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

20th Century & Contemporary Art Evening Sale Hong Kong, 25 November 2018 二十世紀及當代藝術晚間拍賣

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23. Jonas Wood 喬納斯．伍德

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5. Yayoi Kusama 草間彌生 © YAYOI KUSAMA

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12. Richard Lin 林壽宇

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3. KAWS

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13. Wifredo Lam 林飛龍 © Wifredo Lam / ADAGP, Paris – SACK, Seoul, 2018

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Executives.

Ed Dolman

Cheyenne Westphal

Chief Executive Ofcer +1 212 940 1241 edolman@phillips.com

Chairman +44 20 7318 4044 cwestphal@phillips.com

ÂŠ Brigitte Lacombe

20th Century & Contemporary Art.

Jean-Paul Engelen

Robert Manley

Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman +1 212 940 1390 jpengelen@phillips.com

Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman +1 212 940 1358 rmanley@phillips.com

Senior Advisors.

Hugues Jofre

Arnold Lehman

Ken Yeh

Senior Advisor to the CEO +44 207 901 7923 hjofre@phillips.com

Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com

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

Deputy Chairmen.

Svetlana Marich

Jonathan Crockett

Peter Sumner

Miety Heiden

Alexander Payne

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art +44 20 7318 4063 psumner@phillips.com

Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Deputy Chairman, Europe, Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Americas, Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Deputy Chairman, Europe Senior Specialist, 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com

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20th Century & Contemporary Art. Hong Kong.

Isaure de Viel Castel

Sandy Ma

Charlotte Raybaud

Danielle So

Delissa Putri Handoko

Head of Department, Asia +852 2318 2011 idevielcastel@phillips.com

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

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

Cataloguer +852 2318 2027 dso@phillips.com

Cataloguer +852 2318 2013 dhandoko@phillips.com

Scott Nussbaum

Rachel Adler Rosan

Kevie Yang

Amanda Lo Iacono

John McCord

Rebekah Bowling

Sam Mansour

Katherine Lukacher

Head of Department +1 212 940 1354 snussbaum@phillips.com

Senior Specialist +1 212 940 1333 radlerrosan@phillips.com

Senior Specialist +1 212 940 1254 kyang@phillips.com

Head of Evening Sale +1 212 940 1278 aloiacono@phillips.com

Head of Day Sale, Morning +1 212 940 1261 jmccord@phillips.com

Head of Day Sale, Afernoon +1 212 940 1250 rbowling@phillips.com

Head of New Now Sale +1 212 940 1219 smansour@phillips.com

Head of Online Sales +1 212 940 1215 klukacher@phillips.com

Jeannette van Campenhout

Annie Dolan

Olivia Kasmin

Carolyn Mayer

Maiya Aiba

Avery Semjen

Patrizia Koenig

Cataloguer +1 212 940 1288 adolan@phillips.com

Cataloguer +1 212 940 1312 okasmin@phillips.com

Cataloguer +1 212 940 1206 cmayer@phillips.com

Cataloguer +1 212 940 1387 maiba@phillips.com

Cataloguer +1 212 940 1207 asemjen@phillips.com

Researcher/Writer +1 212 940 1279 pkoenig@phillips.com

Nathalie Zaquin-Boulakia

Jonathan Horwich

Matt Langton

Rosanna WidĂŠn

Henry Highley

Tamila Kerimova

Senior Specialist +44 20 7901 7935 jhorwich@phillips.com

Senior Specialist +44 20 7318 4074 mlangton@phillips.com

Senior Specialist +44 20 7318 4060 rwiden@phillips.com

Head of Evening Sale +44 20 7318 4061 hhighley@phillips.com

Head of Day Sale +44 20 7318 4065 tkerimova@phillips.com

New York.

Specialist +1 212 940 1391 jvancampenhout@phillips.com

London.

Dina Amin Head of Department +44 20 7318 4025 damin@phillips.com

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

Simon Tovey

Kate Bryan

Lisa Stevenson

Charlotte Gibbs

Louise Simpson

Clara Krzentowski

Head of New Now Sale +44 20 7318 4084 stovey@phillips.com

Specialist +44 20 7318 4050 kbryan@phillips.com

Cataloguer +44 20 7318 4093 lstevenson@phillips.com

Cataloguer +44 20 7901 7993 cgibbs@phillips.com

Cataloguer +44 20 7901 7911 lsimpson@phillips.com

Researcher/Writer +44 20 7318 4064 ckrzentowski@phillips.com

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Client Advisory. New York.

Europe.

Philae Knight

Jennifer Jones

Liz Grimm

Yassaman Ali

Vera Antoshenkova

Client Advisory Director +1 212 940 1313 pknight@phillips.com

Director of Trusts, Estates & Valuations +1 212 940 1272 jjones@phillips.com

Business Development Associate +1 212 940 1342 egrimm@phillips.com

Client Advisory Director +44 20 7318 4056 yali@phillips.com

Client Advisory Manager +44 20 7901 7992 vantoshenkova@phillips.com

Business Development. Americas. Europe.

Asia.

Vivian Pfeifer

Guy Vesey

Lilly Chan

Othniel Jai Prakash

Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Head of Business Development & Marketing, Europe +44 20 7901 7934 gvesey@phillips.com

Managing Director, Asia, Head of Business Development, Asia +852 2318 2022 lillychan@phillips.com

Senior Business Manager +852 2318 2034 othnieljaiprakash@phillips.com

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

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

International Specialists & Regional Directors. Asia.

Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Regional Director, Japan +81 90 8700 0570 khattori@phillips.com

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea +82 10 7389 7714 jyyoon@phillips.com

Associate Regional Representative, Korea +82 10 7305 0797 sshin@phillips.com

Regional Director, Shanghai +86 13911651725 wenjiazhang@phillips.com

Associate Regional Representative, Shanghai +86 139 1828 6589 aliciazhang@phillips.com

Cindy Yen

Meiling Lee

Iori Endo

Christine Fernando

Senior Specialist, Watches & Jewellery, Taiwan +886 2 2758 5505 cyen@phillips.com

International Specialist, Taiwan +886 908 876 669 mlee@phillips.com

Regional Representative, Japan +44 20 7318 4039 iendo@phillips.com

Associate Regional Representative, Singapore +65 9128 6277 christinefernando@phillips.com

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Americas.

CĂ˘ndida SodrĂŠ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Regional Director, Consultant, Brazil +55 21 999 817 442 csodre@phillips.com

Regional Director, Specialist, Photographs, Chicago +1 773 230 9192 cehlers@phillips.com

Regional Representative, Chicago +1 310 922 2841 lauren.peterson@phillips.com

Senior Specialist, 20th Century Regional Director, Los Angeles & Contemporary Art, Denver +1 323 383 3266 +1 917 657 7193 bkoh@phillips.com mdekoning@phillips.com

Blake Koh

Kaeli Deane

Valentina Garcia

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Head of Latin American Art, Los Angeles +1 212 940 1352 kdeane@phillips.com

Specialist, Miami +1 917 583 4983 vgarcia@phillips.com

Regional Director, Consultant, Mexico +52 1 55 5413 9468 crayclafan@phillips.com

Regional Director, Palm Beach +1 508 642 2579 maurasmith@phillips.com

Regional Director, Seattle +1 206 604 6695 scwaltner@phillips.com

Laurence Calmels

Maria Cifuentes

Laurence Barret-Cavy

Dr. Nathalie Monbaron

Dr. Alice Trier

Regional Director, France +33 686 408 515 lcalmels@phillips.com

Specialist, 20th Century & Contemporary Art, France +33 142 78 67 77 mcifuentes@phillips.com

Specialist, 20th Century & Contemporary Art, Paris +33 633 12 32 04 lbarretcavy@phillips.com

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

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

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Julia Heinen

Regional Director, Italy, Senior International Specialist, 20th Century & Contemporary Art +39 338 924 1720 clanfranchi@phillips.com

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain +351 917 564 427 mmarvao@phillips.com

Specialist, 20th Century & Contemporary Art, Moscow +7 905 741 15 15 kfenina@phillips.com

Specialist, 20th Century & Contemporary Art, Regional Director, Zurich +41 79 694 3111 jheinen@phillips.com

Europe.

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20th Century & Contemporary Art Evening Sale Hong Kong, 25 November 2018, 6pm 二十世紀及當代藝術晚間拍賣 Auction and Viewing Location Mandarin Oriental 5 Connaught Road Central Hong Kong

Sale Department

Auction 25 November 2018, 6pm (Lots 1 –28)

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

Viewing 22-25 November Thursday-Friday 10am-6pm Saturday 10am-7pm Sunday 10am-6pm

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

Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010218 or 20th Century & Contemporary Art Evening Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com

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

Head of Day Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com Specialists Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Meiling Lee +886 908 876 669 mlee@phillips.com Cataloguers Danielle So +852 2318 2027 dso@phillips.com Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com

拍賣及預展文華東方酒店香港中環干諾道中5號拍賣 2018年11月25日，下午6時 (拍品編號 1–28) 預展 2018年11月22日上午10時 – 下午 6 時 2018年11月23日上午10時 – 下午 6 時 2018年11月24日上午10時 – 晚上 7 時 2018年11月25日上午10時 – 下午 6 時拍賣名稱及編號在遞交書面和電話競投表格或查詢拍賣詳情時，請註明拍賣編號為 HK010218 或拍賣名稱二十世紀及當代藝術晚間拍賣。委托競投及電話競投電話+852 2318 2029 傳真+852 2318 2010 bidshongkong@phillips.com 拍賣部門亞洲副主席陳遵文 +852 2318 2023 jcrockett@phillips.com 部門主管杜依舜 +852 2318 2011 idevielcastel@phillips.com 夜間拍賣主管馬穎子 +852 2318 2025 sma@phillips.com 日間拍賣主管雪鸞 +852 2318 2026 craybaud@phillips.com 專家尹裕善 +82 10 7389 7714 jyyoon@phillips.com 李美玲 +886 908 876 669 mlee@phillips.com 圖錄編輯蘇琬婷 +852 2318 2027 dso@phillips.com 黃琴慧 +852 2318 2013 dhandoko@phillips.com 行政員汪慧華 +852 2318 2024 mang@phillips.com

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O♦

1. Stanley Whitney

b. 1946

Queen of Hearts signed ‘Whitney’ on the stretcher; further signed, titled and dated ‘2004 “Queen of Hearts” Stanley Whitney’ on the reverse oil on linen 137.2 x 152.4 cm. (54 x 60 in.) Painted in 2004. Provenance Esso Gallery, New York Private Collection, New York Acquired from the above by the present owner

斯坦利．惠特尼《紅心王后》油畫麻布 2004年作款識：Whitney (簽於內框)；2004《Queen of Hearts》 Stanley Whitney (畫背) 來源紐約，Esso 畫廊紐約私人收藏現藏者購自上述來源

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

‘The difculty for me in making these paintings is, if you fall in love with this red, can you get out of that red so that everything equals out and there’s no beginning or no end to it all?’ Stanley Whitney

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Emblematic of the artist’s fastidious and enduring investigation into the formal relationship between colour and space, Stanley Whitney’s Queen of Hearts represents a profound contribution to the history of painting. Structuring the surface of the canvas with a mesmerising grid of multi-hued blocks, enlivened by gestural marks and the nuanced layering of tones that seamlessly bleed to create superfcial depth, Whitney intuitively balances and contrasts colours to uniquely reformulate the structuring of abstract space. Whilst Whitney has been an active proponent of colour feld painting since the 1970s, the artist has operated largely under the radar for much of his career. However, recent institutional attention has afrmed his historic importance within wider public consciousness: following his seminal solo exhibition, Dance the Orange, at the Studio Museum in Harlem, New York in 2015, Whitney was inducted into the American Academy of Arts and Letters in 2017. Perfectly scaled and resplendent with the key defning characteristics of his oeuvre – the four tiers of jubilantly coloured blocks and a poignantly evocative title –the appearance of Queen of

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Hearts at auction marks an early opportunity to acquire a preeminent work by an artist at the nascent stages of exponentially burgeoning recognition.

The artist photographed in his Ridgewood, New York, studio on 13 March 2017.

Born in Philadelphia in 1946, Whitney developed his idiosyncratic style afer moving to New York in 1968. In the wake of Abstract Expressionist predecessors, his colour block paintings grew in tandem with and contributed to the groundbreaking schools of Colour Field and Minimalist painting. Indeed, having taught Painting and Drawing at the Tyler School of Art for over 30 years, Whitney’s ongoing infuence to contemporary painting cannot be denied. Whilst inevitably inspired by his original creative context, Whitney eschewed a totalitarian puritanism evident in contemporaries such as Mark Rothko, Josef Albers, Carl Andre and Kenneth Noland, instead seeking an intuitive and rhythmic use of colour blocking that equally paid homage to masters of European painting: ‘I felt they were all giving too much up. They gave the hand up, they were focused on being fat against the wall, what you see is what you get—I didn’t like that

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idea. I didn’t want to give up Courbet, I didn’t want to give up Goya, I didn’t want to give up Velázquez—I didn’t want to give up anything.’ (The artist quoted in Aruna D’Souza, ‘The Color Makes the Structure: Stanley Whitney Paints a Picture’, artnews.com, posted 30 May 2017.) Whilst the present work evokes the fat collaged panels of Matisse’s iconic L’Escargot (The Snail) from 1953, Whitney has imbued his blocks with depth by layering washes of paint over one another with a gestural fare that resonates with the nuanced felds and delicately composed plastic depth of Cézanne. In the early 1990s, Whitney travelled to the Mediterranean. His experience of the ancient architecture of Egypt and in Italy – where decorative fourish is always supported by simple geometry – inspired the crucial structuring of abstract blocks that constitute his signature style. Summoning the monumental solidity of the pyramids and the Coliseum, here we see densely saturated blocks stacked upon one another like ancient brick work, reconceptualising the modernist grid for an efect that is both architectural and emotive. To begin these compositions, Whitney paints a single rectangular block of colour in the upper lef of the canvas, proceeding intuitively to align and stack colour, adding blocks freehand as if writing a jazz score that is emphasised with vibrant contrasts and sonorous tonal harmonies. This is all enacted with varied brushstrokes, where the artist layers transparent washes so that a grounded red

might ring out from underneath a tonally juxtaposed verdant green, whilst maintaining a matte sheen across his luxurious surface. It is only over time that the nuances of colour fully reveal themselves. Arresting our attention within this wall-like construction as such, Whitney gives form to his ultimate maxim for abstract painting, that ‘The color makes the structure.’ (The artist quoted in ibid.) As noted by Lauren Haynes, “Whitney’s colours take on lives of their own. They evoke memory and nostalgia. This orange takes you back to your favourite childhood t-shirt; that blue reminds you of your grandmother’s kitchen. Whitney’s paintings remind us, on a universal scale, of the ability of colour to trigger feelings and sensations.” (Lauren Haynes, ‘Orange That Blue’, Stanley Whitney: Dance the Orange, The Studio Museum in Harlem, New York, 2015, p. 28.) Whitney’s titles always speak of an epic historical consciousness, in this case alluding to the tradition of playing cards and the Queen of Hearts in Lewis Carroll’s classic tale, Alice’s Adventures in Wonderland. Yet, saturated with deep, impassioned reds, here Whitney takes us to our own psychological associations with the fabled Queen of Love’s greatest symbol.

Josef Albers Study for Homage to the Square: Wet and Dry, 1969 Phillips London, 8 March 2017 Estimate: £150,000 - 250,000 Sold For: £425,000 約瑟夫·亞伯斯《向方形致敬的習作: 乾與濕》1969年作倫敦，富藝斯，2017年3月8日估價: 英磅 150,000 - 250,000 成交價: 英磅 425,000

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Installation view of Stanley Whitney: Dance the Orange at The Studio Museum in Harlem, 2015 Photo by Adam Reich

〈斯坦利·惠特尼: 橘色舞動〉展場一景，展於哈林工作室美術館，2015年

斯坦利·惠特尼的作品《紅心王后》是一幅對繪畫歷史貢獻尤深的創作，象徵藝術家對顏色和空間之造形關係的不懈鑽研。畫面由各種顏色的色塊組成動人的格子結構，加以富有動感的標記和微妙的色調層次，完好構成表面的深度。惠特尼隨性地平衡或對比顏色，重塑抽象空間的結構。自1970年代起，惠特尼就是色域繪畫的積極擁護者，所以其藝術事業也多半以色域畫家而為人所知。然而，通過近年許多大型機構性的關注研究，證明惠特尼對於藝術發展的重要性。2015年，他在紐約哈林工作室博物館舉行其重要個展〈橘色舞動〉，2017年，他成為美國藝術文學院院士。此次上拍作品《紅心王后》是其重要大規模作品，四層鮮艷絢麗的色塊與其深刻的題目相呼應，彰顯了藝術家作品中的標誌性特點，目前惠特尼正受到各方的關注，收藏家蠢蠢欲動。惠特尼於1946年在美國費城出生，自1968年移居紐約後建立起其獨樹一幟的藝術風格。前輩專注於抽象表現主義藝術時，他的色塊繪畫逐漸成形，亦推動了突破性的色域和極簡藝術。的確，惠特尼曾在泰勒藝術學院執教油畫與素描長達三十年，因此他對當代繪畫的影響功不可沒。除了其本身創作背景的啟發，他並沒有像同時期藝術家馬克·羅斯科、約瑟夫·亞伯斯、卡爾·安德和肯尼斯· 諾蘭一般，採取完全純粹的色域繪畫，而是尋找色塊中的自發性和韻律性，同時向歐洲繪畫大師致敬：「我覺得他們放棄太多了，他們把手感放棄了，完全專注於放在墻上的平面，你所看到的就是你所有的，我不喜歡這個理念。我不想放棄庫爾貝，我不想放棄戈雅，我不想放棄維拉斯蓋斯，我什麼都不想放棄。」（藝術家所言講，錄於 Aruna D’Souza，〈結構始自顏色: 斯坦利·惠特尼繪一幅畫〉 artnews.com，發佈於2017年5月30日）此作令人想起馬蒂斯的1953年作品《蝸牛》，該作品是一幅抽象平面

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拼貼畫作品，而惠特尼的作品不僅色塊，更以顏料重疊和動態筆觸加入了層次和深度，頗有塞尚作品中微妙的靜物深淺感之神韻。在1990年代早期，惠特尼遊歷至地中海，感受了埃及古建築，以及意大利建築的簡潔幾何結構，賦予他靈感，創作出抽象色塊構成，形成其最標誌性風格。如金字塔和羅馬競技場般的堅固和巨大，此畫中色澤飽滿的色塊如古代方磚結構般層疊在一起，又如現代主義網格，既有建築性，又不乏情感顯現。惠特尼在創作的一開始會先於畫布左上角繪畫出一個長方形色塊，然後隨性地排列、堆積更多色塊，好像是隨意的爵士樂譜般，著重鮮明的對比與調子的和諧。此外，藝術家運用不同的筆觸，重疊半透明的渲染色彩，因此一片深紅色的下面很可能是一片對比的鮮綠色，而平滑的表面依然有著其淡雅的光澤。只有經過時間的沉澱，顏色的萬般變化才會展現眼前。細心欣賞此幅如壁壘般的畫作，可見惠特尼對抽象畫的自我演繹：「顏色塑造結構。」（藝術家所言，同上。）如 Lauren Haynes 所說：「惠特尼筆下的顏色擁有自己的生命，它們能激起回憶和思愁。這塊橙黃色令你想到童年最愛的T恤，那塊藍色又把你帶到祖母的廚房。惠特尼的畫作十分普世，提醒了我們顏色在觸發意識和情感的力量。」（Lauren Haynes，〈讓藍染橘〉，《斯坦利·惠特尼: 橘色舞動》，哈林工作室博物館，紐約，2015年，28頁）惠特尼作品的題目也總會勾起各種聯想，此作題目暗示撲克牌之印象以及路易斯·卡羅之經典故事《愛麗絲夢遊仙境》。然而，配以深湛熱情的紅色，惠特尼引領我們自己的想像力遊走到愛之女神的象徵。

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O♦

2. Cecily Brown

b. 1969

Untitled #74 signed and dated ‘Cecily Brown 07-08’ on the reverse oil on linen 41.9 x 31.8 cm. (16 1/ 2 x 12 1/ 2 in.) Painted in 2008. Provenance Gagosian Gallery, New York Private Collection, USA Acquired from the above by the present owner

塞西麗．布朗《無題 74號》油畫麻布 2008年作款識：Cecily Brown 07-08 (畫背) 來源紐約，高古軒畫廊美國私人收藏現藏者購自上述來源

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

‘I am interested in the unfxed nature of things. I want the work to have a trapped energy so that the paint seems to vibrate in place...’ Cecily Brown

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Â© Cecily Brown

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An exquisite work that evinces her idiosyncratic mastery of the painted medium, Cecily Brown’s Untitled #74 is a veritable gem within the artist’s prodigious oeuvre. Although better known for her large-scale works, Untitled #74 is an exquisite example of her smaller-scale, jewellike paintings, a series which Brown began in 2008 to interpret the role of human scale and perception in her fragmented subjects through a variety of brushes and techniques. These smaller paintings which remain untitled are not studies for larger paintings, yet by being works in themselves where Brown explores and resolves ideas and forms that emerge in her larger work, acquire new signifcance in this format. Painted in 2008, the work gives a focused insight into the artist’s unique working method that stylistically compounds the trajectory of European painting – from the dynamism of the Baroque, to the feeting touch of Impressionist masters, and the lyrical fare of Abstract Expressionism – whilst creating a painterly vision that is wholly unique, announcing her own position within the grand history of western painting. Here, Brown indulges in the most pure and freehanded abstraction of her career, eschewing concretely referential forms in order to give command to the vivacity of pure colour and the confdent assiduity of her delicate brushwork. Whilst the feshy pink tones and visceral reds of this intimate canvas ring with the erotic sensuality that characterised Brown’s earlier career, here she shifs her conceptual gaze from the life giving force of reproduction towards a more elemental vision of creation: against a darkened ground illuminated with the fractured matter of stardust it seems as if the artist looks to the cosmos and the fabric of the universe itself. Painted just two years afer

Brown’s major solo retrospective at the Museum of Fine Art Boston in late 2006, Untitled #74 expresses a stylistic apex in the artist’s career. Today Brown’s paintings sit in international museum collections including the Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; and Tate, London. Brown’s career has remained unequivocally focused on the painted medium, in stark contrast to many other artists of the YBA generation that she frst worked alongside in London during the 1990s. She has constantly explored and celebrated the inherent tactility of oil paint and its ability to map the exquisite nuances of the painter’s hand as it glides over the canvas. Composed as a highly detailed study, the present work exhibits the enthralling versatility of oil paint and the artist’s ability to create a mesmeric metaphor for life itself. As Brown explained: ‘I am interested in the unfxed nature of things. I want the work to have a trapped energy so that the paint seems to vibrate in place. I want the viewing of it to approximate the experience of being in the world.’ (D. Ashton, Cecily Brown, New York, 2008, p.25.) Utilising the brush as such, Brown crafs an abstracted appreciation of the natural world through an insistence on subjectivity. However in this process, the artist condenses art historical references and pays homage to her predecessors: the tactile strokes of Impressionism; the micro repetitions of Pointillism; the luridly luscious palette of Chaim Soutine; and the disquieting experience of Surrealist paintings, in particular calling to mind the coral-like details of the horse-woman in The Antipope by Max Ernst, which all inhabit this dense surface.

