。由於估價可予修改,因此閣下 可於臨近拍賣前聯絡我們。拍賣前估價並不包括買家支付之酬金或其他適用稅項。 拍賣前估價以美元及歐元為單位 本拍賣會將以港元為競投貨幣,但載於拍賣圖錄內的拍賣前估價除以港元為單位外, 亦或會用美元及或歐元。由於圖錄中的貨幣兌換率是根據圖錄付印時而非拍賣當日的 兌換率而訂,因此美元或歐元的拍賣前估價只供參考用。 圖錄編列 富藝斯或會在圖錄內刊印有關拍品之出處及過往展覽、引述於藝術刊物之紀錄。儘管 我們以審慎的態度進行編列,但拍賣品的出處、展覽及文獻或未能詳盡;及在某些情 況下我們或會有意地不揭露物主身份。請注意所有陳述於圖錄內拍賣品之量度均為 約數。 拍賣品之狀況 本公司之圖錄只會在多件型作品 (例如印刷品)的描述中提到狀況事宜。但該些狀況資 料並不等於狀況之完整說明。未有提及此等狀況資料亦不表示拍品全無缺陷或瑕疵。 品狀報告乃富藝斯為方便買家提供的一項服務。我們的專家以物品估價相應的方式評 估及撰寫品狀報告。雖然我們以真誠及謹慎的態度撰寫品狀報告,惟本公司職員並非 專業修復者或經培訓之管理人。故我們建議所有準買家應親臨拍賣前展覽並親自檢查 拍品;由於所有品物均於無裝框下出售,除特別註明在品狀報告上。如拍品出售時有裝 框,富藝斯將不會就框架任何狀況承擔任何責任。如我們售出的拍品沒有裝框,我們樂 意為買家推薦專業的裝框服務。 拍賣前預展 拍賣前預展乃免費並對外公開,我們的專家可於預展或預約時提供意見及品狀報告。 電子及機械性拍品 所有帶有電子及或機械性能之拍品均只供以其裝飾價值出售,並不代表可運作。如有 特別運作上的用途,其電子系統必須經認可電子技術人員檢測及通過授權使用。 保證金 如欲競投標有*記號之拍賣品 (高額拍賣品),富藝斯或要求閣下交付港幣2,000,000 元或其他由富藝斯決定之更大金額的保證金及任何財務狀況證明,擔保及/或其他由 富藝斯可全權酌情決定要求的抵押作為參加富藝斯競投的保障。富藝斯亦會要求閣下 於該高額拍賣品拍賣日前完成高額拍賣品預先登記。當我們確認收到保證金及已填妥 之預先登記表格後,閣下將獲發高額拍賣品競投牌以資識別。拍賣官一般只接受以高 額拍賣品競投牌或其登记競投人士作出之競投。此亦適用於拍賣現場、電話及書面競 投。閣下可以電匯或富藝斯可接受之信用卡繳付保證金。如閣下未有成功競投高額拍 賣品,於富藝斯或我們任何附屬公司亦無任何欠款,保證金將以電匯(與閣下繳付保證 金時相同之貨幣)或信用卡退還,視乎個別情形,本公司將安排於拍賣日期後7天內安 排退還保證金。