Willem de Kooning Untitled I3, 1977 Sold at Phillips New York, 17 May 2018 Estimate: US$ 1,500,000 – 2,000,000 Sold For: US$ 4,155,000 © 2018 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York

威廉·德·庫寧《無題13》1977年作紐約富藝斯，2018年5月17日估價: 美金1,500,000 – 2,000,000 成交價: 美金 4,155,000

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Artist in her studio 藝術家於工作室

From the 20th century, the early works of American Abstract Expressionists Phillip Guston and Willem de Kooning are also present. Exemplifed in Untitled #74 is Brown’s unique ability to evoke and carry these weighted references on the peripheries of our consciousness, never making too direct an assimilation. Brown’s stylistic development has been guided by evolving explorations into the relationship between abstraction and fguration. Whilst abstracted fgures and dislocated body parts charged earlier compositions with an intense sexual energy, here the artist gives over fully to the sensuality of pure brushwork itself, recalling her earlier themes with a stark economy of form. As the artist later noted: ‘I like the fact that because my earlier work was so known for having erotic contents, I actually need to give very little now and it’s seen as erotic or hinting at erotic.’ (‘New York Minute: Cecily Brown,’ Another, 14 September 2012.) In the present work all bound forms have been dissolved, privileging instead the autonomy of individual tones which play of one another through a balancing of colour that seems at once calculated and intuitive. The charged fesh tones still populate the canvas intermittently with fashes of raw erotic energy, yet these are ofset and animated by

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even sparser fashes of crystalline white highlights and instances of marine blue at the edges. Brown adopts shortened brushstrokes that fan out and circulate around one another in clusters, forming a dense palimpsest of texture. The intense layering appears to build from a dark and enigmatic ground that pushes the most vibrant colours further forward into our feld of vision. As such, regular spatial appreciation is confused and the sensuous lines and washes of earlier works are usurped by a sense of mystery that evokes the dark and frenetic energy of the universe. Brown’s painting thus seeks to capture and create an essential life force: ‘I think that painting is a kind of alchemy…the paint is transformed into image, and hopefully paint and image transform themselves into a third and new thing….I want to catch something in the act of becoming something else’ (the artist quoted in Cecily Brown, New York: Gagosian Gallery and Rizzoli, 2008, p. 16.) In an accomplished work such as Untitled #74, paint is yielded into an ambiguous cerebral image as Brown endlessly titillates the human capacity for scopophilic pleasure.

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馬克斯·恩斯特《偽教宗》1941-42年作威尼斯，古根漢基金會，佩姬·古根漢美術館收藏，1976年

塞西麗·布朗的《無題74號》彰顯藝術家對於繪畫這種媒材的獨特掌握，可謂是其卓越作品寶庫內的一件珍寶。雖然其大尺幅作品更廣爲人知，《無題74號》是她相對小尺幅佳作的典範，布朗於2008年開始創作這一系列作品，透過紛繁多樣的筆觸與技巧，於碎片化的主題中探索人類尺度與感官所扮演的角色。這些無題的小尺幅作品，並非為大尺幅作品的習作，布朗於其中嘗試、解決其大型作品創作思路與構圖問題，並以此種形式詮釋嶄新的意義。創作於2008年，本件作品爲深入瞭解藝術家獨特的創作手法提供窗口，它既與歐洲繪畫發展軌跡不謀而合: 從巴洛克的活力十足、印象派大師轉瞬即逝的筆觸到抽象表現主義的詩意光芒，又呈現她獨具一格的繪畫視角，在西方繪畫歷史長河中留下專屬於她的一筆濃墨重彩。布朗於此沉浸於純粹且無拘無視的抽象創作中，避免提供具象可參照的形態，遊刃有餘地採用明快色彩與精細筆觸。儘管此件小尺幅作品的肉質粉色調與內臟式紅色調充盈著布朗早期作品中的情慾感官享受，但她的創作概念由生命為助力轉變為一種更為質樸的創作觀：在佈滿零落星塵的暗色背景上，藝術家仿若凝視宇宙星際及其構成。布朗於2006年底在波士頓美術館舉辦重要回顧展，創作於兩年後的《無題74號》標識着藝術家創作生涯的巔峰。現今其作品獲納入多間國際博物館的典藏，包括紐約所羅門·古根漢博物館、紐約惠特尼美國藝術博物館及倫敦泰特美術館。

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布朗一直明確地堅守繪畫這一種媒材，與許多1990年代和她共事過的同輩英國青年藝術家大相徑庭。她持續探索、欣賞油彩這種媒材的獨有觸感及其於畫布上捕捉藝術家手感精細動作的能力。本件作品細節豐富，呈現油彩的多重可能性以及藝術家爲生命本身營造動人比喻的能力。正如布朗所解釋，「我對於事物不確定的本質感興趣。我希望作品能補捉到能量，以至於顏料恰如其分地顫動起來。我希望觀看它的時候，接近於存活於世界上的體驗。」(D·阿詩頓，《塞西麗·布朗》，紐約，2008年，第25頁) 以此種方式運用畫筆，布朗通過堅持主觀性，

精心培育對於自然世界的抽象審美。然而在這個過程中，藝術家濃縮藝術史參照物並且致敬前輩藝術家：印象派豐富的筆觸；點彩畫派的細膩重複；柴姆·蘇丁華麗鮮豔的調色盤；以及超現實主義畫作中引人焦慮的體驗感，尤其令人聯想到馬克斯·恩斯特之作品《偽教宗》，畫中馬臉女人身上之如珊瑚般的細節，無不濃縮在其畫面中。二十世紀中，美國抽象表現主義藝術家菲利普·加斯頓與威廉·德·庫寧的風格也均有體現。《無題74號》是布朗獨一無二創作力的完美典範，既引人潛意識聯想起大師藝術的參照，卻又從未直接被同化。布朗對抽象與具象關係的持續探索引領了其作品風格的演化。其早期作品中的抽象人物與分離肢體將作品構圖填滿了濃郁的情慾色彩，而此處藝術家將純粹筆觸的感官享受拉到極致，引人聯想起其極少圖像的早期主題。正如藝術家後期評論到：「我早期的作品因爲情慾內容而廣爲人知，如今我只需要展現很少的內容便已會被認爲情慾或暗指情慾，我喜歡這種狀態。」「 ( 紐約一刻：塞西麗· 布朗」，《另一個》，2012年9月14日) 本件作品中所有束縛的形態都被瓦解，轉而強調不同色調之間的相互平衡，顯得既精心安排又隨性自然。飽滿的肉色調依然間或出現在畫布上帶來原始情慾的光芒，卻與寥寥幾筆的透亮白色及畫布邊緣的海藍色相互作用、撩撥。布朗採用呈扇狀散開的短促筆觸，筆筆之間相互簇擁，營造密集重疊的濃郁質感。這鮮明的層次感好似由一層神秘莫測的暗黑背景開始，將明快色彩一步步推進我們的視野。藉此，尋常的空間辨識被模糊，先前作品中的美感線條、色塊被一股神秘感取而代之，激發關於暗黑且狂熱宇宙的聯想。布朗的作品力圖捕捉並創作一股不可或缺的生命力：「我認為繪畫是一種煉金術…顏料轉化為圖像，但願顏料和圖像一併轉化為第三種新的事物…我渴望在成為其他事物前能捕捉到某些東西。」(引自藝術家，《塞西麗·布朗》，紐約，高古軒畫廊及Rizzoli出版，2008年，第16頁) 於其佳作《無題74號》中，布朗無休止地挑逗人類關於窺視慾的極限，顏料隨之轉化作大腦中曖昧不清的影像。

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3. KAWS

b. 1974

UNTITLED signed and dated ‘KAWS..15’ on the reverse acrylic on canvas 244 x 244 cm. (96 1/8 x 96 1/8 in.) Painted in 2015. Provenance Acquired directly from the artist by the present owner

KAWS 《無題》壓克力畫布 2015年作款識：KAWS..15 (畫背) 來源現藏者直接購自藝術家本人

HK$ 4,000,000-5,000,000 US$ 513,000-641,000

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Artist and designer Brian Donnelly, also known as KAWS, has created a sharp and prolifc body of work that bridges the gap between fne art and global commerce. UNTITLED features sizeable fuorescent forms that when viewed from a distance, converge to resemble a close-up detail of one of KAWS’s signature creatures with cartoon hands covering its X-ed out eyes. His bubbly skull-shaped character with crossbones as ears, in addition to his other endearing fgures, have achieved a subcultural iconography and are immediately recognisable on a global scale especially to the media-savvy crowd. Though his characters were originally created as rifs on lionised popular culture and cartoon fgures, KAWS’s own adaptations have become distinguished icons in their own right.

Their shared cultivated taste, connoisseurship, ability to infuence youth culture, and most importantly, their freedom to work on their own terms profoundly resonated with the young American artist. KAWS describes, “in America, you had to choose between being a fne artist or a commercial artist... In Japan, I never felt that—they were just looking at pieces and creating objects. There was an integrity to it.” (KAWS quoted by Lucia Ferigutti, “The Supersized Sculptures of KAWS,” February 8, 2016.) Evident in UNTITLED, the versatile character that KAWS frst introduced in his street art, and later transformed into a highly sought-afer collectible vinyl fgure in collaboration with Bounty Hunter, is nowadays being exhibited as part of major works in museums around the United States, Europe, and Asia.

In line with the work of Takashi Murakami, Jef Koons, Keith Haring and Andy Warhol, KAWS refuses to parse distinctions between high versus low art. His participation in the skate culture, grafti crews, and street-art movement of the early 1990s in downtown Manhattan shaped the artist’s style and afnity for the handmade and do-it-yourself ethic. According to Germano Celant, street art, “is an abandonment of the narcissistic, opportunistic aspect—as concerns the market—of the communicational break, in favour of a fuidity that directly captures the reality of the city,” a description that aptly underscores KAWS’s work. (Germano Celant, “BD and K,” exh. cat., KAWS 1993-2010, New York, 2010, p. 47.) In 1996, Barry McGee gave KAWS a tool to open tamper-proof bolts to unlock glass panels encasing bus stop and phone booth poster ads. In major cities around the world, KAWS would surreptitiously steal posters, add his own graphics to them in acrylic paint, and then stealthily put them back.

Given its fat, non-hierarchical application of paint that instils the entire canvas with an equal relevance, the magnifed perspective of UNTITLED blurs the boundaries between fguration and abstraction. The X-ed out eye and cartoon hands only scarcely point to KAWS’s familiar and beloved cast of characters. UNTITLED lures viewers in with its attractive saturated tones and mysterious narrative, yet unlike KAWS’s typical works, the present lot pushes viewers out with its illegibility. Though the Pop artists who preceded KAWS were praised for their “refusing to make art about feelings,” (Deborah Solomon quoted by Mónica Ramírez-Montagut, “KAWS: Seeing You Seeing Yourself,” exh. cat., KAWS 1993-2010, New York, 2010, p. 126.) the present lot goes beyond Pop art’s emotional coolness to the point where we as viewers are excluded from the story taking place. Considering KAWS’s openness to exploring new personalities in his paintings rather than in his toy edition characters, UNTITLED portrays the artist’s exploration of narrative distance.

Never intending to overpower the previous image, KAWS would weave his own painted work and strategic humour into existing compositions to stimulate a reconsideration of the advertisement’s hidden message. His painted altercations were so skilfully executed that people ofen assumed they were part of the original advertisement. This perfectionist mentality carried over to his paintings as illustrated by the pristine lack of visible brushstrokes in UNTITLED. By the end of 2000, KAWS had become so well-known that his masterful acrylic street paintings would last only a few hours since people would break the glass to get into the booths and steal them. In 1997, KAWS travelled to Japan and became immersed in the country’s dedication to crafsmanship as well as its lack of a strict hierarchy between merchandise and high art. KAWS met several Japanese designers who would infuence his career including Tomoaki Nagao (NIGO®), founder of A Bathing Ape, and Hikaru Iwanaga from Bounty Hunter.

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UNTITLED speaks to our digitally interconnected world where we see the emergence of a levelling of sources of information and disciplines and a disregard for conventional notions of hierarchy. The present lot participates in our digital era as it functions within this system of art production, reception and interpretation permeated by mass media and technology. Whether it is the recognisable fgures from childhood cartoons or the playful and optimistic undertones of KAWS’s wide range of works, viewers of all backgrounds can relate to the message of KAWS. The artist states, “For me, all my work is personal. It is an accumulation of things that create my art. I am who I am, and I’ve never said to myself that I would become a famous grafti artist or a famous painter. I just painted on the outside and I’m doing it inside.” (KAWS in conversation with Romain Daubriac, KAWS: XX, Clark Magazine #45, November/December 2010.)

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KAWS @ PAFA exhibition at Pennsylvania Academy of the Fine Arts, 12 October 2013 – 5 January 2014 〈KAWS @ PAFA〉，賓州美術學院 2013年10月12日-2014年1月5日

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藝術家兼設計師布萊恩·唐納利，又名KAWS，作爲一位高產藝術家創作了一系列機敏的作品，縮小高雅藝術與全球商業的隔閡。《無題》呈現大小可觀的熒光色塊，作品中的手遮蓋住X形狀的眼睛。遠觀仿若KAWS標誌性卡通人物的特寫細節：歡快的骷髏狀人物以交叉腿骨作為耳朵，形成了一種次文化圖標，在全球範圍內，尤其是對媒體具有洞察力的人群中廣為人知。雖然KAWS的人物最初是對廣受吹捧的流行文化與卡通人物進行反諷而創作的，他獨特的改良憑藉自身特色成爲了其獨特的角色。

它是一體的。」(KAWS引自盧西亞·菲力古迪，「KAWS的超大型雕塑」，2018年2月8日，2018年4月23日訪問) 正如《無題》中清晰呈現的，KAWS最初在街頭藝術中引進的多個角色後來與Bounty Hunter合作轉變為廣受追捧且具收藏價值的公仔塑像，現今作為其主要作品的一部分廣泛地展出於美國、歐洲及亞洲的博物館。鑒於其上色的扁平性與非層次化為整體畫布灌輸了一種均衡感，《無題》的放大視角將具象與抽象的邊界模糊化。X形的眼睛與卡通化的手微弱地指向KAWS 為人所熟知且受鐘愛的角色形象。《無題》通過引人注目的飽滿色調與神秘莫測的敘事引誘觀者進入畫面，然而不像 KAWS的典型作品，本件拍品同時用它的模糊曖昧將觀者推出畫面。儘管早於KAWS的前輩波普藝術家已經憑藉他們「拒絕使藝術與情感發生關聯」而為人稱頌，(德博拉·所羅門引自莫妮卡·拉米瑞茲-蒙特交，「KAWS：看見你看見自己」，展覽圖錄，布萊恩·唐納利，傑曼諾· 切蘭特，蓋瑞·潘特，哈利·菲畢里克及莫妮卡·拉米瑞茲蒙特交，《KAWS 1993至2010年》，紐約：Rizzoli出版社及Aldrich當代藝術博物館，2010年，第126頁。)，本件拍品超越波普藝術中的情緒淡泊，直至將觀者從正在發生中的故事驅逐。考慮到KAWS樂於在繪畫而非有版數的玩偶人物中探索角色新特性，《無題》體現了藝術家對於敘事距離的探索。

與村上隆、傑夫·昆斯、凱斯·哈林、安迪·沃荷看法一致，KAWS拒絕區分高端藝術與通俗藝術。他於1990年代早期在曼哈頓市中心參與滑板文化、塗鴉藝術以及街頭藝術運動，形成了自己的藝術風格以及偏愛自己動手、手工製作的信念。傑曼諾·切蘭特認為街頭藝術「放下了溝通隔閡中關於市場自我沉醉、投機取巧的方面，從而支持能直接捕捉城市真實的流動性」，這一描述恰如其分地強化了KAWS的作品。(傑曼諾·切蘭特，「BD和K」，展覽圖錄，布萊恩·唐納利，傑曼諾·切蘭特，蓋瑞·潘特，哈利·菲畢里克及莫妮卡·拉米瑞茲-蒙特加，《KAWS 1993 至2010年》，紐約：Rizzoli出版社及Aldrich當代藝術博物館，2010年，第47頁。) 1996年，巴利·麥基將能解鎖防盜螺絲的工具給了KAWS，可以用來打開所有公車站或電話亭內的廣告海報看板。KAWS在安球各大城市暗地裡偷海報，並用壓克力顏料在上面添加他自己的設計，然後悄無聲息地又將海報歸放回原位。《無題》與我們生活當下之數位互聯的世界對話，展現出信息傳播與專業的平衡，以及對傳統等級制度的不屑。從未有意抹去原有圖像，KAWS將他自己繪製的效果與本件拍品不僅參與在這個數位時代，也活躍於被大眾傳媒巧妙幽默編織進現有廣告中，以此重新思考廣告背後與科技滲透的藝術生產、感知與詮釋中。無論是出自孩的隱藏信息。他的繪製技巧精湛，以至人們甚至會認爲是提時代辨認度高的卡通人物，亦或是玩味而樂觀的潛在原有廣告的一部分。這種完美主義心態繼而在他的畫作中涵義，各式各樣背景的觀者都能在KAWS各式的作品中亦一覽無遺，正如《無題》中的光滑表面，毫無明顯筆觸感受到他所傳達的信息。藝術家曾經自述：「於我而言，痕跡。2000年尾時，KAWS已然廣爲人知，他在街頭的所有的作品都很私人。正是所有事物的累積創造了我的廣告海報再創作，常常在置入廣告看板後不過幾小時，藝術。我就是我，我從未對自己說過要成為一個著名的路人便會試圖破壞這些電話亭的看板箱，將作品偷走。塗鴉藝術家或者知名畫家。大家看我只畫畫，而在內心中之中，我做我自己想做的。」(KAWS與羅曼·達瑞克對話， 1997年，KAWS旅遊至日本，沉浸於這個國家對於 KAWS:XX,《Clark雜誌》，第45期，2010年11-12月刊) 手工藝的投入及其鮮少嚴格區分商品與高端藝術的特質。KAWS遇見了隨後將改變他創作生涯的一些日本設計師，包括A Bathing Ape創始人長尾智明(NIGO®)， Bounty Hunter創始人岩永光。他們共有的優雅品味、鑒賞能力、對青少年文化的影響力以及最重要的是；他們在各自專業領域能堅守自己的主張來工作的自由，深深的吸引了這位來自美國的年輕藝術家。KAWS形容：「在美國，你必須抉擇成為一個純粹藝術家或者商業藝術家…在日本，我從未感受到這個需求—他們只是單純地欣賞並且創作一件物品。

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Property of an Important Australian Collector

4. Takashi Murakami

b. 1962

Untitled signed and dated ‘Takashi 2015’ on the overlap acrylic on canvas mounted on aluminium frame 141.4 x 120.2 cm. (55 5/8 x 47 3/8 in.) Executed in 2015. Provenance Galerie Perrotin, Hong Kong Acquired from the above by the present owner Exhibited Australia, Art Gallery of South Australia, 2016 Adelaide Biennial of Australian Art: Magic Object, 27 February - 15 May 2016

重要澳洲私人收藏

村上隆《無題》壓克力畫布裱於鋁畫框 2015年作款識：Takashi 2015 (畫布邊緣) 來源香港，貝浩登畫廊現藏者購自上述來源展覽澳洲，南澳美術館，〈2016年阿德萊德澳大利亞藝術雙年展：魔法物件〉， 2016年2月27日-5月15日

HK$ 4,500,000-8,500,000 US$ 577,000-1,090,000

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‘An artist is a necromancer... An artist is someone who understands the border between this world and that one... or someone who makes an efort to know it.’ Takashi Murakami

Takashi Murakami’s spectacular painting, Untitled, bridges traditional Japanese-style nihon-ga painting and the worlds of contemporary art, animation, and popular culture. Murakami is one of the most thought-provoking Japanese artists of the 1990s who is described as ‘the king of the colourful psychedelic style he has coined ‘Superfat’.” (Tina Xu, “Takashi Murakami: Lineage of Eccentrics Museum of Fine Arts,” Modern Painters 29, no. 12, December 2017, p. 156-157.) From exalted rituals to youthful pastimes such as anime and manga, traditional nihon-ga painting to the work of Abstract Expressionist hero Jackson Pollock and Pop genius Andy Warhol, Murakami’s diverse sources of inspiration give way to hybridised forms that speak as much to Japanese artistic traditions as to American styles and movements. Mixing playful vibrant characters resembling cartoons, with darker, more menacing subtexts, Untitled ofers a coveted and painstakingly detailed painting exemplary of the multifaceted work that has earned Murakami the revered status of Contemporary pop art icon. Murakami’s “Superfat” theory integrates past traditions with present-day concerns. Untitled references rinpa, a style that appealed to imperial patrons and was a key part of revival in the Edo period of yamato-e, indigenous Japanese artistic interests. Similar to the highly decorative, patterned, and rhythmic aesthetic of rinpa, “superfat” describes the two-dimensional graphic style created by overlaying multiple transparencies and applying paint in a non-hierarchical fashion to every detail to build a cohesive work that is fattened into one image. Murakami’s interest

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in fatness extends beyond mere formal concerns. As Tetsuo Shimizu explains, “superfatness refers to the fatness of a mirror that refects our other self, our alter ego, sufocating from internal contradictions.” (Tetsuo Shimizu quoted by Amada Cruz, “DOB in the Land of Otaku,” Takashi Murakami: The Meaning of the Nonsense of the Meaning, New York, 1999, p. 19.) Historian Takashi Fujitani posits that in contemporary Japan, the “fattening out of culture—the collapse of history, meaning, and eternal truths—may, in fact, be stimulating a new search for authenticity.” (Takashi Fujitani quoted by Dana FriisHansen, “The Meaning of Murakami’s Nonsense: About ‘Japan’ Itself,” Takashi Murakami: The Meaning of the Nonsense of the Meaning, New York, 1999.) Murakami’s fatness also points to the fattening of high and low culture. He clarifes, “Japanese people accept that art and commerce will be blended… In the West, it certainly is dangerous to blend the two because people will throw all sorts of stones. But that’s okay—I’m ready with my hard hat.”(Takashi Murakami, Massimilliano Gioni, Qatar Museums Authority, and Al Riwaq (Doha, Qatar), Murakami: Ego, New York, 2012, p. 228.) Untitled blurs the boundaries between so-called high and low art. Jean Baudrillard writes that one solution for artists in the face of commercialisation was for art to “become more mercantile than merchandise itself.” (Jean Baudrillard quoted by Amada Cruz, “DOB in the Land of Otaku,” Takashi Murakami: The Meaning of the Nonsense of the Meaning, New York, 1999, p. 17.)

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For Baudrillard, Warhol was the artist who was most successful in this pursuit. In comparison to Warhol’s Skull, Untitled also uses printmaking techniques and the help of many assistants to achieve a seamless appearance reminiscent of machine-produced commercial goods, yet the present lot takes the process a step further with its exquisite crafsmanship. Months of printing silk screens (as many as one thousand diferent screens for a single work) and painstakingly detailed and precise painting executed by multiple tiers of assistants go into the making of one Murakami painting. Murakami says the buzz of activity in his studio is “more similar to what you might have found at Ruben’s workshop long ago.” (Takashi Murakami, Massimilliano Gioni, Qatar Museums Authority, and Al Riwaq (Doha, Qatar), Murakami: Ego, New York, 2012, p. 59.) The sense of motion and character in Murakami’s paintings are furthermore rooted in conventions of animation in contrast to the stillness of Warhol’s works which are derived from photographs. (Amada Cruz, “DOB in the Land of Otaku,” Takashi Murakami: The Meaning of the Nonsense of the Meaning, New York, 1999, p. 18.) Murakami’s long-term fascination with anime stems less from its high-tech illusionism and more from the old-fashioned sense it provides of watching drawings in motion. “To see drawings move is a totally diferent experience than looking at computer graphics,” says Murakami, a belief that underlines the artist’s unwavering dedication to the handmade. (Takashi Murakami quoted by Amada Cruz, “DOB in the Land of Otaku,” Takashi Murakami: The Meaning of the Nonsense of the Meaning, New York, 1999, p. 16.)