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Δ 富藝斯擁有業權權益之拍賣品 拍賣品標有Δ符號代表富藝斯擁有該拍賣品之全部或部分業權,或在拍賣品中擁有相 等於業權權益之經濟利益。 無底價 •除非標有•符號, 否則所有本圖錄內所載之拍賣品均有底價。底價是由富藝斯和賣家共 同訂立且機密之價格。拍賣品不會以低於該價售出。每安拍賣品的底價一般以低估價 之一定比例來定,並且不會高於拍賣前低估價。 ∑ 瀕危物種 標有此符號的拍賣品表示在編列圖錄時該拍賣品已確定含有瀕危或其他受保護野生動 物物種並可能受到就有關出口或入口之限制及可能需要出口及入口許可證。詳情請參 閱準買家指引第4段及業務規定第11段。 * 高額拍賣品 標有此符號的拍賣品其拍賣前低估價為港幣8百萬或以上均被富藝斯列為高額拍賣 品。如欲競投高額拍賣品,準買家必須填妥預先登記表格及繳付高額拍賣品保證金, 詳情請參閱準買家指引第1段。 ▼ 限制進口 標有此符號的拍賣品或受美國入口限制。詳情請參閱列印於此準買家指引後的重要通 告。 2 拍賣競投 於拍賣會上競投 競投可於拍賣會上由個人親臨舉競投牌進行,亦可透過電話、網上進行競投或在拍賣 前以書面形式參加。請提供政府發出的身份證明文安及原有簽名。我們或需要閣下提 供銀行證明。 親身競投 親身競投之人士須於拍賣會開始前登記及領取競投牌。我們建議新客戶於拍賣舉行 前至少48小時辦理登記,以便有充足時間處理閣下之資料。所有售出之拍賣品發票抬 頭人均為登記競投牌之人士及其地址,並不得轉讓至他人及其他地址。請勿遺失競投 牌,如有遺失請立即通知富藝斯職員。拍賣完結時,請將競投牌交回登記處。 電話競投 如閣下未能出席拍賣會,您可透過電話與本公司通曉多國語言之職員進行實時競投。 此服務須於拍賣會開始前至少24小時安排,及只適用於拍賣前低估價為港幣8,000元 以上之拍品。電話競投將可被錄音。以電話競投即代表閣下同意其對話將被錄音。我 們建議閣下表明最高競投價(不包括買家支付之酬金)以便我們在無法以電話聯絡閣下 時代您競投。如欲安排電話競投,請致電香港投標部+852-2318 2029。 網上競投 如閣下未能親自出席拍賣會,您可透過我們於網站www.phillips.com內的實時競投平 台進行網上競投。我們建議使用Google Chrome、Firefox、Opera及Internet Explorer 執行網上拍賣。閣下如欲以Safari運行網上拍賣需先行安裝Adobe Flash Player。於網 站內按「拍賣」、「實時拍賣」然後「實時競投登記」以作預先登記。第一次登記時需先 建立帳戶,此後只需登記個別拍賣即可。閣下須於拍賣前至少24小時作網上預先登記 以便投標部確認。請注意網上競投者或會因企業防火牆而未能競投。 書面競投 如閣下未能出席拍賣會及參與電話競投,富藝斯樂意代表閣下進行書面競投。本圖錄末 附有競投表格。此服務乃免費並且保密。投標價必須是以拍賣會當地的貨幣為單位。本 公司之職員將參考底價及其他競投價,盡力以最低價進行競投。請標明最高競投價(不 包括買家支付之酬金) 。無限價競投標將不獲接納。所有書面競投須於拍賣24小時前 收到。倘本公司就同一項拍賣品收到相同之競價,則最先收到之競價會獲優先辦理。

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僱員競投 富藝斯及其附屬公司之僱員,包括拍賣官只可在不知底價及全面遵守本公司的僱員競 投內部規例之情況下進行書面競投。 競投價遞增幅度 競投一般由低於最低估價開始,通常每次喊價之遞增幅度最高為10%,拍賣官亦可於 拍賣時自行決定更改每次喊價增加之額度。書面競投價若與下列之遞增幅度不一致, 將被調低至下一個喊價幅度。 競投價 1,000-2,000 港元 2,000-3,000港元 3,000-5,000港元 5,000-10,000港元 10,000-20,000港元 20,000-30,000港元 30,000-50,000港元 50,000-100,000港元 100,000-200,000港元 200,000-300,000港元 300,000-500,000港元 500,000-1,000,000港元 1,000,000港元或以上

每次喊價之遞增金額 100港元 200港元 200, 500, 800 港元 (例 4,200, 4,500, 4,800港元) 500港元 1,000港元 2,000港元 2,000, 5,000, 8,000港元 (例 32,000, 35,000, 38,000港元) 5,000港元 10,000港元 20,000港元 20,000, 50,000, 80,000港元 (例 320,000, 350,000, 380,000港元) 50,000港元 拍賣官自行決定

在拍賣時拍賣官可酌情更改每次增加之額度。

運輸及付運 作為一項予買家的免費服務,富藝斯只可包裝拍品作手提用。我們並不會直接提供包 裝、處理及付運服務。但我們可依據閣下之指示與付運代理協調以促成閣下於本公司 購買貨物之包裝、處理及付運。詳情請參閱業務規定第7段。 出口及入口許可證 在競投任何拍賣品前,我們建議準買家對拍賣品先作獨立調查以確定是否需要以許可 證出口香港或進入其他國家。買家須遵守所有入口及出口之法律及應取得有關的出口 或入口許可證。不獲發任何所需之許可證或執照並不構成取消買賣或延遲繳付全數貨 款之充分理由。 瀕危物種 由植物或動物材料如珊瑚、鱷魚、象牙、鯨骨、巴西玫瑰木、犀牛角或玳瑁殼,不論其 年份、百分比率或價值,均可能須申領許可證或證書方可入口至美國或其他歐盟以內 或外的國家。請注意能取得出口許可證或證書並不能確保可在另一國家取得進口許可 證或證書,反之亦然。我們建議準買家在競投前向相關政府查核有關野生動植物進口 之規定後再參與競投。買家須負上所有責任取得任何所需出口或進口許可證或證書, 以及任何其他所需文件。請注意美國禁止入口任何含有非洲象牙的產品。亞洲象的象 牙可被進口到美國,而該進口必須附有獨立科學分析報告以證明有關物品的起源地及 確認物品的年期已超過一百年。我們在銷售任何藏品前,均無對藏品進行科學分析,所 以無法確認相關藏品的象牙是來自亞洲及非洲。買家凡購買有關藏品並計畫將有關藏 品進口美國,必須承擔風險並負責支付任何科學分析報告或其他報告的費用。 有關任何含有象牙以外的瀕危物種藏品,進口者須提供證明文件鑑定物種及藏品之年 期以顯示該藏品為古董。買家須進行獨立評估以認證藏品上之瀕危物種物料及認證藏 品之年期為不少於一百年。如欲計劃入口藏品到美國的準買家不應依靠富藝斯編列於 圖錄內藏品上的瀕危物種物料或藏品之年期及必須諮詢具有專業資格的獨立鑑定者 後再參與競投。

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。

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。

有利害關係的各方公佈 在某些情況下對拍賣品有直接或間接利害關係的一方可能對拍賣品作出競投,如出售 拍賣品之遺產之受益人或執行者;拍賣品之聯權共有人或提供或參與保證的一方,富 藝斯將會於拍賣廳內公佈有利害關係的各方可能對拍賣品作出競投。

接連投標及競投;無底價拍賣品 拍賣官可代表賣家為任何拍賣品叫第一口價以開始競投。拍賣官更可代表賣家以接連 投標或競投之方式,就拍賣品作出競投直至達到底價。就不設底價的拍賣品,除非已有 競投,否則拍賣官一般會以拍品的拍賣前低估價的50%開始拍賣。若在此價格下並無投 標,拍賣官會自行斟酌將價格下降繼續拍賣,直至有客戶開始競投,然後再由該投標價向 上繼續拍賣在沒有更高叫價的情況下,以書面投標競投無底價拍賣品會以拍賣前低估 價大約50%成交。 但若該投標價低於拍賣前低估價的50%, 則以該投標價成交。如果 無底價拍賣品沒有任何叫價, 拍賣官會自行決定該拍賣品為流拍。 4 拍賣後 付款 除非與富藝斯 於拍賣前已達成書面安排,否則買家須於拍賣後即時以港元付款。閣下可 依照業務規定第6段所述以電匯方式付款。現金及支票恕不接納。 信用卡 為方便客戶, 富藝斯可接受以信用卡支付不多於港幣80萬元的付款。 使用信用卡將會被 收取附加費。 如欲了解更多以信用卡付款詳情, 請聯絡客戶服務部+852 2318 2000。 提取 提取拍賣品時請出示身份證明。富藝斯收到全數結清之貨款及確認買家在本公司及其 附屬公司沒有欠款後,會將拍賣品交予買家或買家授權之代表。拍賣後所有拍品會被儲 存在外。如欲提取拍品,煩請與我們運輸部聯絡,電話:852-2318 2000。未能提取的 拍品均會被收取有關轉移,利息,儲存等相關費用。 損失或損壞 買家請注意富藝斯 對拍賣品損失或損壞之責任期限最多為拍賣後七天。