Bubbling with bright red skulls and dotted with whimsical embellishments of blue, yellow, and pink details, the present lot dances between luxurious eye candy and a permeating sense of looming anxiety or impending doom. “An artist is a necromancer,” Murakami cryptically states. (Murakami quoted by Sarah Thornton, Seven Days in the Art World, London, 2009.) “An artist is someone who understands the border between this world and that one… or someone who makes an efort to know it.” What might appear as a collection of cartoon skulls rendered in a decorative style, becomes on closer examination a madly detailed meditation on Murakami’s grappling with his mortality. His incredibly arduous approach and perfectionist mentality is more akin to the work of Yayoi Kusama. A comparison of Untitled and Kusama’s Infnity Nets OPRT reveals a shared tendency towards selfobliteration through infnite repetition. Kusama painted dots and rings loop infnitely through space as Murakami’s colourful skulls seems to expand endlessly beyond the bounds of the canvas. Boldly challenging institutionally defned “contemporary art” with audacious bubbly works rooted in the visual language of contemporary Japanese popular culture, Murakami represents both the materialism and cultural status of the generation in which he grew up in. Murakami considers his work to be a mirror of the current Japanese reality in all its complexity. His infuence on Japanese art, the international art world, and even the globalisation of Japan’s kawaii culture, is undeniably palpable and cannot truly be measured.

安迪·沃荷《骷顱》1977年作私人收藏

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村上隆之畫作《無題》引人注目，結合傳統日本畫、當代藝術、動畫和流行文化於一體。村上隆是日本1990年代最發人深省的藝術家之一，「他創造了『超扁平』藝術風格，村上為此中王者，特點為色彩斑斕、迷幻迥異。」（Tina Xu，〈村上隆: 怪人系譜，波士頓美術館〉，《現代藝術家29》，第12期，2017年12月，156-157頁）村上隆的靈感來源可謂廣泛多元，既包括盛大莊嚴的主題，亦有青少年消遣的動漫，既有傳統日本藝術，有的可溯及抽象表現主義巨匠傑克森·波洛克和普普藝術精神代表安迪·沃荷的理念，這讓他的創作混合各種元素，可見日本藝術之淵源傳統，亦不乏來自美國的藝術風格和各種藝術運動之影響。以充滿趣味和鮮明特色的卡通造型，表現更深層陰暗的底蘊。《無題》之細節精細，令人心神嚮往，展現村上隆多方面之才華，突顯其當代普普藝術指標之地位。

關於’日本’自身〉 ,《村上隆: 無意義的意義》，紐約， 1999年）村上隆的「扁平」也指向所謂高級藝術和庸俗藝術之靠攏，他解釋道：「日本人是接受藝術與商業結合在一起的… 但在西方把二者混為一談是很冒險的，會遭到各種抨擊，不過沒問題，我已經做好準備了。」（村上隆，Massimilliano Gioni，卡塔爾博物館管理局， Al Riwaq（卡塔爾，多哈），《村上隆：自我》，紐約， 2012年，228頁）

《無題》淡化了所謂高級藝術和庸俗藝術的界限。 Jean Baudrillard 曾寫道，藝術家面對商業化的其中一個辦法便是讓藝術「變得比商品更加商業化。」（Jean Baudrillard，錄於 Amada Cruz，〈DOB 在御宅族的園地〉，《村上隆: 無意義的意義》，紐約，1999年， 17頁），對 Baudrillard而言，沃荷便是這方面最成功的藝術家，與沃荷的作品《骷髏》相比較，《無題》村上隆的「超扁平」理論結合過去之傳統和時下之關注點。也運用了印刷技法，並由許多助手一同參與，完成如同《無題》參考日本琳派美學，此為日本皇室所喜，並是機器生產的商品一般之無暇外觀。然而，此次作品江戶時期大和繪復興之重要元素。「超扁平」與琳派美學又因其精緻的做工而更進一步。數月的絲網印刷（一幅的高度裝飾性、圖案性、規律性美學很相似，以重疊各種作品重複印疊多達上千張版），加上層層助手對精確細節半透明圖案並且在塗色時不分先後遠近深淺，形成統一的勾勒，才能完成一幅如《無題》的畫作。村上隆曾說平坦的一幅圖像，描繪出二維平面風格。村上隆對平面的他工作室的忙碌場景「與數百年前魯本斯的畫室情景其實興趣不僅限於造形，如 Tetuo Shimizu 所說，「超扁平指很相似。」（村上隆，Massimilliano Gioni，卡塔爾博物館的是像鏡子般的扁平，映照出我們另一個自己，那個在內管理局，Al Riwaq（卡塔爾，多哈），《村上隆：自我》，心掙扎中受壓制的第二個自己。」（Tetsuo Shimizu，錄於紐約，2012年，59頁）村上隆畫作中的動態和人物特征 Amada Cruz，〈DOB御宅族的園地〉，《村上隆: 無意義都來自於動畫的形制，而非像沃荷的作品般來自照片。的意義》，紐約，1999年，19頁）史學家 Takashi Fujitani （Amada Cruz，〈DOB御宅族的園地〉，《村上隆: 無意義認為在現今的日本，「文化的扁平——歷史、意義和永恆的意義》，紐約，1999年，18頁）村上隆對動畫的愛好真理都在瓦解，繼而引發了對確實性的訴求。」（Takashi 並非現今以高科技數位製作的，他鐘情的是傳統的 Fujitani，錄於 Dana Friis-Hansen，〈村上隆的謬論: 手繪動畫。

Yayoi Kusama Infnity Nets OPRT, 2004 Phillips New York, 8 November 2015 Estimate: US$ 700,000 – 900,000 Sold For: US$ 1,325,000 © YAYOI KUSAMA

草間彌生《無限之網 OPRT》2004年作紐約，富藝斯，2015年11月8日估價：美金 700,000 – 900,000 成交價：美金 1,325,000

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Utagawa Kuniyoshi Takiyashi the Witch and the Skeleton Spectre, 19th century woodblock print, triptych Collection of Victoria & Albert Museum, London 歌川國芳《妓女與骷髏幽靈》19世紀作木板版畫三聯屏倫敦，維多利亞與亞厘畢博物館

「看著圖畫動跟看著電腦圖像動是很不一樣的體驗。」他曾說道，這奠定了藝術家對手工製作的堅定立場。（村上隆，錄於 Amada Cruz，〈DOB御宅族的園地〉，《村上隆: 無意義的意義》，紐約，1999年，16頁）畫面滿是艷麗的紅色骷髏，還有異想天開的藍色、黃色、粉色裝飾點綴，此作既華麗亮眼，亦瀰漫著隱約的焦慮和即將面臨的審判。「藝術家就是一位巫師」村上隆隱秘地提到。（村上隆，錄於 Sarah Thornton，《藝術市七日遊》，倫敦，2009年）「藝術家是理解這個世界與另一個世界的界限的… 或者是在盡力去理解的。」看似是一幅裝飾性質的卡通骷髏圖案，仔細觀察之下卻是村上隆與自己道德觀相抗爭的冥想，細緻到近乎癲狂。他的這種極為費力的手法以及完美主義思想與草間彌生的作品十分類似。將《無題》與草間彌生的作品《無限網 OPRT》相比較，可見兩位藝術家都透過無限的重複性來自我忘懷一些事物。草間彌生筆下的圓點和圈圈在有限的空間無限放射，村上隆的繽紛骷髏也似乎在畫布的界限外無限擴張。村上隆的鮮活作品紮根於當代日本流行文化的視覺語言，大膽挑戰所謂對「當代藝術」之定義，代表了這個年代的物質主義和文化地位。村上隆視其作品為現今日本社會複雜性的一面鏡子，觀其對日本藝術和國際藝術圈的影響，甚至日本的「萌」文化遍及全球，村上隆在藝壇舉足輕重的地位不容忽視。

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5. Yayoi Kusama

b. 1929

Pumpkin (three works) each signed, titled and dated ‘Yayoi Kusama 2002 “PUMPKIN” [in Kanji and English]’ on the reverse acrylic on canvas each 53 x 45.5 cm. (20 7/8 x 17 7/8 in.) Painted in 2002, these works are accompanied by three registration cards issued by the Yayoi Kusama Studio. Provenance Jean Gallery, Seoul Private Collection, Asia Acquired from the above by the present owner

草間彌生《南瓜 (三件作品)》壓克力畫布 2002年作，並附三張草間彌生工作室之登記卡。款識：Yayoi Kusama 2002《南瓜PUMPKIN》(每件作品畫背) 來源首爾，Jean 畫廊亞洲私人收藏現藏者購自上述來源

HK$ 15,000,000-20,000,000 US$ 1,920,000-2,560,000

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Â© YAYOI KUSAMA

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‘I would confront the spirit of the pumpkin, forgetting everything else and concentrating my mind entirely on the form before me’ Yayoi Kusama

As a rare triptych consisting of three exemplary versions of the artist’s most iconic subject, Yayoi Kusama’s Pumpkin is a powerful culmination of the artist’s creative achievements. Painted in 2002, these three unique canvases represent not only a lifetime dedicated to this charismatic and highly personal motif, but they also express Kusama’s accomplished technical ability and formal innovations within the realm of painting. Carving out an idiosyncratic space between abstraction, and fguration – evincing profound links to the repetitive symbolism of Pop Art, the hypnotic illusions of Op Art and the formal project of Minimalism – Pumpkin reifes Kusama as an infuential fgure within the history of contemporary art, whilst ultimately pertaining to a vision that is unequivocally hers and hers alone. Through ocularly sensational means, Kusama presents a universally familiar form. Her self-proclaimed obsession with the pumpkin is deeply rooted in her own childhood memories of growing up in Japan. Amidst widespread national food shortages during World War II, a storehouse of pumpkins that her family owned provided a crucial life line and sustained much of their home village of Matsumoto. The pumpkin took on even more personal and psychological signifcance for the artist as she began to sufer from vivid hallucinations during childhood. Seeing pumpkins in their multiplicity provided a rare source of comfort, in contrast to the more menacing associations she held regarding fowers and other plants. As Kusama has recalled of her earliest encounter with these gourds: ‘The frst time I ever saw a pumpkin was when I was in elementary school and went with my grandfather to visit a big seed-harvesting ground…and there it was: a pumpkin the size of a man’s head… It immediately began speaking to me in a most

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animated manner’ (Yayoi Kusama quoted in Infnity Net, Yayoi Kusama, translated by Ralph McCarthy, London, 2011, p. 75.) Utilising a portrait orientation that mirrors the squat shape of the gourds, Kusama’s pumpkins fll the canvases, each boasting individual characteristics that give them a distinctly personifed presence. Kusama frst began sketching pumpkins when studying at the Kyoto Municipal School of Arts and Crafs in the 1940s. Having gained success when moving to Tokyo and then New York City in 1958, it was not until 1975 that Kusama would decidedly return to the motif, afer she retreated to a psychiatric hospital in Japan. Working prodigiously and fnding solace in her art, Kusama began to combine the pumpkin motif with the Infnity Net structures and obliterating polka-dots that had already garnered her international notoriety. Kusama’s use of repetition and her tactic of ‘obliteration’ highlights the pumpkin as an important personal symbol of relief from anxiety, obsessive thoughts and frightening hallucinations: ‘I would confront the spirit of the pumpkin, forgetting everything else and concentrating my mind entirely on the form before me’ (Yayoi Kusama, Infnity Net: The Autobiography of Yayoi Kusama, London, 2015, n.p.) During the 1980s Kusama explored vibrantly contrasting colour variations and played with the two-dimensionality of black that punctuates the present work. As the pumpkin became frmly entrenched in her practice, the artist’s defning global moment came in 1993 when she presented Mirror Room (Pumpkin) in the Japanese pavilion at the Venice Biennale. This historic installation combined numerous black-spotted yellow pumpkin sculptures in a mirrored room that gave the impression of an infnite abundant feld.

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Artist in her studio © YAYOI KUSAMA

藝術家工作室

Painted in 2002, the present work represents Kusama’s mature style and the technical complexity that is testament to her dedication to the motif. Through a def and accomplished handling of paint, Kusama combines minutely precise detailing with a rhythmic dotting of the pumpkins’ skins to create an enthralling visual experience. The dots increase in size towards the elevated centre of each lobe of the pumpkin, with the dots decreasing in size and increasing in frequency towards the outer edges and grooves that divide each segment. The resultant advance and recession of form imbues the canvas with a unique visual energy that is almost sculptural. Fastidiously regulated yet highly sensual, using pattern to connote form, Kusama blurs the lines between abstraction and fguration. Each work also achieves this sense of dynamic depth by contrasting a deep black with one of Kusama’s iconic primal colours that have visceral links to nature: the impassioned blood red, the verdant green of the forests and the glowing yellow of sunlight.

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Despite Kusama using only two tones on each pumpkin, her mastery of varied dot application means that she opens up the canvas to a nuanced cerebral realm that gives cathartic form to her personal view of the world. Forming the background of each canvas we see a web of thin neon lines delineate tessellated triangles, which cluster together to form a vast network of unending pattern. As with the artist’s Infnity Nets series, her insistence on repetition of shapes and dots here also becomes a way of rooting the place of the individual in the wider universe; a recognition that ‘Our earth is only one polka dot among millions of others’ (Yayoi Kusama, quoted in L. Hoptman, A. Tatehata, and U. Kulterann, Yayoi Kusama, London 2001, p. 103.) Confating the personal and the universal, it is the life-giving signifcance of the pumpkin that Kusama celebrates, imbuing this quotidian vegetable with a sense of majesty and wonder.

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Yayoi Kusama Pumpkin, 1994 Benesse Art Site, Naoshima, Japan © YAYOI KUSAMA

草間彌生《南瓜》1994年作日本，直島，倍樂生藝術區

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草間彌生《南瓜》這罕見的三件作品，以三種獨到的風貌演繹藝術家最具代表性的主題，並展現了其藝術創造力的高峰。創作於2002年，此組作品不僅呈現了草間向來所專注的這個極具魅力又富個人色彩的主題，另外，更展現了她在繪畫領域精湛的技法以及在造型上的創新。草間在抽象與具象之間，獨創出一隅只屬於她的空間，她融貫了普普藝術中不斷重複的象徵符號，歐普藝術中似催眠般的視覺幻象，以及極簡主義在造型上的推演。此作《南瓜》具體佐證了草間彌生在當代藝術史上深具影響力的地位，同時並鮮明體現出其獨樹一格、無可取代的藝術願景。透過看似深具感官刺激的手法，草間彌生所呈現的卻是一種普世為人熟悉的藝術形式。其對於南瓜的迷戀，可以追溯到她自幼生長於日本的兒時回憶。二次世界大戰期間，日本全國處於食物短缺的困境，當時草間彌生家中所擁有的一間南瓜倉庫，不僅供應並且維繫了其故鄉松本市居民的命脈。此外，草間在幼年時期便深受幻覺之苦，南瓜對於她來說，不管在個人或是心理層面，皆具備了深刻的意義。相較於花朵，或是其他植物，所帶給她略具威脅意味的聯想，南瓜多重的影像，卻為她提供了一種罕有的精神慰藉來源。草間曾如此追憶著她首次見到南瓜的情景：「第一次見到南瓜，是在小學的時候，跟爺爺一起去到一大片收成的南瓜田…就這樣，一顆像人的頭一般大的南瓜…它立刻以最生動的方式與我對談話。」 (摘錄自草間彌生於《無限網：草間彌生》，羅夫·麥卡錫翻譯，倫敦，2011年，第75頁)。藝術家在此以肖像畫的格式，將南瓜的姿態投射在畫布上，並將其放大、佔滿了整個空間，讓每個南瓜各自綻放出不同的個人色彩與性格。草間早先開始進行南瓜的描繪，可回溯到1940年代她在京都市立美術學校的時期。在搬至東京以及爾後1958年至紐約之後，她逐漸開啟成名之路，卻一直到1975年返回日本進入一家精神醫院後，才決定重新探索南瓜這個主題。草間大量創作，並在藝術中找到安撫心靈的力量，她開始將南瓜主題和她已在國際藝壇為人熟知的《無限網》的架構以及數不清的圓點，結合為一。透過不斷的重複與「消弭」，南瓜躍升為一個重要的個人符號象徵，成為她從焦慮、偏執及駭人幻覺走出的解脫。「我直接面對南瓜的靈魂，忘卻所有的事，全心貫注在我眼前的藝術形式。」(草間彌生，《無限網：草間彌生自傳》，倫敦，2015年，無頁數)。

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在1980年代，草間積極地試煉色彩間的對比變化，並探索黑色所具備的二元平面空間感，這些意圖在此件作品中也清晰可見。正當南瓜確立了在草間創作歷程中的位置，她在1993年威尼斯雙年展日本館裡所呈現的《鏡屋(南瓜)》，也為其再度確立她在國際藝壇的名聲。那件具歷史意義的裝置作品，將無數個帶有黑色圓點的黃色南瓜雕塑，放在裝滿鏡子的房間裡，衍生出無窮無盡的豐富視覺場域。創作於2002年，此件作品中的成熟風格及高度繁複的技法，無疑是草間窮極一生來琢磨南瓜這個主題的極佳體現。透過顏料純熟的掌控，她將極度精準的細節以及南瓜上具節奏性的圓點巧妙結合，創作出奇幻的視覺經驗。圓點在南瓜突起的中間區塊，以逐漸變大的趨勢來呈現；反之，在每個分界的邊緣與轉角，圓點則慢慢變小，並漸漸疏散開來。如此漸進的前進與退後的形式安排，為作品注入一股幾乎近似雕塑般的獨特視覺能量。草間的作品極端講究規律，卻又高度的感性，更以圖案來表達造型，完全模糊了抽象與具象之間看似壁壘分明的傳統界限。這三件作品中也傳遞了同樣的視覺動感，每幅作品裡，皆以深黑來對比草間彌生最具代表性的原色使用：熱情的紅色、森林的碧綠和陽光般的銘黃，與大自然做出深刻的結合。儘管她在此的各個南瓜僅僅使用了兩個色調，但她筆下圓點變化無窮的精妙安排，卻像是以畫布開通了一個進入她精神空間的渠道一般，透過這樣的形式來抒發她個人的世界觀。在畫作的背景裏，草間則是以纖細的霓虹色線編織出若似棋盤般的三角形，整體形成了一片無窮盡的網絡圖案。正如同其《無限網》系列作品，她在此以不斷重複的形狀與圓點，在廣大宇宙中為個體定位出一個立足點，呼應了她曾經這樣說過：「我們的地球只不過是其他億萬顆圓點的其中一顆罷了。」(摘錄自草間彌生於哈普特曼、塔特哈塔及庫特然合著《草間彌生》，倫敦， 2001年，第103頁)。草間彌生的藝術揉合了個人與普世價值，歌頌著南瓜在她回憶中賦予生命延續的重要意義，為這個平凡的植物注入了一份尊榮與驚奇。

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Property from an Important Private European Collection

6. Liu Ye

b. 1964

Untitled signed and dated ‘Ye [in Pinyin and Chinese] 97’ on the reverse acrylic and oil on canvas 90 x 90 cm. (35 3/8 x 35 3/8 in.) Executed in 1997. Provenance Galerie Serieuze Zaken, Amsterdam Private Collection, Netherlands Canvas International Art, Amsterdam Acquired from the above by the present owner Exhibited Austria, Kunstraum Innsbruck; Finland, Kuopio Art Museum; Finland, Salo Art Museum; Norway, Haugar Vestfold Kunstmuseum; Sweden, Ystad Konstmuseum; Netherlands, Singer Laren Museum; Germany, Kunsthalle Recklinghausen, Facing China: Works of Art from the Fu Ruide Collection, 17 May 2008 - 20 April 2012, pp. 58, 65 (illustrated, p. 58) Literature Christoph Noe, ed., Liu Ye Catalogue Raisonné 1991-2015, Germany, 2015, no.97-13, p. 275 (illustrated)

重要歐洲私人收藏

劉野《無題》壓克力油畫畫布 1997年作款識：Ye 野 97（畫背）來源阿姆斯特丹，Serieuze Zaken 畫廊荷蘭私人收藏阿姆斯特丹，Canvas International Art 現藏者購自上述來源展覽奥地利，因斯布魯克藝術空間；芬蘭，庫奧皮奧藝術館；芬蘭，薩羅藝術博物館；挪威，霍加爾韋斯特福爾昆斯特博物館；瑞典，Ystad 藝術博物館；荷蘭，Singer Laren 博物館；德國，Kunsthalle Recklinghausen；〈面對中國：福瑞德收藏〉， 2008年5月17日-2012年4月20日，第58、65頁 (圖版，第58頁) 出版 Christoph Noe 編，〈劉野作品全集1991-2015〉，德國，2015年，圖錄編號97-13，第275頁 (圖版）

HK$ 2,500,000-4,000,000 US$ 321,000-513,000

‘I grew up in a world that was covered up in red – the red sun, the red fag and red scarves. As for green pines and cedars, or sunfowers, they were usually just foils for the symbolism of red.’ Liu Ye

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Liu Ye Beijing Madonna, 1994-1995

劉野《北京聖母》1994-1995年作

Liu Ye Untitled, 1997

劉野《無題》1997年作

Known for adopting features of a chubby toddler and injecting his works with an innately cartoonish air, Liu Ye created Untitled in 1997, three years afer his return from Berlin to China, just as the artist began to progress in his own terms by holding his frst solo exhibition at the Ming Jing Di Gallery in Beijing.

The theatre was an environment that Liu was closest with during his early childhood days: it served not only as the place where his father’s plays for children were performed, but was also used for red propaganda in the form of revolutionary operas or choir performances in a wider societal context.

Upon Liu’s return to Beijing in 1994, he began using the colour red substantially in his works. Untitled comes from Liu’s compelling body of works that feature an iconic motif – the red curtain. Painted with a delicate gradient of reds, the curtain dominates the canvas further and serves as the backdrop of the scene. A sense of volume is created through the precise, undulating use of light and shade. In spite of the many connotations one can associate with the red hue featured in Untitled, it is key to note that Liu’s time in Berlin took the artist out of China at a pivotal moment in its recent history, allowing his work to develop independently, away from a political standpoint and to watch events unfold from a Western perspective. Red thus serves as a colour that Liu returns to in memory of his childhood, where it was once the only choice of colour in a world of red leadership, yet through his painting, the shade of red attains freedom. It is no longer the political colour it once was, but here it is treated abstractly in the form of a stage curtain, becoming a bearer of meanings from a wide sphere of time and space. Setting the scene upon a theatre stage, this locus rouses one’s imagination as Liu Ye conjures up dreams and carries us away from reality.