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重要通告

業務規定

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。

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

(a) 富藝斯 對各拍賣品之認識部份依賴賣家向其提供之資料, 且富藝斯無法及不會就各 拍賣品進行全面盡職審查。 準買家知悉此事, 並承擔進行檢查及檢驗之責任, 以使滿 意彼等可能感興趣之拍賣品。 儘管如前所述, 富藝斯在圖錄描述或品狀報告作出之明 示聲明, 應以有關拍賣中有關拍賣品之拍賣官身份相符之合理審慎態度作出; 以及基於 (I)賣家向其提供之資料; (II)學術及技術知識; 及(III)相關專家普遍接納之意見作出之明 示聲明, 在各情況下應以合理審慎態度作出明示。 (b) 富藝斯提呈拍賣時出售之各拍賣品於拍賣前可供準買家檢查。 在競投人(鑑於有關 拍賣品之性質及價值及競投人之專業知識而屬合適者,以及代表彼等之獨立專家)已當 作在投標前全面檢驗拍賣品, 並滿意拍賣品之狀況及其描述之準確性, 富藝斯會接受 競投人對拍賣品之投標。 (c)準買家確認眾多拍賣品年代久遠及種類特殊, 意味拍賣品並非完好無缺。 為方便準 買家, 富藝斯或會準備及提供品狀報告以方便準買家檢查拍賣品用。 圖錄描述及品狀 報告在若干情況下可用作拍賣品某些瑕疵之參考, 但競投人應注意, 拍賣品可能存在其 他在圖錄或品狀報告內並無明確呈視出之瑕疵。 所有量度皆為約數。 解說只供鑑定 用途, 將不能當作為拍賣品尺寸之精確量度或真實狀況之全部資料。 (d) 提供予準買家有關任何拍賣品之資料包括任何拍賣前預測(無論為書面或口述)及 包括任何圖錄所載之資料、規則及其他報告、評論或估值, 該等資料並非事實之陳述, 而是富藝斯所持有之意見之聲明, 故不應依賴任何拍賣前預測作為拍賣品售價或價值 之預測, 且該等資料可由富藝斯不時 全權酌情決定修改。 富藝斯及並附屬公司皆不會 為任何拍品拍賣前估價與於拍賣或轉售所達之實際價錢之間的差距負上任何責任。 4 拍賣會上競投出價 (a) 富藝斯可全權酌情決定拒絕進入拍賣場地或參與拍賣。 所有競投者需於競投前登 記競投牌, 並提供富藝斯所需資料及參考。 (b) 為方便未能親身出席拍賣的競投者, 富藝斯或根據競投者之指示代其進行書面競 投。書面競投者須遞交”書面競投表格”, 此表格列印於圖錄末部或可向富藝斯索取。 投標價必須是以拍賣會當地的貨幣為單位。 競投者需清楚標明最高之投標價 (不包 括買家支付之酬金)。拍賣官將不會接受任何沒有標明最高投標價之書面競投。 本公 司之人員將參考底價及其他競投價,盡力以最低價進行競投。所有書面競投須於拍賣 前24小時收到。 倘本公司就同一項拍賣品收到相同之競價,則最先收到之競價會獲 優先辦理。 (c)電話競投者須遞交”電話競投表格”, 此表格列印於圖錄末部或可向富藝斯索取。 電話競投只適用於拍賣前低估價最少達港幣8000元之拍品。富藝斯保留要求電話競 投者以傳真或其他方式儘快於拍賣官接受其競投後以書面確認成功競投之權利。電話 競投將可被錄音。以電話競投即代表閣下同意其對話將被錄音。 (d) 競投者可透過富藝斯 於網站內www.phillips.com的實時競投平台進行網上競投。 競投者須於拍賣前至少24小時作網上預先登記。 網上競投須得富藝斯投標部許可及 投標部有酌情權。 如上述第3段, 富藝斯 建議網上競投者於拍賣前檢視有興趣競投之 拍賣品, 及可要求索取品狀報告。 拍賣中競投速度或會很迅速。 為確保網上競投者 與現場或電話競投者競投時不處於劣勢, 透過富藝斯 網上競投平台競投為單一步驟過 程。 透過按下電腦屏幕上的競投鍵, 競投者即遞交一投標價。 網上競投者確認及同

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意遞交之投標價為已確實及任何情況下或不能修改或退回。 於拍賣進行中時, 當有非 網上投標出現時, 該些投標會於網上競投者的電腦屏幕上顯示為 “現場”投標。 “現 場”投標包括拍賣官為保障底價的投標。倘就同一項拍賣品收到網上競投者及一“現 場” 或 “電話” 競投者相同之競價,則拍賣官有權自行決定“現場” 投標會獲優先 辦理。為方便網上競投者競投, 下一喊價顯示於投標鍵上, 網上競投者之競投價遞增幅 度或會與拍賣官實際上下一喊價有所不同。 因拍賣官在任何時候可自行決定或會偏 離富藝斯之標準遞增幅度, 但網上競投者或只可以完整之下一喊價投標。 富藝斯之標 準競投價遞增幅度載於準買家指引。 (e) 不論以親身、書面競投、電話競投或網上方式競投, 當競投時即代表競投者接受承 擔繳付購買價及所有其他適用費用之責任, 詳情如以下第6(a)段所述, 除非於拍賣開始 前已與富藝斯以書面明確約定該競投者為一代理人, 而代表富藝斯接受該已知的第三 方及只會向該方收取付款。 (f) 不論以親身、書面競投、電話競投或網上方式參與競投, 即代表各準買家代表及保 證其或其代理人之投標均不是任何串通或其他反競爭協議的產生及與聯邦反信任法 例一致。 (g) 書面及電話競投是本公司提供予準買家之免費服務,本公司將盡合理努力代其競 投。除了故意瀆職的情況外,本公司不會對因未能執行書面或電話競投,或在當中出現 之任何失誤或遺漏負任何責任。 (h) 僱員競投 富藝斯及其附屬公司之僱員,包括拍賣官, 只可在不知底價及全面遵守本 公司的僱員競投內部規例之情況下進行書面競投。 5 拍賣規定 (a) 除非標有•符號, 否則所有拍賣品均有底價限制, 底價是一富藝斯與賣家達成協議的 保密最低出售價。 該底價不會高於拍賣前低估價。 (b) 拍賣官可隨時酌情決定拒絕或接受任何競投, 撒回任何拍賣品, 重新出售拍賣品( 包括在落槌後), 以及如遇出錯或爭議時採取其認為是合適之其他行動。 富藝斯不會 為拍賣官之行動承擔任何責任。 如在拍賣後有任何爭議, 將會以本公司的拍賣紀錄為 確鑿。 拍賣官或會接受富藝斯附屬公司競投者在不知道該拍賣品之底價的情況下之 競投。 (c) 拍賣官會以其認為合適之喊價開始及繼續拍賣。 為保障所有拍賣品的底價, 拍賣 官在不一定表示的情況下, 可代表賣家以接連投標或競投之方式就拍賣品作出競投直 至達到底價。 就不設底價的拍賣品,除非已有競投,否則拍賣官一般會以拍賣品的拍賣 前低估價的50%開始拍賣。 若在此價格下並無投標,拍賣官會自行斟酌將價格下降繼 續拍賣,直至有客戶開始競投,然後再由該投標價向上繼續拍賣。 在沒有更高叫價的情 況下, 以書面投標競投無底價拍賣品會以拍賣前低估價大約50%成交。 但若該投標價 低於拍賣前低估價的50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫價, 拍賣 官會自行決定該拍賣品為流拍。 (d) 本拍賣會以港元進行拍賣及須以港元繳款。 為方便海外客人, 圖錄內之拍賣前估 價或會用美元及或歐元, 及會反映大概兌換率。 因此, 美元或歐元的估價只供參考用。 為方便競投者, 本公司於拍賣會上或使用貨幣兌換顯示板, 富藝斯 不會為任何貨幣兌 換計算出現錯誤承擔任何責任。 (e) 在拍賣官之酌情下, 其出價最高且被拍賣官接受的競投者將為買家, 下槌則顯示最 高競投價之被接受, 亦表示賣家與買家之間的拍賣合約之訂立。 拍賣品之風險及責任 將如載於以下第7段轉移到買家。 (f) 如拍賣品沒有售出, 拍賣官會宣佈該拍賣品為”流拍”, “撤回”, “送回賣家”。 (g) 任何於拍賣會後的拍品買賣均受業務規定及著作保證所限制, 如同拍品於拍賣會 中出售。 6 購買價及付款 (a) 買家同意支付本公司每件拍賣品之成交價,買家應支付本公司酬金及所有適用稅項 及費用。買家應支付酬金費率為:拍賣品成交價首港幣1,600,000元之25%,加逾港幣 1,600,000元以上至港幣22,500,000元部份之20%;加逾港幣22,500,000元之餘款 的12%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。