The artist’s earliest thematic treatments of the theatre’s stage begin in Beijing Madonna (1995), featuring choir members as rounded cherubs with wings, performing in front of the red curtain with a distinct sense of order. Liu puts an emphasis on the children, placing them in the foreground of the composition and in turn, giving the red curtain a role similar to that of a stage prop. We see more signifcance given to the red curtain in his naval ship series, Untitled (1997-98). However, it is in the present work that we see Liu’s frst real attempt in addressing the motif of the red curtain as an integral part of his composition, and elevating it to assume the role of a protagonist in its own right. The depiction of a curtain is symbolic and can ofen be alluded to the act of concealing, but in Untitled we see a possibility of the artist’s self-discovery. By playing with the circular shape of the spotlight against the squared composition, it creates spatial imagination, bearing resemblance to Tondo art, or black-and-white silent flms, where a blackout would appear, leaving the main character in focus. The artist returns to this theme of the stage in Poet (1999) and Untitled (2000) was the very last work to feature the ever-important red curtain.

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Liu Ye Poet, 1999

Liu Ye Girl with Flowers, 1999

劉野《詩人》1999年作

劉野《女孩與花》1999年作

This period saw one of the artist’s most important series with the frequent utilisation of the colour red since his return to Beijing. The motif of the curtain re-emerges in his works afer 2000, but sees an artistic shif where he moves away from red, and begins to use more bluish and greenish hues. Untitled is a far more playful rendition of the stage theme compared to the other works in the series, where a spotlight highlights two little cherubic toddlers, sunglasses in place, poking their heads out from the curtain and mischievously sticking their tongues out; revealing a fragment of an outdoor scenery with a glimpse of blue and pink skies. Liu preserves his own image in Untitled in the form of a little boy on the lef who bears a striking resemblance to the artist. Liu frst began incorporating the character of a young boy with sunglasses in the early 1990s, as seen in Interior (1993), which represented his love for the comedic genre through his infatuation with actors such as Stephen Chow, Charlie Chaplain and Buster Keaton. Liu’s characters were dressed in striped shirts, suggestive of the attire that was very common for younger children in the west in the mid to late 1990s, the golden age of Disney flms. The artist always had a fascination for the world of fairy tales, harkening back to his childhood days having been born to a father who was a children’s playwright, and discovering a big black chest of Western story books under his bed. Perhaps the only glimpse of the outdoor scenery we have is in fact a window to the artist’s discovery of self through a nostalgic looking back into his past.

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Born in Beijing in 1964 and growing up against the backdrop of the Cultural Revolution, Liu spent most of his childhood living a censored and audited life in the countryside with his father, but found freedom in the form of the story books hidden by his parents. He came to love Oscar Wilde’s The Picture of Dorian Gray, which tells the story of an artist becoming infatuated with the youth and beauty of the subject of his full-length portrait; thereby selling his soul to ensure that the portrait, rather than himself, will age and fade. The story lays the seeds for Liu’s artistic style in the years to come and is the very reason why Liu never fails to plant upon his characters a sense of eternal childlike innocence, with their rotund face, ruddy cheeks and short statures - the cartoonish features of cherubic children. But beyond these childlike characteristics, Liu conveys an attitude of life. By returning to the imaginations and fantasies of his younger self through the little boy and girl in Untitled, Liu sheds the mask and outer garments of adulthood, restoring himself to the state of a dreamy child deep in thought. Untitled is an exceptional early work in the artist’s oeuvre and references one of Liu Ye’s most iconic images. It stands alone with the artist’s most personal vision eloquently laced with the political environment that he grew up in yet fully shows his frst-hand understanding of Western art and culture. Phillips would like to thank Liu Ye for his assistance with this essay.

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「我在一個充滿了紅色的世界長大，紅太陽、紅旗和紅領巾。至於綠松樹、柏樹和向陽花，都只是紅色寓意的陪襯品罷了。」劉野劉野以其筆下稚氣的圓胖小孩及畫作中所注入之卡通風格所為人廣知，《無題》是其1997年作品，當時他從柏林回到中國已三年，正值他在北京明經第畫廊舉行其首次個展，並開始形成自己的風格。劉野於1994年回到北京後，便開始在作品中大量使用紅色。《無題》來自劉野一系列以其標誌性元素紅帷幕為主題的作品。帷幕的紅色漸變細膩，成為畫面主體，也是此場景的主要背景。通過精準細緻的光影處理，為畫面帶來立體空間的厚重感。儘管人們可以將許多意涵與《無題》中的紅色聯繫起來，但值得注意的是，而之前他在柏林的時期正是中國近代史的一個重要時刻，因此，他得以遠離政治因素，自由獨立地發展自己的藝術，並站在一個西方角度觀察整個事件的始末。「紅色」是劉野回歸兒時記憶的顏色，那是當時紅色領導的唯一推崇色調，但在他的畫作中，紅色得到自由，它不再包含以前的政治色彩，以舞台帷幕的形式出現，成為時間與空間的代表。此畫場景如劇場舞台，是激發觀者想象力的一個地方，劉野呈現出夢想，把我們帶出現實。劇場是劉野從童年起就很熟悉的環境，這裡不僅是父親的兒童話劇上演的地方，亦是上演當時社會背景下樣版戲和歌舞劇等紅色宣樣的場域。劉野作品中的舞台主題從1995年的《北京聖母》開始，該畫呈現帶著翅膀的小天使組成的歌唱團，在紅色帷幕前排列整齊，進行表演。劉野把焦點放在孩子們身上，把他們置於畫作的前景顯目位置，紅帷幕繼而成為一個舞台道具。到了軍艦系列《無題》（1997-98年），紅帷幕的角色開始變得更為重要，而本次作品中，紅帷幕正式成為構圖中的核心，劉野並將自己置入畫面中成為主角之一。帷幕是富有象徵意義的，經常有隱蔽遮瞞之意，但在此幅《無題》中，我們或許可以看到藝術家的自我找尋。方正構圖上的圓形聚光燈之光線形成一種空間幻想，像文藝復興時期特有的圓形畫幅般，或黑白默劇中熄燈後頓時成為焦點的主角一般。劉野在其後的《詩人》（1999年）和《無題》（2000年）再次探討舞台這個主題，後者為最後一幅以紅帷幕為主題的作品。此時期是藝術家回到北京後大量使用紅色為中心的重要系列作品。帷幕在其2000年以後的作品中亦再出現過，但藝術家已放下紅色，轉而採用藍色系和綠色系的帷幕。

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與同系列其他作品相比，《無題》對舞台主題的描繪更添趣味性，圓圈聚光燈下的兩個圓胖小孩戴著墨鏡，從帷幕後探出頭來，還頑皮地伸著舌頭，觀者可以看到一點帷幕後的室外景觀，層層綠樹後是一片藍色與粉色的天空。透過畫面左邊如藝術家縮影的小男孩，劉野保留了自己希望成為喜劇演員的這個心願與志向。劉野於 1990年代初開始在作品中描繪戴墨鏡小男孩，如1993年的《室內》，作品中描繪了他迷戀的喜劇演員，包括周星馳、查理·卓別靈和巴斯特·基頓，是他對喜劇熱愛的一種個人情感回憶的表達。他們身穿條紋上衣，猶如 1990年代中後期，迪士尼電影盛行時，西方小孩的普遍穿著。藝術家一向對童話世界充滿興趣，這可追溯至其童年時代，父親是兒童劇的編劇，劉野床底下黑色大箱裡滿是西方故事書。此畫中那一點點室外景色或許是藝術家通過回顧過去的一種自我尋找。劉野於1964年在北京出生，在文化大革命的大環境中成長，其童年大部分時間都和爸爸一起住在鄉郊，過著被監控的生活，但他在父母藏起來的故事書中找到另一番天地。他更愛上王爾德的著作《道林·格雷的畫像》，此書講述一位藝術家愛上自己畫中少年的青春與美貌，一發不可收拾，決定出賣自己的靈魂，以確保畫中的少年會代替自己衰老消退。這個故事種下了劉野藝術風格創作的種子，他亦因此總是為畫中人物注入一種孩童的天真，圓胖的臉龐，紅潤的面頰，短小的身子，就像是一個個卡通化的小天使。而表面的童真背後，劉野也傳遞了一種生活的態度。透過《無題》中的小男孩和小女孩回到自己幼時幻想的奇異世界，剝去成年人的面具和服裝外表，重塑令人深刻反思的夢幻孩童。《無題》是劉野藝術事業早期的傑出作品，選題亦是其最具標誌性的代表，在屬於他個人的視角中注入成長階段的時代政治氣候，作品亦彰顯了他對西方藝術與文化的深刻認識。富藝斯特別鳴謝劉野協助指導此專文。

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Property of a Prominent European Collector

7. Peter Doig

b. 1959

Figure in Mountain Landscape (The Big...) signed, titled and dated ‘“FIGURE IN MOUNTAIN LANDSCAPE (THE BIG...)” 1998 Peter Doig’ on the reverse oil on paper 59.1 x 41.9 cm. (23 1/4 x 16 1/ 2 in.) Executed in 1998. Provenance Private Collection, Germany Private Collection (acquired from the above in 2004) Sotheby’s, Paris, 8 December 2009, Lot 2 Acquired at the above sale by the present owner Exhibited Dallas, The Dallas Museum of Art; Vero Beach, The Gallery at Windsor; Toronto, The Art Gallery of Ontario, Peter Doig: Works on Paper, 12 September 2005 - 18 June 2006, no. 36, pp. 46, 136 (illustrated, p. 46)

重要歐洲私人收藏

彼得．多伊格《山地景觀圖(大...)》油畫紙本 1998年作款識：《FIGURE IN MOUNTAIN LANDSCAPE (THE BIG...)》 1998 Peter Doig (畫背) 來源德國私人收藏私人收藏 (於2004年購自上述來源) 巴黎，蘇富比，2009年12月8日，拍品編號2 現藏者購自上述拍賣展覽達拉斯，達拉斯美術館；維洛海灘，溫莎畫廊；多倫多，安大略美術館，〈彼得·多伊格：紙上作品〉， 2005年9月12日-2006年6月18日，圖錄編號36，第46、136頁 (圖版，第46頁)

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

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Peter Doig Figure in Mountain Landscape II, 1998 Collection of Philadelphia Museum of Art, Pennsylvania 彼得·多伊格《山地景觀圖II》1998年作賓夕法尼亞州，費城藝術博物館收藏

Sitting perched atop a mountain, a hooded fgure is shown from behind. In his hands, a picture in the process of being painted, clearly depicting the mountains and lakes beyond. Peter Doig’s Figure in Mountain Landscape (The Big…) dates from 1998, and the work perfectly showcases his celebrated exploration of the nature of painting and representation. This has resulted in his sought-afer works being included in museum collections around the world, as well as in solo exhibitions dedicated to Doig. The subject matter of this picture clearly appealed to Doig at the time it was painted, as Figure in Mountain Landscape (The Big…) is one of a group of related pictures in several media, largely created between 1997 and 1999, all showing the same fgure in the mountains. This group includes the vast Figure in Mountain Landscape II, which is almost twelve feet wide and is now in the collection of the Philadelphia Museum of Art, as well as an etching in Tate, London. As its title suggests, this picture shows a fgure seated in the foreground, with the background flled with the rugged landscape of Canada, eloquently captured through washes of green oils of diferent thickness and darkness. The pictorial technique of focusing upon a central fgure whose back is turned—upon whom the viewer can project themselves—was famously employed by Caspar David

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Friedrich, not least in his iconic Wanderer above the Sea of Fog of around 1818, in the Kunsthalle Hamburg. While seemingly paying tribute to that work, Figure in Mountain Landscape (The Big…) is based upon a photograph showing another painter, Franklin Carmichael, painting Lake Grace in Canada. Carmichael was one of the ‘Group of Seven,’ an association of landscape painters who immersed themselves in the Canadian landscape, seeking to capture both the character of their nation and the grandeur and beauty of nature. The photograph of Carmichael in his smock is an image of artistic dedication— he has clearly climbed to some peak in order to look down on the lakes. By contrast, Doig is the frst to admit that he is frst and foremost a studio painter. Even in Canada, he found himself unable to respond to the prospect of painting en plein air. During the late 1980s and the 1990s, when he was living in London, he would create pictures showing Canadian themes and landscapes, reaching out to his homeland, hinting at his own nostalgia—yet these depended usually on imagery that he found in Canada House, rather than anything frst hand. Ads, flms and other people’s photos were his source material, as is the case in Figure in Mountain Landscape (The Big…).

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Caspar David Friedrich The Wanderer above the Sea of Fog, ca.1818 Collection of Kunsthalle Hamburg, Germany 卡斯帕·大衛·弗雷德里希《霧海上的旅人》約1818年作德國，漢堡美術館收藏

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Doig has recalled: ‘So many of the paintings are of Canada, but in a way I want it to be more of an imaginary place — a place that’s somehow a wilderness’ (Doig, quoted in J. Nesbitt, ed., Peter Doig, exh. cat., London, 2008, p. 11.) This results in a complex play of artistic feints, cutting to the core of Doig’s entire probing and celebration of the nature of memory and of painting. Painting is clearly the focus in Figure in Mountain Landscape (The Big…): while most of the composition is dominated by the swathes of green with which the painter and scenery have been depicted, it is the picture alone that has been rendered using frenetic brushstrokes of a contrasting red. Even the painter himself is subsumed within the all-encompassing green that dominates the rest. Doig’s use of green forces the viewer to acknowledge the picture’s status as precisely that: a painting. Doig has emphasised that he considers paintings as, ‘form and illusion in space’ (Doig, quoted in R. Tand, ed., ‘Peter Doig and Chris Ofli in Conversation’, pp. 113-122, in Ibid., p. 118.) By using this rigorously-limited palette, Doig deliberately undermines the suspension of disbelief that is usually invoked in fgurative painting. ‘I never try to create real spaces-- only painted spaces,’ he has explained. ‘That’s all I am interested in’ (Doig, quoted in Peter Doig: Charley’s Space, exh.cat., Maastricht & Nîmes, 2003, p. 33.) He is revealing the mechanics of the medium, the tension between its clear fallibility as an incomplete means of communication and its mysterious efectiveness as a subjective vehicle for conveying a sense of emotion. Figure in Mountain Landscape (The Big…) eloquently explores this, revealing Doig’s self-proclaimed interest no so much in memories themselves, but instead ‘in the idea of memory’ (Doig, quoted in R. Schif, `Incidents’, pp. 21-43, in Nesbitt (ed.), op. cit., 2008, p. 21.)

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Photograph of Franklin Carmichael sketching at Grace Lake, Montana, 1935 Image Courtesy of Joachim Gauthier

富蘭克林·卡爾米歇爾於蒙大拿格雷斯湖邊寫生之照片，1935年

一個帶著帽子的人背對著畫面，獨坐在山頂上。他的手裡，拿著一幅尚未完成的畫，看來他正在描繪面前遠方的山岳與湖泊。彼得·多伊格的《山地景觀圖(大...)》創作於1998年，完美展現了他為人熟知對於繪畫和表現本質的深度探索。多伊格廣受好評的作品，獲得了世界各地美術館的典藏及個展的邀約。多伊格在1998年前後的那段期間對於這幅畫中的主題為之深深吸引，他在1997至 1999年間，以不同媒材創作了一系列作品，主題裡皆是同一位人物出現在山景之中。這一批作品中，有一件巨幅的《山地景觀圖II》幾乎長達12英呎寬，目前為費城美術館所典藏，另一件蝕刻版畫也為倫敦泰德美術館所藏。如同作品名稱所指，畫裡的人物坐在前景，背景則滿佈著加拿大崎嶇有致的自然景觀，透過以不同厚度及明暗所處理的綠色油彩，精準捕捉了其中的風采。作品將畫面主角背對著觀者，成為視覺焦點，而讓觀者得以輕易將自身投射在主角身上，這樣的繪畫技法常在十九世紀德國浪漫主義畫家卡斯伯·大衛·弗雷德里希的畫中出現，現藏於德國漢堡美術館繪於1818年間的《霧海上的旅人》為最佳例證。在此，多伊格看似是借鑒了那幅作品，但《山地景觀圖(大...)》實際上是依據一張照片所繪，裡面是另一位藝術家法蘭克林·卡米歇爾正在手繪著加拿大的格雷斯湖。卡米歇爾是「七人團體」的其中一員，他們沈浸於加拿大的美景，冀求將這個國家的特色及大自然的雄偉與美麗捕捉在作品之中。照片中的卡米歇爾穿著畫室工作服，呈現了一個對藝術奉獻的形象，他顯然爬上了山峰的頂端，以求得俯看湖泊的視野。對比著卡米歇爾，多伊格首先承認自己主要就是一個偏好在畫室作畫的藝術家。即使在加拿大，他發現他無法適應在室外作畫。他於1980晚期至1990年間住在倫敦，作品卻往往描繪了加拿大的主題或風景，畫自己的故鄉，

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隱透著他的思鄉之情；然而，畫作內容卻源自於他在加拿大使館所找到的圖像資料，而非他的親身經歷。廣告、電影以及他人的照片是他的圖像來源，《山地景觀圖(大...)》也是如此。多伊格曾回憶：「有這麼多的繪畫都是以加拿大為題，但一方面來說，我更想將它呈現為像是個幻想出來的地方，一個有點像荒野的地方。」 (多伊格，摘錄自J·涅斯比特所編撰，《彼得·多伊格》展覽目錄，倫敦，2008年，第11頁)。這形成了一個複雜的藝術幻象，並切入了多伊格探索及頌揚記憶及繪畫本質的核心。繪畫，顯然是《山地景觀圖(大...)》這件作品的主題焦點：整幅構圖固然是被綠色油彩的軌跡所主導，描繪著那位畫家及風景，然而，畫中畫卻充滿了強烈對比的紅色狂亂筆觸；即使連畫中的畫家本身，都融入了主導著整體、覆天蓋地的綠色油彩之中。多伊格在此用了大量的綠色，迫使觀者去認同那幅畫切確所在的空間：繪畫。多伊格曾強調過，他認為繪畫是「空間裡的造形與幻象」 (多伊格，摘錄自R·譚德所編撰，《彼得·多伊格及克里斯· 歐菲力的對話》第113-122頁；同上，第118頁)。透過如此嚴謹低限的用色，多伊格刻意去弱化了具象繪畫一般所訴求要觀者停止去懷疑的常態。「我從未試著要去製造真實的空間，我只畫出空間。」(多伊格，摘錄自《多伊格：查理的空間》展覽目錄，Maastricht & Nîmes，2003年，第33頁)。他揭露了繪畫媒材本身的運作機制：作為一個不完整的溝通方式來說，它具有明顯的不可靠性，然而，它作為一個主觀的載體在傳達情感上，卻又似謎般地有效，在這其中充滿了張力。《山地景觀圖(大...)》一作清楚呈現了上述概念，並揭示了多伊格所自述他對記憶本身並不甚感興趣，而是針對「對記憶的這個想法」的記憶」(多伊格，摘錄自R·席夫所著「意外」，第21-43頁；Nesbitt (編撰) 同上，2008年，第21頁)。

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重要美國私人收藏

Property of an Important American Collector

8. Marlene Dumas

瑪琳．杜馬斯

b. 1953

Empty Handed signed with the artist’s initials and dated ‘MD 91’ on the reverse oil on canvas 60 x 50 cm. (23 5/8 x 19 5/8 in.) Executed in 1991.

《空手》油畫畫布 1991年作款識：MD 91 (畫背) 來源倫敦，Frith Street 畫廊紐約私人收藏現藏者於上述藏家繼承此作

Provenance Frith Street Gallery, London Private Collection, New York Thence by descent to the present owner Exhibited Eindhoven, Stedelijk van Abbemuseum (now Van Abbemuseum), Marlene Dumas: Miss Interpreted, April - May 1992, p. 109 (illustrated)

展覽艾恩德霍芬，斯泰德里克凡艾伯美術館（現為凡艾伯當代美術館），〈瑪琳·杜馬斯：錯過解讀〉，1992年4月-5月，第109頁（圖版）

Literature Maxine Kopsa, ‘The Iconography of “Bad Painting”: Marlene Dumas’ Snowwhite and the Broken Arm’, Simulacrum, June 1995, p. 25-27 (illustrated, p. 27)

出版 Maxine Kopsa 著，〈 “壞畫”的圖像: 瑪琳·杜馬斯之白雪公主與斷臂〉，Simulacrum，1995年6月，第25-27頁（圖版，第27頁）

HK$ 2,400,000-3,200,000 US$ 308,000-410,000

‘During those years, I made quite a few pictures of children, often young girls as my daughter was a child then, and it is a pleasure to notice how children discover or use their bodies.’ Marlene Dumas

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Having formulated a unique painterly idiom that provides an entirely unique and nuanced perspective on all that constitutes the human condition, Marlene Dumas is undeniably one of the most signifcant fgurative painters of her generation. Throughout her prodigious career that has spanned fve decades, the artist has ofered a piercingly original vision that boldly engages with topics of birth, death, sexuality and gender; the fundamentals of human existence. Gently articulated through luscious swathes of defly manipulated oil washes, the present work Empty Handed provides an ethereal vision of childhood that is both tender and disquieting. Above all, she privileges a sense of ambiguity, synthesising the equivocation of her brush with the emotional weight of the subject. As such, Dumas makes an impassioned case for the unique powers of the painted medium, in a world increasingly overwhelmed with the expedited consumption of digital imagery. Born in 1953 in South Africa, Dumas’ early career began in the Netherlands, having frst moved to Amsterdam in 1976. Fast becoming Holland’s most internationally acclaimed artist, Dumas fnally received the highest accolade of representing the nation at the Venice Biennale in 1995. In 2008, much deserved market recognition for Dumas’ work made her the most expensive living female artist at that time and subsequently in 2014 she reached a new pinnacle of institutional recognition with the opening of a monumental retrospective exhibition, The Image as Burden, that travelled from the Stedelijk Museum Amsterdam, to Tate Modern, London and the Fondation Beyeler in Basel. A signifcant personal milestone in Dumas’ life had come much earlier, however, when she frst became a mother in 1989. Having produced an extensive group of paintings about babies and pregnancy afer this life changing event, child subjects have since remained an important, and sometimes controversial subject for the artist. In the present work, the sof pinks of fesh and rotundly stylised forms ofer an intimate and nurturing view of the infant subject. Fascinated by how children discovered and used their bodies, the artist places an emphasis on the hands of the young girl in Empty Handed. This is consciously juxtaposed with the enigmatic washes of a moody blue ground, the shy posing of the fgure who averts our gaze, and the unavoidable sense of isolation in the composition.

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As a dislocated frame from a wider unknown narrative, Dumas eliminates context to create a liminal space of paused time, creating a sense of the uncanny through a viewpoint that is both distant and highly personal. The artist has remarked how ‘it feels as if something has happened, in the sense of an afer-event, or alternatively that something’s going to happen but you don’t yet know what it is. It’s as if I can make people think they are so close to me – that they believe I’ve addressed the painting directly to them. I give them a false sense of intimacy.’ (The artist in conversation with Barbara Bloom in Dominic van den Boogerd, Barbara Bloom and Mariuccia Casadio, eds., Marlene Dumas, New York, 1999, p. 12.) The close-up portrait format, where a single fgure overwhelms the frame, is a key defning pictorial strategy that Dumas developed early in her career and one that has been utilised here to create a vision of childhood that is both sentimental and lonely. Crucially, Dumas places herself in dialogue with the medium of photography. Eschewing the traditional academic practice of life drawing and painting from the observation of live models, Dumas invariably paints from images that she has sourced from mass-media. As a result, her oeuvre deals with the extremities of human experience, depicting multifarious individuals and situations from celebrities, to victims of violence. But whether she paints explicit pornographic images or, in this case, a seemingly innocent child, Dumas ofen disregards the reality behind the source image and instead reinterprets the subject as a formal and imaginative exercise. The profound emotional ambiguity that Dumas imbues upon her subject leads us to reconsider the validity of images as harbingers of discrete narratives, and we become engrossed in the newfound capacities of paint. As the artist has surmised of her practice: ‘I deal with second-hand images and frst hand experiences.’ (Marlene Dumas quoted in Mariska van den Berg, Sweet Nothings, Amsterdam, 1998, p. 24.)