(c) 為方便客戶, 富藝斯將接受以美國運 通卡, Visa及萬事達卡繳付最多港幣80萬元之 發票。 使用信用卡將被收取附加費。 (d) 所購拍賣品之擁有權將於富藝斯 全數收取後方可轉移。 富藝斯概無責任將拍賣品 交給買家直至拍賣品之擁有權已轉移, 且已獲提供適當確認而提早交付不會影響擁有 權之轉移或買家支付買入價之無條件責任。 7 提取拍賣品 (a) 富藝斯直至確認全數收取及買家於富藝斯或其附屬公司沒有欠款, 包括任何根據以 下第8(a)段所述需繳之任何費用; 及我們滿意買家所需其他條款(包括完成反洗黑錢或 反恐怖主義之財務審查後, 會將拍賣品交予買家。 (b) 買家須於拍賣後7天內安排提取拍賣品。 拍賣後所有拍品會被儲存在外。如欲提取 拍品,煩請與我們運輸部聯絡,電話:852-2318 2000。未能提取的拍品均會被收取有 關轉移,利息,儲存等相關費用。已買之拍賣品之風險,包括投保責任由買家承擔, 由(I) 領取; 或(II) 拍賣會後7天, 以較早日期為準。 直到風險轉移, 富藝斯 將就拍賣品之任何 損失或損毀向買家支付賠償, 惟以所付之買入價為最高限額,並受我們一般損失或損毀 拍賣品安排所限制。 (c) 為方便客戶,富藝斯可在不另收費下, 包裝拍賣品作手提用。我們並不會提供包裝、 處理、保險及付運服務。我們可依據買家之指示與付運代理(不論是否由富藝斯所建議) 協調及促成閣下於本公司購買貨物之包裝、處理、保險及付運於富藝斯所購的拍賣品。 買家須承擔所有任何指示之風險及責任, 本公司將不會負責或承擔其他的包裝員或運 送員之行為及遺漏引致的任何責任。 (d) 富藝斯在將拍賣品交予買家或買家之授權於代表前, 要求出示政府發出之身份證 明。 8 未提取拍品 (a)倘買家支付全數但未有於拍賣會後30天內提取拍賣品, 買家將會被收取逾期提取費 用。 每年未提取的拍品費用為每天港幣80元。 我們在全數收到該些費用後方會將拍 賣品交予買家。 (b) 倘已繳付拍品, 但未於拍賣會後6個月內提取該拍品, 則買家授權富藝斯(經通知後) 安排以拍賣或私人出售以重售該物品, 而估價及底價將由富藝斯酌情決定。 除非買家 在該拍賣會後兩年內收取該出售之所得款項扣除存倉費及任何其他買家欠富藝斯或其 附屬公司之所有費用, 否則該筆款項將被沒收。 9 欠繳款之補償方法 (a) 在不影響賣家可能擁有之任何權利之情況下, 倘買家在未預先協定之情況下未能在 拍賣會後7天內悉數繳付拍賣品購入價, 富藝斯可全權決定行使以下一項或多項補救方 法: (I) 將拍賣品貯存在其處所或其他地方, 風險及費用完全由買家承擔; (II) 取消該拍 賣品之銷售, 保留購入價任何部分繳款作為違約金; (III) 拒絕買家未來作出之競投或使 其就未來之競投須支付保證金; (IV) 收取由到期日至悉數收取買入價當日期間按每年 12%之利率計算之利息; (V) 對買家由富藝斯所管有之任何物品行使留置權及指示富藝 斯附屬公司對其管有買家之任何物品行使留置權。 在知會買家後, 並在發出該通知之 30天後可安排出售該物品, 以及將所得款項用以支付結欠富藝斯或其附屬公司扣除本 公司標準賣家佣金, 所有其他有關費用及任何適用稅項; (VI) 以拍賣或私人出售重售該 拍賣品, 而估價及底價將由富藝斯 合理地酌情決定。 倘該重售之價格低於該拍賣品之 成交價及買家應支持之酬金, 買家將仍須承擔該差額, 連同該重售產生之所有費用。 (VII) 展開法律訴訟, 以收回該拍賣品之成交價及買家應支持之酬金, 連同利息及該訴 訟之費用; (VIII) 以富藝斯或其附屬公司結欠買家之任何金額抵消買家就拍賣品結欠富 藝斯之任何金額; (IX) 向賣家透露買家之名稱及地址, 使賣家可展開法律訴訟, 以收回 欠款及申索法律費用; 或(X)採取本公司認為適當及需要之任何行動。 (b) 在收到富藝斯附屬公司通知買家未能付款後, 即買家不可撤銷授權富藝斯 對買家所 管有之任何物品行使留置權。 富藝斯會通知買家有關行使留置權。 在收到富藝斯附 屬公司通知買家未能付款後,買家亦不可撤銷授權富藝斯 抵押買家被管有的物品以支 持任何欠款。 如買家之物品被送往有關公司進行抵押, 富藝斯將會告知買家。 (c) 如買家未能繳付款項, 買家不可撤銷已授權富藝斯指示其附屬公司將買家被管有的 物品以買家代理人之身份交予富藝斯指定的第三方作購入價及任何其他欠款之典當 或抵押。 此項安排將於以書面通知買家後不少於30天進行, 出售物品以所獲得的出售 金額(扣除出售之標準賣家佣金及其他有關費用及任何適用稅項)支付富藝斯或其附屬 公司。

(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。

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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。

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。

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。

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。

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) 基於提供拍賣及其他相關服務或按法律規定之用途, 富藝斯可能向客戶要求提供 其個人資料。 富藝斯或會複印及保留政府發出的身份證明如護照或駕駛執照。 我們 會使用閣下之個人資料以(I) 提供拍賣及其他相關服務; (II) 以執行業務規定; (III) 展開 身份及信用審查; (IV) 推行及完善本公司業務之管理及運作; (V) 其他載於富藝斯 網站 www.phillips.com或可電郵向本公司索取之隱私政策的用途。 透過同意業務規定, 閣 下亦同意我們根據隱私政策使用您的個人資料, 包括敏感性個人資料。 本公司收集及 處理的個人及敏感性個人資料於本公司的隱私政策所定義。 我們或會不定期發送閣 下或感興趣有關於本公司將舉行的拍賣、活動資訊,如閣下不欲接收此等訊息,可電郵 至dataprotection@phillips.com。如欲收到關於閣下之個人資料或要求我們更新閣下 之個人資料, 您亦可電郵上述電郵地址。

(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。

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Richard Prince Untitled (Cowboys) signed, numbered and dated 'R Prince 1/2 1992' on reverse of sheet ektacolor print 50.7 x 61 cm (20 x 24 in.) Executed in 1992, this work is number 1 from an edition of 2 Š Richard Prince