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Portrait of the artist 藝術家肖像

‘Adults often read all kinds of meanings into their gestures, but maybe they are just surprised by the wonder of it all. Looking at her own hands. Hands are miracles!’ Marlene Dumas

Dumas is inspired by the most existential and alluring fgurative painters of the twentieth century, namely Edvard Munch and Francis Bacon. In the present work we see that she has constructed the human fgure as its own visual lexicon. A suspended awkwardness of the posture and a fattened perspective of limbs, which appear to be turned out towards the frame, infuse the body with a sense of surreality that allows us to consider the human condition as a whole. Here Dumas unearths ides of innocence and loss as opposing paradigms of childhood, creating fgure that is both sweet and enigmatic. As the artist has noted, ‘All things are in themselves contradictory. And its [sic] this principle more than any other which expresses the truth, the very essence of things’ (the artist cited in Matthias Winzen, ‘A Portrait of the Artist as a Young Woman’, in exh. cat., Staatliche Kunsthalle Baden Baden, Marlene Dumas: Female, 2005, p. 36.) What is most captivating about the work of Marlene Dumas is that such dense emotional ambiguity is not only supported by, but is fully found through the delicate ambiguity of her brush. What she reveals in the sofly blended washes of lusciously muted tones is the ability of the medium of painting to take us beyond the clear cut function of images as closed signifers that claim to narrate an external reality. Instead, her painted forms create endlessly evocative worlds of their own, where the lines of identity are not dogmatically fxed, but are beautifully unstable. Phillips would like to thank Marlene Dumas for her assistance with this essay.

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「我用相片為基礎來作畫—那種在化學作用複製後被扭曲的殘留餘輝，從我笨拙地嘗試捕捉的自然知感以及意圖去保存這個可疑的習慣中流淌出來。」瑪琳·杜瑪斯瑪琳·杜瑪斯創造出獨樹一格的繪畫語彙，以全然獨特又觀察入微的角度，直探人類心理狀態，無疑是同世代具象畫家中最重要的一位。在她燦爛多產、長達50年的藝術生涯中，她尖銳又具原創性地去大膽碰觸了生命、死亡、性慾與性別等議題，以及人類存在的基本層面探討。在本作《空手》中，杜馬斯輕柔地以濃厚的寬筆操控著油彩的暈染，此處筆下的童年既是溫柔滿溢卻又充滿不安。重要的是，她演繹出一種模稜兩可，將其筆觸的不確定性與主題情感的沈重緊緊扣合。在這個被數位圖像快速吞噬的世界，杜馬斯因此也為繪畫媒材獨具的魅力，作出了強而有力的捍衛。 1953年生於南非，杜馬斯在1976年移居荷蘭，其早期生涯亦於此萌發。她迅速成為荷蘭在國際藝壇最知名的藝術家，於是在1995年受邀成為代表荷蘭參加威尼斯雙年展的至高禮遇。於2008年，其作品受到藝術市場的追捧，成為當時在世女性藝術家中作品價位最高的一位。隨後在2014年，阿姆斯特丹市立美術館、倫敦泰德現代美術館及巴塞爾的貝勒耶基金會為她巡迴舉辦了大型回顧展「圖像成為一種負擔」，再創生涯受學術機構肯定的嶄新高峰。事實上杜馬斯個人重要的里程碑在生涯早期即已鋒芒畢現，也就是1989年她首度成為人母之時。歷經人生重大改變，她創作了相當大量一系列有關嬰兒及懷孕的油畫，孩童自此也成為她畫中重要主題，有時甚或引起非議。這件作品中，主角有著柔和粉紅之膚色，圓潤的身形，藝術家以親密及關愛的視角來呈現這個嬰孩主題。著迷於孩子們如何發現與使用他們的身體，藝術家於此作中將重點放在畫中小女孩的手部動作。背景處理卻有意識地選用了情緒性的藍色，帶著謎般難解的筆觸，孩子害羞的姿態，則迴避了觀者的注視，在構圖上自然形成了一種疏離感。就像是被錯置在一個更廣大卻未知的敘事框架之下，杜馬斯消除了文本以創造出一個時間停滯的極限空間，瀰漫著既親密卻又具強烈距離感的怪誕氛圍。藝術家曾如此自評：「感覺好像有事剛發生，一種後知後覺的混沌，或是有事情即將要發生了，但你卻還不知道究竟是什麼。觀者常誤認為與我很親近，像是我透過這幅畫直接與他們對話。我給了他們一個誤謬的親密感。」(藝術家與芭芭拉·布倫姆於藝評家多明尼克·凡·登·布格德，芭芭

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拉·布倫姆及瑪芮歐希雅·卡薩迪歐所編撰，《馬琳·杜馬斯》紐約，1999年，第12頁)。在近距特寫的肖像畫格式中，單一的主角佔據了整個畫面，這是杜馬斯早期繪畫確立起的關鍵性代表手法，她在此也用以創造出童年亦可同時是多愁善感又孤單的一個觀看視角。至關重要的是，杜馬斯將自身放置於與攝影這個媒材對話的位置。她規避了傳統學院派以觀察現場模特兒來描繪人體寫生的方式，卻習慣性地從大眾媒體擷取圖像來創作。因此，其整體繪畫涉及了人類經驗極端化的範疇，畫中出現的主角和情境十分多元，從名人到暴力事件受害者等均有涉及。但無論她描繪曝露的情色圖片，亦或，像此作中看似天真的孩子，她通常對於圖片背後，其現實的故事一概置之不理，只專注在如何以造形及想像來詮釋這位主角。杜馬斯在繪畫中所注入深層的情感模糊性，讓觀者重新去思考圖像本身的有效性，正如同斷續敘事的前兆一般，而我們也變成了繪畫所開發出新的敘事乘載的一部份。藝術家曾簡述其藝術實踐：「我處理的是二手圖像及第一手經驗。」(馬琳·杜馬斯，摘錄自瑪莉思卡· 凡·登·伯格所著，《甜蜜的虛無》，阿姆斯特丹，1998年，第24頁)。二十世紀最具存在感及魅力的具象畫家艾德華·孟克及法蘭西斯·培根，皆啟發杜馬斯的創作靈感。在本作中，她將人體形態建構成一種獨立的視覺語彙。懸掛著的尷尬姿態，再加上肢體像是被扭轉朝著外框般平面化的透視處理，讓作品中的軀體充滿了超現實意味，而讓我們去延伸思索人類整體狀態。杜馬斯在此揭示了童年中純真與失落兩個對比模式共存的境地，畫中嬰孩因而也顯得既甜蜜卻又讓人費解。正如藝術家所言，「這個原則比一切都來得更能傳達真理，它是所有事物的本質。」(摘錄自藝術家於馬希爾斯·溫正所著，「藝術家肖像是位年輕女子」一文，展覽目錄，巴登巴登國家美術館，《馬琳·杜馬斯：女性》，2005年第36頁)。馬琳·杜馬斯作品最引人入勝之處，在於那濃厚的情感模糊性，是從其筆觸間微妙的撲朔迷離所堆砌出來的。她畫中柔美暗淡的色調彼此輕悄地暈染、揉合著，似乎揭露了油畫這個媒材也能夠帶領觀者去超越圖像本身顯而易見的功能，一個宣稱能敘述外在現實的封閉表徵。相反的，她筆下的形體創造出的，是一個專屬於自己的無盡低迴世界，在那裡身分認同的界線絕非是嚴格的既定，而是完好的反覆無常。富藝斯特別鳴謝瑪琳·杜馬斯協助指導此專文。

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9. Léonard-Tsuguharu Foujita

1886-1968

Fillette aux fruits et au damier signed and dated ‘Foujita 58’ lower centre oil on canvas 46 x 33 cm. (18 1/8 x 12 7/8 in.) Painted in 1958, this work is accompanied by a certifcate of authenticity issued by Sylvie Buisson. Provenance Wally Findlay Gallery, Chicago Private Collection (acquired from the above in 1958) Acquired from the above by the present owner Exhibited Paris, Daniel Malingue Gallery, Maitres Impressionnistes et Modernes, 25 April - 15 June 1985, n.p. (illustrated) Literature Sylvie and Dominique Buisson, Léonard-Tsuguharu Foujita: Volume 1, Paris, 2001, no. 58.34, pp. 255, 520 (illustrated in colour and full page, p.255; illustrated, p. 520)

藤田嗣治《女孩與果子和菱格紋》油畫畫布 1958年作，並附Sylvie Buisson所發之保證書。款識：Foujita 58 (中下) 來源芝加哥，Wally Findlay 畫廊私人收藏 (於1958年購自上述來源）現藏者購自上述來源展覽巴黎，Daniel Malingue 畫廊，〈印象派與現代大師〉， 1985年4月25日-6月15日，無頁數 (圖版) 出版 Sylvie 與 Dominique Buisson 著，〈藤田嗣治：第1集〉，巴黎，2001年，作品全集編號58.34，第255、520頁 (彩色整版圖版，第255頁；圖版，第520頁 )

HK$ 6,000,000-8,000,000 US$ 769,000-1,030,000

‘Their wide pupils show an empty fxedness, bottomless wells in which maybe remains some inexpressive knowledge, in front of which we lower our eyes such as in the gaze of newborns.’ Robert Rey

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This year marks the ffieth anniversary of Léonard Tsuguharu Foujita’s death and this occasion has led to a number of events and exhibitions celebrating the artist, as well as afording a closer examination of his life and work. These events included an important exhibition, focusing on the interwar period, at the Musée Maillol in Paris and a travelling retrospective exhibition commemorating the 50th anniversary of his death at the Tokyo Metropolitan Art Museum and the National Museum of Modern Art in Kyoto. The Japanese-born artist had frst moved to Paris at the age of 26, decades before he painted Fillette aux fruits et au damier and shortly before the outbreak of the First World War. There, he made his name, establishing his own artistic style and achieved great fame alongside his friends and fellow émigrés artists of the École de Paris such as Amedeo Modigliani, Moïse Kisling and Chaïm Soutine. In 1950, returning to France afer a number of years abroad, including some spent in his native Japan, Foujita settled there permanently, acquiring French nationality in 1955. His style and subject matter during the 1950s take a very distinctive turn and, as in Fillette aux fruits et au damier, plunge the viewer into a world of children rich with allusions and symbols about Foujita’s personal life. The quintessential Parisian everyday life is depicted in the present work through the typically French geometric black and white marble fooring, as though Foujita was assimilating and immersing himself fully into his newfound nationality, yet he retains a nostalgic longing for the home of his youth through the juxtaposition of the steel chairs. While these chairs would call to mind the bistro cafes in the streets of Paris, they were in fact placed in Foujita’s home in Tokyo during the war.

Foujita had long been interested in the theme of children, but this came even more to the fore with the imaginary youths depicted in the compositions executed throughout the 1950s. Usually depicting young girls, in a variety of guises and situations, they ofen share features with the one shown in Fillette aux fruits et au damier. In Small Housewife (1956), the resemblance is striking between the main character and the little girl in the present work. Foujita created an entire sequence of works showing the characters of the Parisian street such as fshmongers and beggars, reimagined as children. But perhaps more evidently, in Fillette aux fruits et au damier, the girl clearly relates to the central fgure in his large-scale painting, one of the most ambitious compositions of 1958; L’âge mécanique (The Machine Age), now in the collection of the Musée d’Art moderne de la Ville de Paris. In that work, the girl is placed on the foor in the same position and attire, holding a toy robot between her legs, rather than fruits; surrounded by contemporaries playing with objects from the worlds of both adulthood and childhood, from sewing machines and vacuum cleaners to toy trains, cranes and aircraf. Fillette aux fruits et au damier was itself one of a sequence of paintings showing a girl surrounded by fruits or vegetables. Amid the fgs, peaches, bananas, and apples, the present work calls to mind the still-life painting genre that fourished in the early 1600s, such as Frans Snyders’ Still Life with Fruits and Vegetables (c.1700), and through Foujita’s meticulous rendering of these allegorical elements with utmost precision, there is a distinctive aesthetic appeal which simultaneously carries a decorative function. It alludes to the abundance of life with the fruits and vegetables that come from the earth, and the artist continuously explores this theme in his series.

Lef: Léonard-Tsuguharu Foujita’s home in Tokyo during the war, where the present work’s steel chairs can be seen, c.1940s Image courtesy of Domon Ken

左: 藤田嗣治在戰爭期間的東京家園，背景中可見與此拍品畫中的同款椅子，約1940年代 Right: Léonard-Tsuguharu Foujita Small Housewife, 1956 Private Collection, Japan © Foujita Foundation ADAGP, Paris – SACK, Seoul, 2018

右 : 藤田嗣治《小婦人》1956年作日本私人收藏

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Léonard-Tsuguharu Foujita L’âge mécanique (The Machine Age), 1958-1959 Collection of Musée d’Art Moderne de la Ville de Paris, Paris © Foujita Foundation ADAGP, Paris – SACK, Seoul, 2018

藤田嗣治《機械時代》1958-59年作巴黎現代藝術博物館收藏

Another important example is in the Pola Museum of Art, Hakone, which dates from 1963, fve years later, showing the enduring importance of the subject to Foujita. In each of these works, the girl engages the viewer with a direct, ever-knowing but somehow peaceful gaze. Having had excessive involvement and astounding diligence during the Second World War to create hundreds of documentary war oil paintings, watercolours and drawings, his oeuvre afer the war years marked a personal and artistic shif for the artist. Returning to Paris in February 1950, Foujita let his brush linger over the relics of pre-war Paris – historic streetscapes, the advance of the new age, and more importantly, the world of children – perhaps a nostalgia he had for pre-war peace and innocence. He surrounded himself with representations of imaginary scenes returning to an incarnation of innocence as well as a stylistic return to techniques which had frst led him to fame: his signature milky whites and the use of a very thin Japanese brush to create painstakingly meticulous and delicate lines. Looking closely, the world of children engaged in innocent play appears more subtle, complex and ambiguous. As refected by the presence of the overtly fecund fruit that surrounds the little girl, Fillette aux fruits et au damier appears to be a deeper, multi-layered exploration of fertility from a man who never had any children of his own but who constantly looked to them as models for his paintings throughout his career. Imaginary sitters, painted children, that grace his canvases, all stem from this world of fantasy which Foujita created where these innocent and poetic creatures engage in an adult world, as seen in the L’âge mécanique and as he sees himself. On a personal level, these little girls, all bearing the same features, remind us of the antique doll collection Foujita had in his studio.

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In wax or porcelain, dressed in old-fashion costumes, they were installed on the mezzanine of his studio on rue Campagne-Première in Paris. Seen from below, this perspective accentuated the curve of the breast, deepened the eyes, and elongated the neck, all of which explains the delicate boundary between reality and imaginary scenes at play in Foujita’s compositions as well as his return to his distinctive technique and translucent style. In the 1950s, Foujita goes back to his meticulously and painstakingly detailed style. Usually using the customary white background that he had developed years earlier and which lend his paintings such a unique, opalescent luminosity. This extends to the girl’s skin, which has a pale glow. Despite being painted in oils with fne brushes, Fillette aux fruits et au damier evokes a work on paper in its colouring. In this way, Foujita manages to balance a sense of spontaneity with that of the stillness of the scene he has shown. At the same time, he also recalls the art of Japan. Foujita explained that he had, ‘lived in Tokyo till the age of 25, then in Paris for 20 years. I was raised in Japan, but my painting grew up in France. I’ve got family in Japan and friends in France. So now I have two native countries. I’m an international person. I feel nostalgia for two countries’ (Foujita in M. Guillemot & J. Doherty, trans., Foujita: Paroles d’artiste, Lyon, 2018, p. 42.) In Fillette aux fruits et au damier, that melding of cultures is embodied in the colour of the canvas itself, which recalls both the Japanese prints that had had such an impact upon the artists of Paris at the turn of the 20th century, but also of porcelain. A delicate and very personal work in its theme and composition, this work is indeed the perfect receptacle in which the fusion of all the life experiences and stylistic evolutions of Foujita takes place.

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Frans Synders Still Life with Fruit and Vegetables, c.1700s Collection of the Norton Simon Museum, California

弗朗斯·斯尼德斯《靜物與果子和蔬菜》約1700年代作加州，諾頓·西蒙博物館收藏

「這些小精靈女孩的額頭都如絲般光滑，莊重十分。寬大的瞳孔透出空洞的凝視，像是無底泉源，蘊藏著不外露的知識，面對此像，我們如面對初生嬰兒的目光般，不由得低下頭來。」Robert Rey 在藤田嗣治在 Paul Pétrides 畫廊首次展覽時所講，1950年 3月24日至4月8日，錄於《藤田嗣治》，Sylvie and Dominique Buisson 著，ACR editions，220頁今年適逢藤田嗣治忌辰五十週年，陸續舉辦了許多紀念藝術家的活動和展覽，讓我們有機會更進一步研究其生平及作品。其中包括巴黎馬約爾博物館的重量級展覽；專注於兩次世界大戰之間的作品，另外還有日本東京都庭園美術館和京都國立近代美術館為紀念其忌辰而特別舉辦的大型巡迴回顧展。藤田嗣治在日本出生，26歲時移居巴黎，那是距離他創作此幅《女孩與果子和菱格紋》數十年前，當時第一次世界大戰爆發在即。他在巴黎創出一番名號，建立起屬於自己的藝術風格，並與莫迪利安尼、莫依斯·基斯林、蘇丁等來自各國的巴黎畫派藝術家得到廣泛好評，家喻戶曉。藤田嗣治曾花費數年遊走各國，包括其故國日本，後於1950年回到巴黎定居，1955年取得法國國籍。其1950年代的藝術風格和題材出現明顯轉變，如《女孩與果子和菱格紋》般，把觀者一下帶入孩童的世界，滿是有關藤田嗣治個人生活的各種暗示和符號。此幅作品中的典型法國風格之黑白幾何大理石地面突顯了巴黎日常生活的精髓，好像藤田嗣治已經完全適應並投入到自己新的國籍中，但其實他仍然表現出對故鄉的思念，畫中的鋼條椅子便是代表，雖然這種椅子在巴黎街頭小餐館很常見，但它們也是戰爭期間藤田嗣治在東京家中使用的椅子。藤田嗣治一向對孩童題材頗有興趣，1950年代作品中常以少男少女為主體繪入其充滿想像力的場景之中。主角通常是各式打扮的年輕少女，輪廓與此幅《女孩與果子和菱格紋》中的少女頗為類似，1956年作品《小婦人》中的主角尤其相似。藤田嗣治創作了一系列描繪巴黎街頭如魚販、乞丐等人物畫作，以兒童表現出這些角色。此幅作品尤為突出，女孩明顯與其1958年大作《機械年代》中主角相關，現為巴黎市現代藝術博物館館藏。該畫主角少女置於地上同一位置，相同服裝，在兩腿之間拿著的是一個玩具機器人，而非水果，身邊圍繞著其他小孩，把玩著縫紉機、吸塵器、玩具火車、吊車和飛機等成人世界的物件。

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《女孩與果子和菱格紋》出自一系列以水果和蔬菜圍繞著女孩為題材的作品。這些無花果、桃子、香蕉和蘋果都令人聯想到十六世紀初興盛的靜物畫，例如弗朗斯·斯尼德斯的《靜物與果子和蔬菜》（約1700年作）。藤田嗣治以極為細膩的筆觸描繪出這些富有寓意的元素，令畫面充滿獨特的美感，頗具裝飾性。水果和蔬菜都來自大地，引申生命的豐盛富足，藝術家在其系列畫作中反復探討此主題。另一幅典例現存於日本箱根的普拉美術館，是此作五年後，也就是1963年的作品，足見藝術家對此重要主題的執著。每幅作品中，女孩都以直接、精明卻又平和的眼神面對觀者。在第二次世界大戰期間，藝術家以極大的參與度和驚人的毅力完成了數百幅記錄戰爭的油畫、水彩和素描，戰後，其作品在藝術風格和個人角度都產生轉變。藤田嗣治在1950年2月回到巴黎，他的畫筆流連於戰前巴黎的遺跡，歷史性街景、新時代的發展，和對他而言最重要的兒童世界，這或許是他對戰前的和平與純真的一種緬懷。他的創作呈現美好幻象，回到純真之化身，亦回歸其最早為人所知的藝術風格，以標誌性的乳白色和纖細的日式筆觸，勾勒出精密的線條。細看之下，兒童世界裡的天真遊戲似乎更含蓄、複雜並含糊，就像那圍繞小女孩的水果，看起來過分富饒碩大。藤田嗣治一直沒有自己的孩子，卻在其藝術生涯中經常以兒童作為畫作的模特，《女孩與果子和菱格紋》或許是他對繁殖力的深層多方面探討。其作品中幻想的模特和筆下的兒童都來自他創造的幻境，天真詩意的小東西們進入成年人的世界，如同《機械時代》或者藝術家眼中的自己一般。在個人層面而言，這些小女孩外表特徵一致，很像藤田嗣治畫室裡的古董娃娃收藏。這些蠟質或陶瓷的娃娃身穿舊式的服裝，放置在藝術家位於巴黎首鄉街畫室的夾層中。透過仰視角度，更顯胸部弧度，深邃眼眸與修長脖子，都是畫面中現實與幻象交錯的微妙界限，也可見藝術家回歸經典技法與透明畫風。在1950年代，藤田嗣治回歸其嚴密複雜的精細畫風。通常以前些年逐漸形成的白色背景令畫面呈現獨有的乳白色光感，並延伸至小女孩的皮膚，令膚色散發出淡淡的光潤。《女孩與果子和菱格紋》是一幅細筆刷繪出的油畫，但它的色彩卻有著紙本作品的效果，如此一來，藝術家得以在偶然自發性和場景的寂靜之間取得平衡。與此同時，藝術家不忘日本藝術。藤田嗣治曾解釋道：「在25歲以前住在日本，然後在巴黎生活了20年。我在日本長大，但我的畫作在法國成長。我在日本有家人，在法國有朋友。所以現在我有兩個故鄉，是個國際人，也有了兩份鄉愁」（藤田於M. Guillemot 與J. Doherty譯，〈Foujita: Paroles d’artiste〉, 里昂, 2018年, 第42頁）。在《女孩與果子和菱格紋》，畫面的色調體現出兩種文化的融合，既有二十世紀初風靡巴黎藝術家的日本版畫影響，亦有陶瓷的影子。此作品之題材和構圖都十分細膩親安，完美融匯藤田嗣治一生經歷與藝術風格之演進。

「作為對暴力時期的回應，我想了幾個非常稚嫩，甚至可以說是幼稚的題材。」藤田嗣治於自己在Paul Pétrides 畫廊首次展覽時所講，1950年3月24日至4月8日

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Property of an Important Southeast Asian Collector

10. Natee Utarit

b. 1970

The Dawn of Day (Illustration of the Crisis Series) signed, titled and dated ‘Natee Utarit 10 “The Dawn of Day” Illustration of the Crisis Series’ on the reverse oil on linen 170 x 140 cm. (66 7/8 x 55 1/8 in.) Executed in 2010, this work is accompanied with a certifcate of authenticity issued by the Art Seasons Gallery. Provenance Art Seasons Gallery, Singapore Acquired from the above by the present owner Exhibited Zurich, Art Seasons Gallery, Illustration of the Crisis by Natee Utarit, 1 March - 30 May 2011 Literature Natee Utarit: Illustration of the Crisis, Kuala Lumpur, 2013, pp. 18, 19, 232 (illustrated, pp. 19, 232)

重要東南亞私人收藏

納堤．尤塔瑞《黎明的曙光》(危機圖畫系列) 油畫麻布 2010年作，並附季節畫廊所發之保證書。款識：Natee Utarit 10《The Dawn of Day》 Illustration of the Crisis Series (畫背) 來源新加坡，季節畫廊現藏者購自上述來源展覽蘇黎世，季節畫廊，〈納堤·尤塔瑞：危機圖畫〉， 2011年3月1日-5月30日出版〈納堤·尤塔瑞：危機圖畫〉，吉隆坡，2013年，第18、19、232頁（圖版，第19、232頁）

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

‘There is no irony. There are no optical illusions. Everything is meant to tell a story in the same direct manner that characterised paintings for centuries.’ Natee Utarit

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Beneath the ordered compositions and painterly aesthetic of Natee Utarit’s canvases resides a latent anxiety that expresses the complexities and contradictions in the experience of modern life. In The Dawn of Day, Utarit’s accomplished painterly style and use of traditional compositional framing most closely associated with classical still life painting lulls the viewer into a false sense of familiarity. What appears to be a scene of a worker surrounded by a group of animals is disrupted by the inclusion of a scientifc model of an eyeball which draws our attention to the unnatural scale of the elements in the painting, and the eventual discovery that all of the objects in the painting are artifcial – revealed most clearly by the plastic base supporting the two geese. Foregrounding the artifce of his subjects, Utarit complicates earlier philosophies of painting that were concerned with creating accurate representations of reality within the picture plane, and critically redeploys the techniques from that early period of Western art history. The realistic rendering of his lifeless subjects results in an uncanny stillness and Utarit reveals his critical perspective through a complex blurring of reality and artifce. Utarit’s subjects are painted from the calculated arrangement of his collection of fgurines and found objects, carefully positioned in real life before being translated onto his canvas. The Dawn of Day sees his strange menagerie turned away from the viewer, efectively rejecting a traditional reading of meaning

into the picture. In doing so, Utarit leaves to viewers the challenge of interpretation. With their backs turned, Utarit shows through the long shadows cast by the fgurines that they are also turned away from the light source ironically suggested by the title of the work. Looking away from the light into what we can only assume to be the darkness, the positioning of the disparate fgurines begins to reveal deeper meaning. Led by a fgure holding an authoritative posture, two geese turn in the same direction and serve as a critical metaphor for blind groupthink. Despite the presence of the great eye beside them, they all mistakenly look away from the source of the light. Utarit ofers us a bitter consolation in the inclusion of a deer which turns its head attentively in a diferent direction, however it too inevitably fails to turn away completely. Their positioning, flling the entirety of the large picture plane suggests a purposeful existence on the cusp of some great discovery which Utarit efectively reveals as futile and misguided. The Dawn of Day is a signifcant work from Utarit’s Illustration of the Crisis series that sought to capture the individual and collective turmoil in Thailand over the increasing escalation of events in the political landscape beginning in the mid-2000s. While refecting the specifcity of his context, Utarit’s work succeeds in tapping into a universal feeling of ennui as a consequence of the modern condition.