20th Century. Contemporary. Now. 20th Century & Contemporary Art Evening & Day Auctions London, 29 & 30 June 2017 Viewing 21 – 30 June 2017 30 Berkeley Square W1J 6EX Enquiries contemporaryartlondon@phillips.com +44 207 901 7904

phillips.com

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香港中環置地廣場約克大廈13樓1301室

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Index Ai, Weiwei 38

Motonaga, Sadamasa 32, 39

艾未未 38

元永定正 32, 39

Arad, Ron 58

Nara, Yoshitomo 5, 11, 34, 59

羅恩•阿拉德 58

奈良美智 5, 11, 34, 59

克裡絲汀•艾珠 29

Ay Tjoe, Christine 29

朴栖甫 16

Park, Seo-Bo 16 費爾南多•博特羅 47

Botero, Fernando 47 Chu, Teh-Chun 43

Qiu, Yacai (Chiu, Ya-Tsai) 56, 57

朱德群 43

邱亞才 56, 57

喬治•康多 10

Condo, George 10 Covarrubias, Miguel 45

Richter, Gerhard 21, 60

米高•柯瓦盧畢亞斯 45

格哈特•里希特 21, 60

Doig, Peter 41

Ruscha, Ed 8

彼得•多伊格 41

埃德•拉斯查 8

Emin, Tracey 50

Scully, Sean 19

翠西•艾敏 50

肖恩•斯庫利 19 白髮一雄 30

Shiraga, Kazuo 30 Foujita, Léonard-Tsuguharu 46

Stingel, Rudolf 14

藤田嗣治 46

魯道夫•斯丁格爾 14

Haring, Keith 9

Tanaka, Atsuko 31

凱斯•哈林 9

田中敦子 31

達米恩•赫斯特 22

Hirst, Damien 22 Hsiao, Chin 40

Vo, Danh 7

蕭勤 40

傅丹 7

Ingrand, Max 49

Warhol, Andy 3, 13

馬克斯•英格蘭 49

安迪•沃荷 3, 13 喬納斯•伍德 1

Wood, Jonas 1 皮埃爾•讓納雷 55

Jeanneret, Pierre 55 Ju, Ming 44

Yamaguchi, Takeo 20

朱銘 44

山口長男 20

Juhl, Finn 24, 25, 54

Yu, Youhan 48

芬•祖爾 24, 25, 54

余友涵 48 岳敏君 27

Yue, Minjun 27 Yun, Hyong-Keun 18

KAWS 6, 12

尹亨根 18

Kim, Whan-Ki 23

Zao, Wou-Ki 42

安塞姆•基弗 15

趙無極 42

Kuramata, Shiro 33

Zeng, Fanzhi 28, 52

金煥基 23

曾梵志 28, 52

Kusama, Yayoi 2, 4

Zhang, Enli 26

倉俁史朗 33

張恩利 26

草間彌生 2, 4

張曉剛 53

KAWS 6, 12 Kiefer, Anselm 15

Zhang, Xiaogang

53

Lalanne, François-Xavier 35, 36, 37 Lee, Ufan 17

弗朗索瓦-格扎維埃•拉蘭內 35, 36, 37

Li, Chen 51

李禹煥 17 李真 51

Front Cover Lot 11, Yoshitomo Nara, Last Warrior / The Unknown Soldier, 2000 © Yoshitomo Nara

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Back Cover Lot 29, Christine Ay Tjoe, Small Flies and Other Wings, 2013 (detail)

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54. Finn Juhl 芬·祖爾

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33. Shiro Kuramata 倉俣史朗

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47. Fernando Botero 費爾南多·博特羅

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10. George Condo 喬治·康多

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15. Anselm Kiefer 安塞姆·基弗

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phillips.com

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20TH CENTURY & CONTEMPORARY ART & DESIGN EVENING SALE [Catalogue]  

Phillips presents the 20th Century & Contemporary Art Evening Sale on 28 May in Hong Kong.

20TH CENTURY & CONTEMPORARY ART & DESIGN EVENING SALE [Catalogue]  

Phillips presents the 20th Century & Contemporary Art Evening Sale on 28 May in Hong Kong.