Adam Bernaert “Vanitas” Still Life, c.1665 Collection of Walters Art Museum, Baltimore

亞當·伯納特《虛空畫》約1665年作巴爾的摩，沃爾特斯藝術博物館收藏

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「並無反諷。並無錯視。一切都旨在用數個世紀以來繪畫一貫具有的特質來講述故事。」納堤·尤塔瑞納堤·尤塔瑞作品畫面中看似井然有序的構圖與詩情畫意的審美下潛藏着當代生活體驗中紛繁複雜與自相矛盾所觸發的焦慮感。作品《黎明的曙光》中，尤塔瑞繪畫風格嫻熟精湛，採用與古典靜物畫息息相關的傳統構圖取景，將觀者帶入一種熟稔的錯覺。場景看上去好似一個工人被一群動物所圍繞，直至眼球狀的科學模型吸引了觀者的注意力，從而關注到畫面中比例失常的元素，最終意識到畫中全是人造物，支撐兩隻鵝的塑料板尤爲明顯地證實了這一點。通過將主題的奇思妙想置於前景，尤塔瑞將早前繪畫哲學中涉及於畫面中精準寫實表現的理論複雜化，有所篩選地重新運用西方藝術史早期技巧。將無生命的物體刻畫得栩栩如生，呈現一種非同尋常的寧靜感，尤塔瑞藉由真實與虛構的模糊邊界來展現他的批判視野。尤塔瑞細心擺弄他所收藏的小塑像與現成物品，在現實中精心安排擺位，然後再繪製到畫布上。《黎明的曙光》呈現

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背向觀者的一群奇珍異獸，直觀地抹殺了傳統意義上看圖說話的機會。藉此，尤塔瑞將詮釋畫面的挑戰留給了觀者。小塑像背對觀者，尤塔瑞通過他們投射的頎長陰影表現出他們同時遠離光源，與作品標題中反諷意味的曙光相對立。視線離開光芒轉而看向我們所臆測的黑暗，看似風馬牛不相及的小塑像的擺放位置開始呈現出更深層次的義涵。在一位權威姿態的塑像的引導下，兩隻鵝轉向了同樣的方向，作爲盲目從衆的關鍵比喻。不顧旁側出現的巨大眼球，他們都錯誤地忽視了光線的來源。尤塔瑞聊以慰藉地在畫面中加入一隻擰轉頭望向另一方向的鹿，卻也無法使它完全轉向。小塑像幾乎佈滿整個畫面，無不暗示了他們有意地出現在這偉大圖謀的風口浪尖，然而尤塔瑞最終揭示了這發現不過是徒勞無功且誤入歧途。《黎明的曙光》是尤塔瑞「危機圖解」系列的重要作品，旨在充分體現自2000年中以來泰國日益升級的事件所引發的個人與集體騷亂。儘管尤塔瑞的作品具有特殊背景，依然成功地透過現今境遇，激發出現代人普遍的倦怠感。

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11. Alexander Calder

1898-1976

Untitled (Maquette for Eppur Si Muove) signed, dedicated and dated ‘pour Jo Lazzini CA 68’ on the white element painted sheet metal 31 x 22.2 x 22.2 cm. (12 1/4 x 8 3/4 x 8 3/4 in.) Executed in 1965 and inscribed in 1968, this work is registered in the archives of the Calder Foundation, New York under application number A15830. Provenance Joseph Lazzini, Marseille (gifed directly by the artist) Digard, Paris, 26 November 2007, Lot 67 Acquired at the above sale by the present owner Exhibited Munich, Galerie Thomas, Alexander Calder - Joan Miró, May – July 2010, pp. 8-9 (illustrated) Paris, Galerie Patrick Seguin, Calder|Prouvé, 24 October - 7 December 2013, pp. 140-141, 142-143, 182 (illustrated) Paris, Gagosian, Group Show, 23 January - 19 February 2014 Salzburg, Galerie Thomas Salis, Alexander Calder: Colour & Motion, 28 July - 31 August, 2018

亞歷山大．考爾德《無題 (為伽利略的星空所作之模型)》上色金屬片 1965年作，1968年簽名，此作品並登錄在紐約考爾德基金會之文獻庫，編號A15830。款識: 獻給喬瑟夫·拉辛尼 (法文) CA 68 (白色面板) 來源馬賽，喬瑟夫·拉辛尼收藏 (直接得自藝術家本人) 巴黎，Digard，2007年11月26日，拍品編號67 現藏者接購自上述拍賣展覽慕尼黑，托馬斯畫廊，〈亞歷山大·考爾德 - 胡安·米羅〉， 2010年5月-7月，第8-9頁（圖版）巴黎，Patrick Seguin 畫廊，〈考爾德|普魯維〉， 2013年10月24日-12月7日，第140-141、142-143、182頁（圖版）巴黎，高古軒畫廊，〈群展〉，2014年1月23日-2月19日薩爾斯堡，Thomas Salis 畫廊，〈亞歷山大·考爾德: 色彩與律動〉， 2018年7月28日-8月31日

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

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‘Even… small, at the model stage, the object must please completely, whether it is intended to be made in large dimensions, or not.’ Alexander Calder

Untitled (Maquette for Eppur Si Muove) was made by Alexander Calder in 1968, and perfectly encapsulates his ingenuity in form and colour. This work, with its personal dedication from the artist to the dancer and choreographer Jo Lazzini, with whom he collaborated on a number of projects at the time, is a testament to Calder’s ability to create sculptures that appear deceptively simple, yet which function on a number of levels. In the case of Untitled, this is evident just in walking around the work. Unlike a painting, this is emphatically threedimensional. Indeed, considering it comprises planes decorated with only four colours, it is necessary for the viewer to circumnavigate Untitled in order to appreciate the diferent combinations engineered into its composition. By the time Calder made Untitled, he was one of the most recognised artists working in the world, having enjoyed a number of international exhibitions, and with his sculptures already featured in prominent museum collections. He spent a large amount of time in France, where he had a studio, as well as his native United States of America. While rising to prominence during the age of Surrealism before the Second World War, he had managed to fnesse a visual language that saw him appealing to generations of subsequent artists, not least the Abstract Expressionists who dominated the American art scene in the 1940s and 1950s. The rigour of Untitled and its emphasis on colour, as well as its vertical thrust, mean that it echoes the works of Clyford Still and Barnett Newman. Yet Untitled also reveals Calder’s afnity with one of his great painter friends, Piet Mondrian, in its use of pure blocks of black, white and prime colours. ‘My entrance into the feld of abstract art came about as a result of a visit to the studio of Piet Mondrian in Paris in 1930,’ Calder would recall. ‘I was particularly impressed by some rectangles of colour he had tacked on his wall in a pattern afer his nature’ (Calder, quoted in C. Giménez & A.S.C. Rower (ed.), Calder: Gravity and Grace, London, 2004, p. 52.) Notably, it was the studio’s environment-as-installation, not the Dutch artist’s paintings that impressed Calder. Contrasting with his Mobiles, the moving sculptures ofen hung from the ceiling and named by Duchamp, Calder’s Stabiles—whose name was suggested by Hans Arp—are rooted to a surface. They are still. Yet this does not prevent their containing visual excitement and stimulation: Untitled reveals the extent to which Calder was able to fll his works with motion, even when they had no moving parts. In the case of Untitled, it is the viewer’s movements that unlock its incredible dynamism. While the sculpture comprises only two intersecting planar forms, Calder’s use of colour dictates that only two colours are visible at any one time—yet in a range of combinations.

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The work can appear white and yellow from one side, red and black from another, black and white or yellow and red. These are all strong, lively colours, adding to the visual drama that Calder manages to concentrate into the work with such seeming ease. Meanwhile, there is a visual contrast between the forms themselves: one is essentially a triangle, while the other is a tapering mass of simple lines and curves. The juxtaposition of these elements is underscored by the colours themselves. Standing about a foot tall, Untitled manages to compress visual freworks on a domestic, even intimate scale. Untitled features a dedication to the dancer and choreographer Joseph Lazzini, who was born in Nice and became the director of the Ballet National de Marseille between 1959-1968. It was while he was in that role that Lazzini collaborated with Calder, enlisting him to create the sets for a ballet, Eppur si muove, in 1965. This ballet, choreographed by Lazzini himself, took its name from a famous phrase attributed to Galileo Galilei: ‘And yet it moves.’ This was clearly an apt theme for Calder, the inventor of the Mobile. In 1969, Calder would collaborate with Lazzini again, this time designing the sets and costumes for Métaboles, which featured a score by Henri Dutilleux. Calder even designed a poster on the occasion. The dedication to Lazzini on Untitled is a tribute to their relationship. For both Eppur si muove and Métaboles, Calder created sets that featured Mobiles hanging above the dancers. It was in 1968, however, the very year that Untitled was made, that Calder was able to oversee his own ballet project. For Work in Progress, Calder created a production that featured his own works moving, accompanied by music. Having begun preparing it the previous year, Work in Progress would enjoy its debut in the Teatro dell’Opera in Rome in March. In lieu of dancers, it featured sculptures by Calder, as well as roving bicyclists and other smatterings of human presence. In some cases, these were the people pulling giant Mobiles into place on the stage. Calder appears to have revelled in the opportunity to present his vision on this vast scale. Calder defly made use of colour and light in order to harness a sense of visual drama. Looking at Untitled, the viewer can appreciate how he was able to do this even on a more human scale, and without recourse to actual movement.

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亞歷山大·考爾德的《無題 (為伽利略的星空所作之模型)》創作於1968年，完美展現了他對於色彩饒富趣味的鍾愛。本件雕塑是考爾德為知名舞者及編舞家喬瑟夫·拉辛尼獻上個人致敬特地打造的作品，他們兩人曾數度跨界合作，此作亦盡顯了考爾德能創作出看似極至簡單的雕塑，實際上卻在視覺上具有多層次效果的功力。以《無題》來說，只要繞著它走一圈便能領略其中奧妙；它顯然與繪畫不同，是以三維呈現。事實上，若考量到它所有的切面其實僅用了四種顏色來裝飾，觀者的確需要環繞著此件《無題》才能全然欣賞到整體構圖裡所涵括的每種不同組合。在創作《無題》時，考爾德已是享譽國際的藝術家，受邀參加了許多國際展覽，而他的雕塑作品也已廣為重要美術館收藏。他大部分的時間都在法國的工作室，也不少時間在他的故鄉美國。在二次世界大戰爆發前，他在超現實主義領域的地位日趨顯耀，其獨特的藝術語言深深吸引並影響了許多新一代的藝術家，其中不乏在美國 1940至1950年代叱吒風雲的抽象表現主義藝術家們。《無題》嚴謹的造型、對於色彩的強調，以及直立的態勢，呼應了克萊弗·史提爾及邦尼特·紐曼的作品。然而，《無題》在使用了黑、白及其他三原色的同時，也揭示了考爾德的摯友皮耶·蒙德里安對他的持續影響。「我進入抽象藝術的領域其實是從1930年造訪皮耶·蒙德里安的工作室所使然。」他曾憶到，「印象特別深刻的是他貼在牆上的那些長方形的色塊，排成了具有他個人特色的圖形。」(考爾德，摘錄自C·吉曼納茲和A.S.C·洛爾編撰，《考爾德：地心引力與典雅》，倫敦，2004年，第52頁)。我們注意到，考爾德觀察並受啟發的是蒙得里安工作室中的色彩及安置，而非畫作本身。與往往懸掛在天花板上由社尚所命名的《動態雕塑》相較，考爾德在此的《固定雕塑》(這個有趣的名稱則是藝術安漢斯·阿爾普所建議的)，十分穩當地站在表面上，而且完全靜止，即使如此，仍然充滿了視覺的動感與刺激。考爾德的《無題》雖然不會轉動，卻仍能透過讓觀者視線移動，

因此，有些角度看去，這雕塑是白色和黃色的、另一個角度又是紅色跟黑色、黑色和白色，或是黃色和紅色。這些都是極為強烈、生動的色彩，也為考爾德看似輕易做出的作品，平添了許多視覺戲劇性。此外，形體間也存在著一種視覺對比：交合的其中一片基本上是三角形，另一片則是由簡單直線與曲線所構成的錐狀形體。顏色本身強調了這些元素的並置，《無題》約為一英呎高，這件尺寸精巧的雕塑既適合放置安中又具親和力，雖然不大卻蘊含了像煙火般歡騰動感的視覺效果。《無題》上註記這件作品要獻給舞者及編舞安喬瑟夫· 拉辛尼。這位舞蹈安生於尼斯，並在1959至1968年間擔任馬賽爾國安芭蕾舞團的團長。在任期間，他與考爾德合作，於1965年創作出《伽利略的星空》芭蕾舞，由拉辛尼本人編舞，舞名則源自天文物理學安伽利略·伽利萊的一句名言：「然而它在運轉著」。這對於《動態雕塑》的創始者考爾德來說，無疑是再也恰適不過的主題了。在1969年，考爾德與拉辛尼再度攜手合作，為《Métaboles》合作設計了舞台道具及服裝，音樂則由亨利·杜蒂耶譜曲，考爾德甚至為此設計了一張海報。《無題》上刻印著獻給拉辛尼，彰顯了其對多年合作關係的致意。《伽利略的星空》及《Métaboles》這兩齣舞蹈，考爾德在劇場設計均使用了《動態雕塑》懸掛於舞者之上。1968年，也就是《無題》創作的同年，考爾德開始能夠獨立完成自己的芭蕾舞計畫；在《作品尚未完成》這齣舞，考爾德讓他的作品伴隨著音樂，在台上舞動。經過為期一年的籌備，《作品尚未完成》於三月在羅馬歌劇院首次躍上舞台，那齣舞的主角不是舞者，而是考爾德的雕塑，還有些在舞台上穿梭的自行車騎士，及一些零星的人跡出現。在某些情況下，藝術安讓一些人將巨型的《動態雕塑》拖曳到舞台上。考爾德在那次舞蹈發表中似乎也展露出未來製作巨型雕塑的創作願景，巧妙地利用色彩與光線來操控視覺的戲劇性。觀看《無題》，觀者能夠藉此欣賞到即使是小型規模的雕塑，考爾德在無需借助讓雕塑實體移動的狀態下，就能達到同樣精湛的視覺效果。

然後在這巧妙的互動間，感受到他在作品注入的動態。此件雕塑只用了兩片金屬相互交錯所組合而成，經由考爾德巧妙的色彩安排，從每個角度望過去，都僅能看到兩種顏色，然而其中組合可能性卻又是千變萬化。

亞歷山大‧考爾德為喬瑟夫·拉辛尼於1969年編之芭蕾舞《Métaboles》所設計的海報

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Richard Lin Wifredo Lam KAWS Marc Chagall

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Property of a Private British Collector

12. Richard Lin

1933-2011

Painting Relief signed, titled and dated ‘LIN SHOU YU “PAINTING RELIEF” 1 MAY 1963’ on the reverse oil, perspex and aluminium on canvas 101.6 x 111.8 cm. (40 x 44 in.) Executed on 1 May 1963. Provenance Dr. Owen Franklin, London Private Collection, London (by descent) Acquired from the above by the present owner

英國私人收藏

林壽宇《繪畫浮雕》油畫塑膠鋁畫布 1963年5月1日作款識：LIN SHOU YU《PAINTING RELIEF》1 MAY 1963 (畫背) 來源倫敦，Owen Franklin 醫生收藏倫敦私人收藏 (上述藏家家屬繼承作品) 現藏者購自上述來源

HK$ 2,800,000-4,800,000 US$ 359,000-615,000

‘In the world of white, no one can exceed you.’ Joan MirÓ on Richard Lin’s White Series

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Fusing the elegant geometry of western Minimalist sculpture with the sparse purity of Chinese literati painting, Richard Lin’s master work Painting Relief is a profound meeting of two of history’s most powerful aesthetic traditions. Created at the early apex of the artist’s career in 1963, this large scale piece is an outstanding constituent of the artist’s iconic White Series. Composed of delicately coloured oblongs of aluminium and perspex, Lin balances felds of monotone abstraction which seem to foat independently of one another, delineated by acute variations in tone that also spark a dialogue with the concurrently developing movement of Op Art. Wall mounted, yet having a unique presence as relief, Lin crucially interrogates the boundaries between painting and sculpture to create a new space for art that transcends stylistic classifcation. Born out of his rare position as an artist who travelled between art centres of Asia and Europe in the mid-20th century, in Painting Relief we witness Lin’s profound contribution to a global art history in its nascent stages of becoming; bringing together the western essentialism of minimalist aesthetics with the holistic relations between the micro and macro as expressed in Eastern Philosophical tendencies. Born in 1933 to a prominent family in central Taiwan, from an early age Lin was immersed in multiple East Asian cultural aesthetics. As a child he was educated in the art of Chinese Calligraphy and between the ages of 6 and 12 he was placed under the tutelage of a family in Japan. Finally in 1949, at the age of 16, Lin began his

independent education in Hong Kong. Following this deep familiarisation with the history of Eastern cultures, Lin made an important and defning move to England in 1952, going on to study Architecture at Regent Street Polytechnic (now the University of Westminster) two years later. Whilst focusing on architectural studies in the day, Lin devoted his evenings to studying painting, taking infuence from the developing styles of European modernism. This dual line of artistic enquiry is wonderfully demonstrated in the defnitive structural integrity of the present work. Whilst Lin was drawn to the legacies of artistic movements such as Cubism and Constructivism, he simultaneously was inspired by the revolutionary architecture stemming from the Bauhaus, as well as movements which combined the two disciplines such as De Stijl. Privileging strong orthogonals as a means of constructing plastic space and structure, undoubtedly the work of De Stijl pioneer Piet Mondrian can be traced in the present work. As well as citing British artists such as Ben Nicholson, whose work he viewed at the Tate gallery upon his arrival in London in 1952 and whose works also form part of the collection from which the present work comes, Lin’s frst experimental paintings in the 1950s also drew from American Abstract Expressionists, drawing parallels with select artists of the Black Mountain college who drew from Eastern philosophies in their own work. In 1958 he began layering blocks of black and white on canvas to explore the elemental contrasts fundamental to painting.

班‧尼克森《1934 (浮雕-第1版)》1934年作私人收藏

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Richard Lin in his London studio with daughter Katya, 1968 林壽宇和女兒Katya 於倫敦工作室，1968年

‘White is the most ordinary of colours, it is also the most extraordinary; it is the absence of colour, it is also the sum of colours; it is the most majestic of colours, it is also the most common; it is the colour of tranquility, it is also the colour of grief.’ Richard Lin

It was in the 1960s, however, that Lin took further steps of reduction: paring down his compositions and tonal choices to focus on the pure power of white, he gave birth to the iconic White Series, of which Painting Relief is a preeminent and outstanding example. Lin’s attentiveness to physical process and his conceptualisation of painting a pure object posited him a contributor to the most important artistic impulses that defned western art at this time. Indeed, when he started the White Series the term ‘minimalism’ had not yet been coined. Receiving widespread recognition in Europe, he participated in some of the most pioneering exhibitions of this important decade such as Documenta III in Kassel in 1964, which marked a turning point for minimal art in Europe, and the Carnegie International in Pittsburg in 1967 where he was awarded the William Frew Memorial Purchase Award alongside Francis Bacon. Akin to the revolutionary white paintings of Robert Ryman, or the grid paintings of Agnes Martin, the subtle variations of tone between the whites that dominate Painting Relief train and attune our eyes to appreciate acute nuances within the pared down palette.

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However, in contrast to these artists, Lin insists on the economic use of dark and blackened blocks, anchoring the work at the peripheries and providing it with a more lyrical sense of balance.It is here that Lin expresses the infuence of Eastern philosophy, in which form and emptiness work in polarised symbiosis to generate one another, like yin and yang. At a later solo exhibition in Belgium in 1970, Lin would clarify that his paintings evoke the fuidity and vigour so valued in the art of calligraphy, and that they embody the tenants of Taoism as expounded by the book of change; namely, that all existence springs from nothingness. Whilst audiences have ofen been quick to categorise Lin’s works as minimalist, Lin explained that they are also deeply analogous to the work of Northern Song Dynasty artist, Mi Fu (1051-1107). As evidenced in Painting Relief, Lin does not adhere to the dogma of Minimalism in its fullest, rather he is able to imbue this aesthetic with a peculiar energy and fuid sensibility that elevates the emotive capacities of the rational composition. Thus, bringing together the common tendencies of two historically separated artistic schools, Lin announces himself as a true pioneer who is sensitive and contributive to the aesthetic zeitgeist across geographic boundaries.

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「白色是最平凡的顏色，卻也是最非凡的顏色；它不存在著顏色，卻也是顏色的總和；它是最雄偉的顏色，卻也是最普通的顏色；它是寧靜的顏色，卻也是悲傷的顏色。」 —— 林壽宇林壽宇《繪畫浮雕》這幅精湛的作品，融合了西方極簡雕塑中優雅的幾何以及中國文人畫中簡約的純粹，深入薈萃了東西方歷史中美學傳統的極致典範。創作於藝術家生涯早期的高峰1963年，這件大尺幅的創作是其最具代表性《白色系列》中十分傑出的作品。透過幾片仔細上了色的長方形鋁片及有機塑料所組成的構圖，它們看似懸浮在彼此之上，林壽宇藉此平衡了單色調的抽象，他更刻意以顯明的深淺差異來處理色彩，因而讓作品也與當時風行的歐普藝術運動震盪出另一番對話。作品雖然如同一般畫作掛在牆上，但卻有著類似浮刻雕塑的存在感，藝術家在此深究探索繪畫和雕塑之間的界線，試圖創造出一個超越風格分類的藝術新視野。身爲一位在20世紀中期往返亞洲與歐洲藝術圈的藝術家，從《繪畫浮雕》中，我們見證了林壽宇在全球化的藝術史萌生階段的深刻貢獻，他將極簡主義美學的西方本質主義，與東方哲學思想所表達在微觀與宏觀之間的整體關係，緊密結合在一起。

相近似於羅伯特·瑞曼革命性的白色繪畫、或是艾格妮絲· 馬汀的以充滿了格線為主的創作，白色之安微妙的色調變化主導著《繪畫浮雕》，林壽宇用低限的色調重新訓練、調整觀者的眼睛，帶領我們去欣賞其中顯明的細微差距。然而，和那些藝術家不同的是，林壽宇堅持使用極少的深色或黑色色塊，以將視點定在邊角，為作品添增了一份略具抒情的平衡。在此亦顯露了東方哲學的影響：形體和留白在兩極共存之安相互生息，就像陰與陽的關係。他隨後在1970年比利時舉行個展時，曾經解釋到他的繪畫裡有著書法藝術中的流動與力度，也體現了易經所闡述的道教思維，特別是一切萬物皆是從虛無而生的道理。觀者往往很迅速地將林壽宇的作品歸類於極簡主義，他亦解釋到他的創作其實與北宋畫家米芾(10511107)有著深刻的類同。《繪畫浮雕》一作即佐證了這點，林壽宇並非亦步亦趨地完全走向極簡主義，他以極簡的美學觀點出發，再為理性構圖注入了一份獨特的能量及流動感，提升了繪畫中的感性成分，因此，他成功將兩個向來分開的藝術學派合流，林壽宇曾自譽是跨越地理界線、具高敏感度的時代美學精神先驅貢獻者。

林壽宇生於1933年台灣中部一個富裕的家庭，自幼便受到多種不同亞洲美學文化的薰陶。小時候，他即開始研習中國書法，在6到12歲之間，他寄宿於日本家庭。到了 1949年，他則獨立來到了香港求學。在亞洲奠定下對東亞文化深刻體悟後，他在1952年做出了重要的決定性遷徙，前往英國，並在兩年後進入攝政街理工學院(現為西敏大學)攻讀建築。林壽宇利用白天時間專注在建築的研習，晚上則持續進行繪畫，從歐洲現代主義的影響出發，尋求自己的風格。林壽宇雙軌並進的藝術探究，正於本件作品中極致的結構完整性裡，完美地被體現出來。雖然他也受到立體派及結構主義的影響，但同時也從包浩斯革命性的建築設計獲得靈感，而將以上兩者結合的風格派，則更讓他深受啟發。作品中以強烈的透視法所建構出的造形空間及結構，無疑可以隱隱瞥見風格派先驅的皮耶·蒙德里安的風采。林壽宇1952年乍到倫敦之時造訪了泰德美術館，參觀了班·尼可森等英國藝術家的作品，他們以及一群在黑山大學推崇東方哲思的美國抽象表現藝術家，對於他在 1950年試煉繪畫時皆多有影響。自1958年起，他開始將黑白色塊層層疊在畫中，探索繪畫中重要的元素對比。到了1960年代，他更進一步將其簡化：把畫中構圖及色調選擇降到更低限，專注在白色純粹的力量之上，林壽宇標誌性的《白色系列》因此誕生，《繪畫浮雕》即為該系列具代表性的精彩作品。藝術家對於實體過程的注重，以及對繪製單純物體的概念化，刻劃了他對於西方藝術當時追求的重要藝術範疇所做出的深遠貢獻。事實上，當林壽宇開始推行《白色系列》時，「極簡主義」這個名詞並還沒有被創造出來。他在歐洲獲得廣泛的認可，參加了許多在那個重要年代最具開創性的展覽，譬如標誌著歐洲極簡藝術發展轉捩點的1964年第三屆卡塞爾文件展、以及1967年在匹茲堡的卡內基國際展覽，他在該展與法蘭西斯·培根一同獲得威廉·福如紀念藏購獎。

Attributed to Mi Fu Verdant Peaks in Clouds, c.1600 Collection of Freer Gallery of Art and Arthur M. Sackler Gallery, USA 《仿米芾雲山疊嶂圖》約1600年作美國，弗瑞爾藝廊與亞瑟·賽克勒美術館收藏

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Property from an Important American Collection

13. Wifredo Lam

1902-1982

Sur les traces (also known as Transformation) signed and dated ‘Wifredo Lam 1945’ lower right oil on canvas 155 x 125 cm. (61 x 49 1/4 in.) Painted in 1945. Provenance Pierre Matisse Gallery, New York Acquavella Modern Art, New York Galerie Lelong, Paris Sotheby’s, New York, 27 May 2010, Lot 17 Acquired at the above sale by the present owner Exhibited New York, Pierre Matisse Gallery, Lam, Recent Paintings, 1945 New York, Pierre Matisse Gallery, Wifredo Lam, Early Works, 1942-1951, 1982, no. 11 (illustrated) San Juan, Arsenal de la Puntilla, Wifredo Lam, obras desde 1938 hasta 1975, de regreso al Caribe, 1992 New York, The Studio Museum in Harlem, Wifredo Lam and his Contemporaries 1938-1952, 1992, no. 98, p. 122 (illustrated) Literature M. Leiris, Lam, Milan, 1970, no. 52 (illustrated) M. P. Fouchet, Wifredo Lam, Barcelona/Paris, 1976, no. 378, p. 233 (illustrated) Lou Laurin-Lam, Wifredo Lam, Catalogue Raisonné of the Painted Work, Volume I, 1923-1960, Lausanne, 1996, no. 45.03, p. 368 (illustrated) Lowery Stokes Sims, Wifredo Lam and the International Avant-Garde, 1923-1982, Austin, 2002, p. 52 (illustrated) Tseng Chang-Shen, Wifredo Lam, Hebei, 2006, p. 88 (illustrated)

重要美國私人收藏

林飛龍《變化》油畫畫布 1945年作款識：Wifredo Lam 1945 (右下) 來源紐約，Pierre Matisse 畫廊紐約，Acquavella Modern Art 畫廊巴黎，Lelong 畫廊紐約，蘇富比，2010年5月27日，拍品編號17 現藏者購自上述拍賣展覽紐約，Pierre Matisse 畫廊，〈林，近代作品〉，1945年紐約，Pierre Matisse 畫廊，〈林飛龍，早期作品，1942-1951年〉， 1982年，圖版編號11 (圖版) 聖胡安，Arsenal de la Puntilla，〈林飛龍，1938-1975年作品，回到加勒比地區〉，1992年紐約，哈林工作室美術館，〈林飛龍與他的同儕1938-1952年〉， 1992年，圖錄編號98，第122頁 (圖版) 出版 M. Leiris著，〈林〉，米蘭，1970年，圖版52 M. P. Fouchet著，〈林飛龍〉，巴塞羅那／巴黎，1976年，圖版378，第233頁 (圖版) Lou Laurin-Lam著，〈林飛龍油畫作品，第1集，1923-1960〉，洛桑，1996年，圖版編號45.03，第368頁 (圖版) Lowery Stokes Sims著，〈林飛龍與國際先鋒派，1923-1982年〉，奧斯汀，第52頁 (圖版) 曾長生著，〈林飛龍〉，河北，2006年，第88頁 (圖版)

HK$ 12,000,000-16,000,000 US$ 1,540,000-2,050,000

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Portrait of the artist © Wifredo Lam / ADAGP, Paris – SACK, Seoul, 2018

藝術家肖像

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The present lot exhibited at Pierre Matisse Gallery, New York in 1945 © Archives SDO Wifredo Lam

此次拍品 1945年展於紐約， Pierre Matisse畫廊

‘His art is the last tarot of surrealism and a tropical wonder of modern painting.’ Jonathan Jones

A paradigmatic Chinese Caribbean man, Wifredo Lam drew upon the wealth of his multiracial heritage— African, Cuban, Chinese—over the course of an extraordinary career that spanned fve continents. The son of a Cantonese immigrant, Yam (Enrique) Lam, who decades earlier had made the journey from San Francisco through Mexico to Cuba, Wifredo grew up within Havana’s thriving barrio de asiáticos surrounded by Chinese family and culture. His uncle owned a restaurant— Lam knew the Chinese names of all the dishes—and his father introduced him to ancestor worship, a ritual and age-old means of cultivating loyalty and flial piety. A scribe and calligrapher for the community, Yam Lam adorned his bedroom with Confucian writings, acquainting his son with traditional ink painting and calligraphy at an early age. “Wherever he went, my father carried the memory of all sorts of landscapes: Siberia, Mongolia, Tartary, the drama of Asia and the China Sea,” Lam recalled. “In his eyes you could see the sunrise of an island in turmoil fghting for its freedom.” (Wifredo Lam, quoted in Max-Pol Fouchet, Wifredo Lam, New York, 1976, p. 32.) Not only did his father pass on his Chinese citizenship— Lam only became a Cuban national at the age of twentyone, just before he lef for Spain in late 1923—but he served as well as a conduit to the spiritual and artistic lineage of China.

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By the time of Lam’s return to Cuba in 1941, amid the outbreak of the Second World War, his work had evolved in dialogue with the European avant-garde, particularly with Surrealism and its afnities with ethnography and the occult. His encounter with Africa, vis-à-vis Pablo Picasso and the culture of Black Paris, anticipated his reengagement in Havana with “la cosa negra” and the weight of the colonial past. “My return to Cuba meant, above all, a great stimulation of my imagination, as well as the exteriorisation of my world,” he recounted of his homecoming. “I responded always to the presence of factors which emanated from our history and our geography, tropical fowers, and black culture.” (Lam, quoted in Lowery Stokes Sims, Wifredo Lam and the International Avant-Garde, 1923- 1982, Austin, 2002, p. 35.) At a time of surging interest in Afro-Cuban cosmology, led by anthropologists Lydia Cabrera and Fernando Ortiz, Lam began to constitute an iconography of Santería, the syncretic religion that he had studied as a child with his godmother and maternal aunt, Mantonica Wilson, a Lucumí priestess. His iconic paintings from this period, among them The Jungle (1943)—acquired by the Museum of Modern Art in 1945, making him the frst Chinese artist to enter its collection—conjure a preternatural realm inhabited by hybrid fgures in myriad stages of metamorphosis.

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Above: Wifredo Lam The Jungle, 1943 Collection of the Museum of Modern Art (MoMA), New York © Wifredo Lam / ADAGP, Paris – SACK, Seoul, 2018

上: 林飛龍《叢林》1943年作紐約，現代藝術博物館收藏 Below: Pablo Picasso and Wifredo Lam, Vallauris, France, 1954 © André Villiers

下 : 巴勃羅·畢加索與林飛龍，瓦洛裡，法國，1954年

‘Lam is one of the most fascinating fgures in the history of modern painting.’ Alastair Sooke

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“The world that Lam creates is an end in itself, an occult, mysterious universe governed not by the laws that regulate our cosmos, but by some undercurrent of magic… [that] makes itself felt in every canvas,” Margaret Breuning observed in her review of Lam’s exhibition in late 1945 at Pierre Matisse, the legendary New York gallery named afer its founder, the younger son of Henri Matisse. “There are recognisable forms…but they appear not so much realities as the symbols of an inner mystic existence. Some of the paintings suggest Chinese art in their delicacy and refnement of handling, diaphanous forms rhythmically playing on each other in nuances of greys and whites in a design that seems to grow gently upward into [a] sweeping harmony of expression.” (Margaret Breuning, “Lam’s Magical Incantations and Rituals,” Art Digest 43, 1 December 1945, p. 16.) Among the sixteen paintings included in the exhibition, Sur les traces distills the incantatory power of Lam’s supernatural fgures as they enter into a state of transformation. The spare, monochromatic palette intensifes the sense of foreboding: gradations of black paint fade into a numinous ground, illuminating spectral, sinister presences that hover between states of being. Their imprint alone remains, indicated by vestigial and esoteric traces—votive candle, tapering horns, diamond-shaped faces, three egg-like forms—that denote the passage between physical and metaphysical worlds. Sur les traces exemplifes the transculturation of Lam’s practice, commingling Afro-Cuban and Chinese elements with imaginative and far-ranging freedom. The exquisite, stippled surfaces of his black-and-white paintings from the mid-1940s, among them Rythme mimétique (1945) and Au défaut du jour (1945), recall the precision and nuanced tonality of ink wash painting, brought to expressive heights by Southern School painters in China. They further evoke the enigmatic script of Shang oracle bones, used in ancient China for divination, fortune telling, and astrology; like Zao Wou-Ki a decade later, Lam may have channelled these inscriptions as a means of accessing his Chinese heritage.

He was fascinated by magic during these years, consulting a soothsayer upon his return to Havana and attending secret Ñáñigo (Afro-Cuban) rituals with Cabrera, the exiled Surrealist Pierre Mabille, and Alejo Carpentier, who later developed the concept of lo real maravilloso— magical realism—in his novel of the Haitian Revolution, El reino de este mundo (1949). During a months-long stay in Haiti in 1945-46, Lam observed voodoo ceremonies, formally outlawed as superstitious practice, with Mabille and André Breton; the spirit possession that he witnessed doubtless recalled Santería and, possibly, Chinese traditions of his childhood. Lam immersed himself in the study of religion and mysticism during this period, drawing liberally from African, Caribbean, and Asian sources as he explored the wonders of faith. His paintings, Sur les traces among them, penetrated the depths of consciousness and the nature of being in a world ravaged by war and in search of meaning. “Lam began to create his atmosphere by means of fgures in which the human, the animal, the vegetal mix without specifcation, animating a world of primitive myths with something ecumenically Antillean, profoundly tied not only to the Cuban soil but also to the entire string of islands,” Carpentier wrote of his friend in 1944. “His painting, without local anecdotes, could not have been conceived by a European artist. All of the magical, the imponderable, the mysterious in our environment is revealed in his recent works with an impressive force... The fgures metamorphose, are transfgured... Reality and dream are confused. The poetic and the visual become one. There is an atmosphere of myths and colour, completely original. There is a world of its own.” (Alejo Carpentier, “Refexiones acerca de la pintura de Wifredo Lam,” Gaceta del Caribe 5, July 1944, p. 27.) Phillips would like to thank Eskil Lam and Dorota DolegaRitter for their assistance and Abigail McEwen for the writing of this essay.

Marcel Duchamp and Wifredo Lam in New York, 1946 © Association Marcel Duchamp / ADAGP, Paris, 2018

馬塞爾·杜尚與林飛龍於紐約，1946年

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當藝術家在1941年再度踏上古巴這個島嶼時，正逢二次世界大戰，他的作品已開始與歐洲的前衛藝術進行對話，特別是超現實主義以及該流派所衷情的民族考察和神秘學。他與非洲的際遇，正如同帕勃羅·畢卡索與巴黎的黑人文化一樣，也促使他以「黑色物體」和過去殖民歷史的角度來重新檢視哈瓦那。「我重返古巴最重要的意義，是在於對我想像力及內心世界的外化一個重要的刺激」，當他憶起回到故鄉時這樣說道：「我總對那些我們的歷史及地理背後的存在因素有所反應，那些熱帶花卉，還有黑人文化」(林飛龍，摘錄自洛瑞·史多克斯·席姆斯所著《林飛龍及國際前衛派1923- 1982》 2002年8月，第35頁)。在當時，由人類學家莉蒂亞·卡布列拉與弗南多·歐迪茲所帶動，古巴突然掀起一片對古巴黑人的宇宙觀十分感興趣的風潮。林飛龍的繪畫在這段期間，也開始出現了薩泰里亞教的形象。他從小即從他教母；也是他阿姨的-- 女祭司曼東妮卡·威爾遜學習到這個融合了天主教及非洲信仰的宗教。在這個時期具代表性的作品，往往描繪著超自然的魔幻境地裡，住著經歷多重蛻變狀態的混生物種，其中1943年所作的《叢林》，為紐約現代美術館收藏，使他成為了首位進入該館館藏的華人藝術家。

林飛龍身為一位典型的中裔加勒比海藝術家，借鑒了其多種族的豐富文化背景，包括非洲、古巴及中國，燦爛的藝術生涯橫越了五大洲。他的父親林顏是位廣東籍的華人移民，曾在數十載間從廣東經舊金山、墨西哥來到了古巴，林飛龍在哈瓦那繁華的亞洲社區，成長於充滿中國家庭及文化的環境之中。他的叔叔經營一家餐廳，因此他對於菜單上每道中國菜名如數家珍般熟稔，他的父親也將祭祖這一種培養忠誠和孝道的傳統儀式沿傳給他。林顏是社區裡的抄寫員及書法家，他的臥室裡掛滿了手書的儒家信條，林飛龍自小便從父親那裡習得了水墨及書法。「不管我的父親去到哪裡，他總是把風景收納入他的記憶裡，像是西伯利亞、蒙古、韃靼、亞洲和中國海」他曾如此回憶道，「在他的眼底，你可以看到一個正在動盪中為自由奮鬥之島嶼的日出。」(林飛龍，摘錄自麥克斯-波爾·富切所著，《林飛龍》，紐約， 1976年，第32頁)。林飛龍直到了 21歲才成為古巴公民，而且不久後就於1923年遷徙到了西班牙，他的父親不僅只是將中國的國籍傳承了給他，而更是將中國的精神與藝術傳承給林飛龍的一個重要渠道。

Members of the Group surréaliste (Surrealist Group), 1953 (Wifredo Lam can be seen upper right) Photo © Jacques Cordonnier

超現實主義成員，1953年 (林飛龍於右上角)

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Infuence of oracle bone inscription in Wifredo Lam’s work

甲骨文對林飛龍作品的影響

瑪格麗特·布魯寧對於1945年底他在皮耶·馬蒂斯畫廊展覽的評論中提及：「林飛龍所創造的世界本身就是一個終點，這一個神秘的、詭譎的宇宙，並不是由你我宇宙中的規律所能控制的，而是由一些神奇的暗流控制…在每一塊畫布中都能感受到它」。那家傳奇性的紐約畫廊，是以畫廊老闆為名，而他正是野獸派畫家亨利·馬蒂斯的幼子。她繼續評道：「他的畫裡有著可以辨識的形體…然而，它們的外型又不像神秘主義者所信奉之象徵符號。有幾幅畫中精緻細膩的處理，可看得出中國藝術的軌跡，以灰色和白色細微的差異，充滿節奏感地相互演繹著清透的形體，輕慢地攀升成為一種清晰的和諧表達。」(瑪格麗特·布魯寧，「林飛龍神奇的化身與祭典」，Art Digest 第43期，1945年 12月1日，第16頁)。該展覽的16件作品中，《變化》將藝術家筆下超自然的物體在進入轉化的狀態時，賦予了得以幻化成肉身的力量。單薄又近乎單色的色調，強化了預示感：黑色顏料漸進地褪入一片神秘的境地，一個徘徊在生存狀態之間，發著光又判若幽魂的險惡存在。在殘留卻又深奧的痕跡裡，他們的印記仍然依稀可見：奉獻蠟燭、錐形犄角、鑽石形狀的面孔，及三個看似蛋的形體，這些皆象徵了實體與形而上兩個世界之間的過渡。《變化》體現了林飛龍跨文化的藝術實踐，將古巴非裔和中國的元素融合在一起，充滿了想像力和無邊無際的自由。1940年代中期黑白繪畫裡，例如《模仿節奏》(1945) 及《每日的預設》(1945)，其中精細的點描筆法，不禁讓人懷想起中國文人水墨畫裡精準恰到好處的色調拿捏。這些畫作並且也讓人聯想到商朝甲骨文，那些像謎般的符號，在古代中國被用於占卜、算命及占星術；也許正如同他的後輩趙無極，林飛龍在這些銘文裡找到了他追溯中國文化傳承的依繫。他在這些年也對魔法十分著迷，他回到哈瓦

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那之前，甚至先諮詢過一位預言家，而且和卡布列拉、流放的超現實主義藝術家皮耶·馬比爾以及阿勒荷·卡本提爾，一起參加古巴黑人間的秘密宗教儀式納尼戈舞；卡本提爾之後還在他描述海地革命的小說《世界王國》裡，提出了魔幻現實主義這個概念。於1945-46年林飛龍停留於海地的數月間，他與馬比爾和布萊登一起去看了當地的巫毒祭典，巫毒之前因為被視為是迷信所以被法律所禁止。他所目睹的靈魂附身，無疑與薩泰里亞教、甚至或是中國的一些宗教活動十分類似。這個時期的他，浸淫於宗教及神秘主義的研究，廣泛地從非洲、加勒比海和亞洲不同的源起去探索信仰的神奇。林飛龍的繪畫直探人類意識的深處，以及被戰爭蹂躪和尋求意義的世界之本質，此作《變化》即是極佳典範。「林飛龍一開始透過將人類、動物及植物混合再一起，創造了一個沒有物種分類的境界，造就出一個原始的神話世界，裡面緊扣著古巴的土壤，更牽繫著一整串的安地列斯群島」，卡本提爾在1944年如此描述著這位朋友。「他的繪畫，並不存在當地的軼事，這是歐洲藝術家所無法構思出來的。他最近的作品，以驚人的力量道破了我們身處環境中那些奇幻的、無法量化的、神秘的一切…這些形體蛻變，被幻化了…現實與夢想相混淆。詩意和視覺融為一體。充滿神話和色彩的氛圍，完全原創。那兒是個只屬於它自己的世界。」(阿勒荷·卡本提爾，「對林飛龍繪畫的思索」，Gaceta del Caribe 第5期，1944年7月，第27頁)。富藝斯特別鳴謝 Eskil Lam、Dorota Dolega-Ritter協助指導及 Abigail McEwen協助選寫此專文。

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André Breton, Wifredo Lam and Pierre Mabille, 1946

安德烈 ·布勒、林飛龍及皮耶·馬畢，1946年

Wifredo Lam at Venice Biennale, 1972

林飛龍於威尼斯雙年展，1972年

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Wifredo Lam: A Man of the World 林飛龍偏布全球的藝術軌跡

1902

1945

1972

Wifredo Lam was born in Sagua la Grande, Cuba.

MoMA, New York, acquires Lam’s The Jungle (1945), making him the frst Chinese artist to enter its collection. The Jungle was hung next to Pablo Picasso's Les Desmoiselle d'Avignon.

Exhibited at the 36th Venice Biennale.

林飛龍生於古巴大薩瓜。

1938 Afer 14 years in Spain, he leaves for Paris and meets Picasso, who introduced him to Georges Braque, Henri Matisse, Joan Miró, Fernand Léger, etc.

1980 Nominated ‘Commandeur de L̓ Ordre des Arts et des Lettres’ by France. 榮獲法國「安術及文學勛章」。

離開居住了14年的西班牙後，林飛龍抵達巴黎。他與畢加索會面。畢加索將林飛龍引薦給布拉克，馬蒂斯，米羅，萊熱，塞巴斯蒂安·加斯奇等。

1945

1940

到達海地，在皮耶·馬畢與安德烈·布勒東的陪伴下參加伏都巫術儀式。

林飛龍於哈瓦那逝世，舉國哀悼，菲德爾·卡斯楚出席葬禮。

In the advent of war, Lam and members of the Surrealist group gathered at André Breton’s Villa Air Bel in Marseille. Peggy Guggenheim bought two of Lam's gouaches from this period.

1946

1991-1992

在德軍佔領巴黎之前，在馬賽，林飛龍與眾多超現實派安術友人在貝爾維拉公館與安德烈· 布勒東相聚。佩吉·古根漢買下兩幅林飛龍作的水粉畫。

Travelled to New York and met up with Marcel Duchamp, Arshile Gorky, John Cage, and Yves Tanguy.

Posthumous exhibitions bring his works to Beijing, Shanghai, Hangzhou, Guangdong, and Hong Kong.

駐足紐約，探訪馬塞爾·杜尚，阿希爾·戈爾基，約翰·凱奇及，伊夫·坦吉。

過世後，其畫作被帶回北京、上海、杭州、廣東、香港巡展。

1941

1947

2015-2016

In exile from war in Europe, Lam returned to Cuba afer 17 years abroad.

Divided his time between Europe, Havana and New York. Spent time with Robert Motherwell, Jackson Pollock, Asger Jorn, and the CoBrA group.

Major exhibitions held, notably at Tate Modern in London, as well as in Beijing, Paris and Madrid.

為了躲避歐洲的戰爭，林飛龍最終回到了闊別 17載的故鄉古巴。

All images © Wifredo Lam / ADAGP, Paris – SACK, Seoul, 2018

紐約當代安術館購得林飛龍作品，《叢林》（1945年作）。林飛龍成了首位被安術館收藏的華裔安術家。作品《叢林》與畢加索的作品《亞維農的少女》並排展示。

作品參展第36屆威尼斯雙年展。

Travelled to Haiti and attended voodoo ceremonies with Pierre Mabille and André Breton.

1942

在歐洲，哈瓦那，紐約三地之間穿梭。享受馬瑟·韋爾，波洛克，阿斯葛·瓊，及超現實安術派「眼鏡蛇畫會」的陪伴與支持。

Solo exhibition at Gallery Pierre Matisse in New York, which then hosted exhibitions of Lam's work for over 40 years.

1964

皮耶·馬蒂斯畫廊為林飛龍舉辦了在紐約的首場個展。在隨後的40年之中，畫廊相繼為林飛龍舉辦了數場個展。

Wins the Guggenheim International Award and divided his time between Paris and Italy.

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1982 A national funeral was organized in Havana for Lam, in the presence of Fidel Castro.

於北京，巴黎，以及馬德里舉行大型展覽，包括於倫敦泰德當代安術館。

贏得古根漢國際安術獎。在巴黎，阿爾比索拉馬兩地居住。

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Property from a Private Asian Collection

14. KAWS

b. 1974

COMPANION (RESTING PLACE) painted aluminium 152.4 x 160 x 203 cm. (60 x 62 7/8 x 79 7/8 in.) Executed in 2013, this work is number 2 from an edition of 3 plus 2 artist's proofs and is accompanied by a certifcate of authenticity issued by the KAWS studio. Provenance Honor Fraser Gallery, Los Angeles Acquired from the above by the present owner

亞洲私人收藏

KAWS 《同伴（休息處）》著色鋁 2013年作，共有3版與2版藝術家試作版，此作為第2版，並附KAWS工作室之保證書。來源洛杉磯，Honor Fraser 畫廊現藏者購自上述來源

HK$ 4,500,000-5,500,000 US$ 577,000-705,000

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Provocatively half dissected and rendered in a sophisticated grey-scale palette, COMPANION (RESTING PLACE) monumentalises the beloved character created by Brian Donnelly, one of the most popular artists of his generation, who goes by the pseudonym KAWS. Implementing KAWS’s signature logos, the X replaces one of the eyes, the protruding crossbones, though bisected, signal an ear or hair, while the playfully oversized features provide comedic relief to the underlying tones of existentialism. This work is one of the only few life-size grey sculptures completed during the fnal season of the artist’s brand OriginalFake. Expressing the namesake duality that encapsulates the allure of KAWS’s work, COMPANION (RESTING PLACE) points to an ingenuity that emerges from previously codifed fgures and concerns executed in a thrilling KAWS-ifed twist. In true KAWS fashion, as the visibility of his work increased, and intrigued followers requested more information about the characters, KAWS humorously revealed the literal interior of Companion, instead of providing further details on its psychological or emotional state. Afer studying at the School of Visual Arts in New York, the artist’s work as an illustrator informed his dynamic fascination with the impact of cartoons in modern life. Finding pleasure in tackling assertive marketing characters, KAWS transforms these well-known fgures into uncanny and even somewhat sadistic doppelgängers that have grown into idolised emblems in their own right. First appearing in 1996 as a witty grafti tag on a Marlboro billboard and later becoming the protagonist of a limited-edition vinyl fgurine created in collaboration with Japan’s Bounty Hunter in 1999, iterations of the ever-mutable COMPANION have attracted a cult of avid collectors that have followed KAWS from the streets into the major galleries and museum exhibitions surveying his phenomenal work worldwide. When KAWS entered the grafti or “graf” world in the early 1990s before moving on to his interventionist street art, the obliteration of the status of the art object as something elite and unique and the subsequent augmented propensity for dissemination and mobility, exemplifed by the works of Andy Warhol and Keith Haring, played a key role in shaping his creative output. Considering the concurrent progression of KAWS’s career and the rampant rise of technologies such as computers and the Internet, the artist’s multiplicity of collaborative oferings spanning the realms of fashion, advertising, photography and graphic art, expresses the limitless variants of information spreading and interchanging across the interface of media.

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Challenging notions of authenticity and originality through its combination of diverse visual sources, COMPANION (RESTING PLACE) responds to a reality that interweaves demands for both identity and anonymity, the counterculture of the individual and a desire for transpersonal integration. For KAWS and other post-Pop, post-Minimal artists, art “is not a prison that won’t allow the artist outside its perimeter, but something that is everything and its opposite, an open, endless feld in which the versatile person can roam, becoming unclassifable and unique.” (Germano Celant, “BD and K,” exh. cat. Brian Donnelly, Germano Celant, Gary Panter, Harry Philbrick, and Mónica Ramírez-Montagut, KAWS 1993-2010, New York: Rizzoli and The Aldrich Contemporary Art Museum, 2010, p. 47.) Rooted in his earlier mediations of corporate advertisements, the present lot depicts KAWS’s ability to chip away at that which is hidden beneath shiny surfaces while still maintaining an emotional distance allowing viewers to assign their own narratives and beliefs. From his billboard, phone booth, and bus shelter “subvertising” to his partnerships with some of the largest cultural brands including Comme des Garçons, Nike, and Kanye West, KAWS reads the unspoken games of desire and power within images and comments precisely on those veiled messages instead of negating them. COMPANION (RESTING PLACE) exposes the fgure’s vital organs and muscles, as an explicit yet equally cryptic way to call into question notions of uniqueness, authorship, and mortality bubbling beneath the smooth exterior of his work. Mónica Ramírez-Montagut furthermore posits that perhaps KAWS’s take on popular culture has a political motivation, playing on the fact that it can have a larger impact in shaping our culture and everyday lives than regular politics. She asks, “are Homer Simpson and Spongebob better poised to incorporate and convey the contradictions of our contemporary lifestyle?” Leaving this question unanswered for viewers to ponder, Ramírez-Montagut concludes, KAWS’s works are “gatekeepers’ to a new consciousness, one that challenges homogeneity and hegemonic forces.” (Mónica Ramírez-Montagut, “KAWS: Seeing You Seeing Yourself,” exh. cat. Brian Donnelly, Germano Celant, Gary Panter, Harry Philbrick, and Mónica Ramírez-Montagut, KAWS 19932010, New York: Rizzoli and The Aldrich Contemporary Art Museum, 2010, p. 136.) While undoubtedly stimulating a sense of surprise and delight, COMPANION (RESTING PLACE) incorporates the best of KAWS in a single colossal work that symbolises a paradigmatic shif in our collective understanding of what art can be.

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KAWS Accomplice, 2010 Phillips London, 9 March 2018 Estimate: £300,000 - 500,000 Sold For: £669,000 World auction record for a sculpture by the artist at the time KAWS 《同謀》2010年作倫敦，富藝斯，2018年3月9日估價: 英磅300,000 - 500,000 成交價: 英磅669,000 當時藝術家雕塑拍賣世界記錄

《同伴（休息處）》是一件灰色調作品，一半身體被解剖開來，頗具挑逗性。此大尺寸作品的主題是當紅藝術家 Brain Donnelly，也就是 KAWS 最喜歡的角色。藝術家的標誌圖案 X 代替了其中一隻眼睛，突出的交叉骨頭一分為二，代表著耳朵或者頭髮，這具有玩味的巨大特徵為隱藏的存在主義調子提供了一種滑稽的緩解。此件作品是藝術家自創潮牌「OriginalFake」最後一季製作的僅有的少數真人比例灰色雕塑的其中之一。KAWS 作品題目以主題加子題的雙重架構也是賦予其作品魅力的一大元素，《同伴（休息處）》指向之前KAWS 式充滿刺激性的藝術手法，呈現一個個如代號般的塑像和概念。隨著其藝術作品漸多的曝光率，好奇的追隨者們亦越來越希望了解更多其創作角色的資料。KAWS 幽默的提供了《同伴》的子題，但並沒有提供關於其內心和情緒狀況的更多細節。藝術家於紐約藝術學院畢業後，先進入動畫公司就職，成為了一位繪圖師，這個經驗讓他理解到卡通動畫對世人生活的影響力，啟動了他的創作靈感。KAWS 希望找到一個最具指標性的經典卡通造形；最終選定以米老鼠，作為《同伴》系列作品的參考。KAWS 在處理這些在世人認知度排行榜上名列前茅的角色時得到樂趣，把它們轉變為神秘怪異甚至殘酷的分身，直至這些分身也成為受人追捧的化身。《同伴》第一次於1996年在一塊萬寶路廣告牌上以詼諧塗鴉的方式出現，隨後成為1999年與日本品牌 Bounty Hunter 合作的模型公仔。《同伴》多變的重複性引來一眾熱切的藏家，從街頭走到大型畫廊和博物館展覽，在世界各地輪翻上演其非凡獨有的藝術作品。 KAWS 在1990年代初進入塗鴉世界，之後才正式開始其以介入主義來創作的街頭藝術。這段時期，安迪·沃荷與凱斯·哈林等人的創作正逐漸抹去藝術品必然高高在上的地位，並因此形成對傳播性和流動性藝術的偏好，這些都對 KAWS產生重要影響。其藝術發展正好碰上電腦、互聯網等科技的迅速冒起，藝術家的多方面創作活動包括時裝、廣告、攝影和平面藝術，經互聯網時代的信息傳遞和互動而發展出無限變化與可能。《同伴（休息處安》結合不同視覺出處，挑戰真實和原創概念，現實社會既需要身份，亦講求匿名性，既崇尚個人化特質，也追求融入大眾，此作品一一對上這些特性。對於 KAWS 等後

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普普和後極簡藝術家而言，藝術「不是會把藝術家限制在框架以內的監獄，而是所有其相反的，開放、無盡的領域，可以讓有才情的人盡情漫遊，不會被貼標籤，保持其獨立性。」（Germao Celant，〈BD and K〉，展覽圖錄，Brian Donnelly, Germano Celant, Gary Panter, Harry Philbrick, and Mónica RamírezMontagut，《KAWS 1993-2010》，紐約：Rizzoli and The Aldrich 當代藝術博物館，2010年，47頁安 KAWS 事業早期涉獵商業廣告，但此拍賣作品不止有華麗的外表，亦呈現其內涵，並依然保持了情感上的距離，讓觀者自我定義其敘述和觀點。從其對廣告牌、電話亭和公交車站的廣告「破壞」，到他與大型文化品牌如Comme des Garçons、Nike和 Kanye West 的合作，KAWS 都深知圖像對慾望和權力的無聲影響，並對其發出自己的聲音。《同伴（休息處安》揭示了角色的主要器官和肌肉，作為既直白，又隱晦地探討在其作品光滑表像下的獨特性、著作者身份認同與生命的議題。 Mónica Ramírez-Montagut 更進一步設定 KAWS 對流行文化的表現中包含政治動機，改變我們文化和日常生活的力量比一般政治手法還要強。她問道：「荷馬·辛普森和海綿寶寶是不是更有效地融合與表達我們現今生活方式的矛盾？」Ramírez-Montagut 把這個問題留給讀者，並總結，KAWS 的作品是「新意念的守衛者，挑戰了同質性和霸權主義。」（Mónica Ramírez-Montagut，〈KAWS: 看見你，看見你自己〉，展覽圖錄，Brian Donnelly, Germano Celant, Gary Panter, Harry Philbrick, and Mónica Ramírez-Montagut，《KAWS 1993-2010》，紐約：Rizzoli and The Aldrich 當代藝術博物館，2010年，136頁安《同伴（休息處安》既激起了驚訝和欣喜，並融入了KAWS 最重要的精華於一件巨大的作品中，它引領我們對藝術的集體理解方式正在演變。 KAWS 對自己作品的骷髏和骨頭圖案解釋道：「我對這個圖像感興趣『因為它在翻譯上沒有界限：到了任何地方，任何國家，它還是一個骷髏，沒有比這個更普世的了。』」（同上，123頁安

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Property of an Important American Collector

15. Luc Tuymans

b. 1958

The Heritage IX signed, titled and dated ‘“THE HERITAGE IX” LUC TUYMANS 1996’ on the stretcher oil on canvas 50.5 x 67.3 cm. (19 7/8 x 26 1/ 2 in.) Painted in 1996. Provenance David Zwirner, London Acquired from the above by the present owner Exhibited New York, David Zwirner, Luc Tuymans: The Heritage, 20 September - 19 October 1996

重要美國私人收藏

呂克．圖伊曼斯《遺產IX》油畫畫布 1996年作款識：《THE HERITAGE IX》LUC TUYMANS 1996 (簽於內框) 來源倫敦，David Zwirner 畫廊現藏者購自上述來源展覽紐約，David Zwirner 畫廊，〈呂克·圖伊曼斯:遺產〉， 1996年9月20日-10月19日

HK$ 2,200,000-2,800,000 US$ 282,000-359,000

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Artist in his studio 藝術家於工作室

Luc Tuymans painted The Heritage IX in 1996, and it was shown alongside nine other numbered works in a small exhibition at the David Zwirner Gallery in New York in the same year. This exhibition, which received critical acclaim, was a breakthrough for Tuymans, launching him convincingly onto the international scene. In particular, it marked the point that the American critical world began to pay him closer attention. Of the ten paintings that formed The Heritage series and exhibition, two were acquired by American museums at the time: The Heritage I is in the collection of the Philadelphia Museum of Art, and The Heritage IV belongs to the Museum of Modern Art, New York. Another picture from the series, The Heritage X, was stolen from the gallery—arguably another uninvited form of fattery. Tuymans’ paintings ofen take photographs as their sources. Placed in a new context, at a further remove from whatever situation saw them being taken in the frst place, these gradually acquire and lose meanings, transforming and mutating. As he has explained, ‘I deal primarily with existing images in my work in order to demonstrate the inadequacy of memory’ (Tuymans, quoted in S. Folie, ‘Luc Tuymans’, pp. 118-21, “Dear Painter, Paint Me…”: Painting the Figure since Late Picabia, exh. cat., Paris, 2002, pp. 119-20.) This clearly lay at the heart of the

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series of paintings to which The Heritage IX belongs: subjects included photos of the American fag, hunting caps and Mount Rushmore, as well as a pail, a car and a man at work. In the case of The Heritage IX, the subject matter is in fact a birthday cake, but Tuymans has managed to present it as a deliberately bleached, fawed image. In The Heritage IX, Tuymans uses the dark paint at the edges, which serve as a frame around the supposed photo source, as well as a hint of glare on the gloss of its surface, to emphasise the degrees of separation that distance us from the original subject matter. Tuymans’ own painting practice can be seen as a further development, in both conceptual and photographic terms: he usually limits himself to painting his works in 24 hours, limiting their ‘exposure.’ In The Heritage IX, Tuymans has brought to light the complexities of this multi-layered process of removes by creating a work that is deliberately evasive in its appearance. As Robert Storr has said of Tuymans’ work: ‘When you don’t quite know what’s there but you can feel the undertow, that’s when I think Luc is at his very best’ (Robert Storr, quoted in L. Tillman, ‘Robert Storr in conversation with Lynne Tillman’, pp. 28-41, T. Simoens & D. Wingate, ed., Luc Tuymans: Exhibitions at David Zwirner, Antwerp, 2013, p. 29.) That undertow was indeed particularly evident in the entire series of works in The Heritage.

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In these, Tuymans probed some of the complexities not only of memory as a general theme, but also of history. He had been struck by the atmosphere in the United States in 1995, the year before The Heritage IX was painted, when the nation had been shaken by the Oklahoma City bombing. In the immediate afermath, many assumed that foreign terrorists were to blame, yet ultimately the culprit was identifed as Timothy McVeigh, a decorated American veteran.

‘I wanted to make my paintings look old from the start, which is important because they are about memory’ Luc Tuymans

In The Heritage, Tuymans explored the twisting of nationality and nationalism that was evidenced by McVeigh’s campaign, as well as in wider cultural and political shifs. As is ever the case, the innocuous-seeming surfaces of his images belied complex currents of thought and subversion. In The Heritage VI, one of the most iconic works from the series, an image of a smiling, bespectacled man seems like a portrait of a statesman, yet actually represents a white supremacist who had been tangentially implicated in some theories regarding the assassination of President John F. Kennedy in 1963. An image of a man working in fact shows someone dealing with toxic materials. The American fag is rendered gaudy through a shif in palette. All this shows the way that images can ring false. Within this conceptual maelstrom is The Heritage IX, showing a birthday cake. What are we to make of this image, with its beguilingly innocent face twisted through Tuymans’ brushwork? Tuymans appears to be hinting at the way that culture, history and politics can be indoctrinated—and ofen, for the worse. This is an image of a cake that has been tailored for its assumed child recipient. This is an example of programming. In addition, the way in which a cake marks a birthday, and therefore the passing of time, means that this becomes an unlikely memento mori, a subject all the more apt in the work of an artist as steeped in the paintings of the Flemish Old Masters as Tuymans. And all the more so, when linked to the Oklahoma City bombing, which saw victims of all ages sufering. By sheer juxtaposition with the other works in the series, The Heritage IX thus takes on a more sombre air with its tender brushwork, pale image and record of a past, lost celebration. Tuymans is reminding us that, ‘Violence is the only structure underlying my work. It is both physical and detached at the same time.’ (Tuymans, quoted in R. Storr, ‘A Worst Case Scenario’, pp. 13-39, Luc Tuymans: Mwana Kotoko, Beautiful White Man, exh. cat. from 2001 Venice Biennale, Ghent, 2001, p. 35.)

呂克·圖伊曼斯《遺產IV》1996年作紐約，現代藝術博物館收藏

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「我希望我的畫作從一開始就看上去很舊，因為它們是關於回憶的，所以這一點很重要。」（圖伊曼斯，錄於 R. Storr，〈最糟的狀況〉，13-39頁，《呂克·圖伊曼斯: Mwana Kotobo, 漂亮的白人》，展覽圖錄，來自2001年威尼斯雙年展，根特，2001年，21頁）《遺產 IX》是呂克·圖伊曼斯1996年的畫作，曾與另外九幅其他編號的作品在紐約 David Zwirner 畫廊作小型展覽，該展覽在藝評圈中得到廣泛佳譽，是圖伊曼斯事業的一大突破，讓他走向國際舞台，這時，美國藝評界也開始對他產生關注。展覽的「遺產」系列十幅作品當時有兩幅被美國的博物館納入典藏：《遺產 I》由費城藝術博館收入，《遺產 IV》由紐約現代藝術博物館收入。而還有一幅作品，《遺產 X》竟從畫廊被盜，也算是一種不請自來的恭維。圖伊曼斯的繪畫常以攝影作品為基礎來源，放置於新的處境，遠離它們原先拍攝時的設定，逐漸獲得或遺失其意義，轉變並演進。如藝術家本人所解釋：「我的作品主要處理已有的圖像，這樣才能彰顯回憶之不足。」（圖伊曼斯，錄於 S. Folie，〈呂克·圖伊曼斯〉，118-121頁，《 “親愛的藝術家，畫我…”: 在畢卡比亞之後畫肖像》展覽圖錄，巴黎，2002年，119-120頁）。這也明顯是《遺產 IX》所屬的一系列繪畫作品之核心，作品主題包括美國國旗照片、狩獵帽子、拉什莫爾山，還有水桶、汽車和工作中的人。本作《遺產 IX》中的主題其實是一個生日蛋糕，但圖伊曼斯故意令畫面顯得很暗淡，並滿是缺陷。

透過「遺產」系列作品，圖伊曼斯探討國家身份和民族主義這些被麥維克事件所扭曲的理念，以及更廣義的文化與政治更替。其作品表面的平靜總是暗藏複雜的思緒和顛覆。《遺產 VI》是系列最有標誌性的作品之一，畫中微笑著的眼鏡男子看似一位政治家，但其實代表了一個白人優越主義者，對1963年甘迺迪遇安案作出牽強的陰謀論。事實上，一個男子的圖像如上述作品，可以於畫作中展現其陰暗意涵，美國國旗在改變色調後也可變得俗麗，可見畫面足以製造謊言的能力。在這些理論的漩渦中，《遺產 IX》呈現的是一個生日蛋糕，我們在這個經圖伊曼斯筆觸扭曲而矯揉造作的臉龐可以看出什麼呢？圖伊曼斯似乎在暗示文化、歷史和政治都是可以被灌輸概念的，而這多數不是件好事。這是一個專門為兒童設計的一個蛋糕，而其本身便是一個程式編排。另外，蛋糕意味著生日，也就是時間之流逝，像是對終將面對死亡的一種提醒，這對熟知弗蘭芒古典藝術的圖伊曼斯來說更加明顯，並聯繫起奧克拉荷馬市爆炸案那些各年齡層的受害者。與同系列其他作品相比，《遺產 IX》因其稚嫩的筆觸和暗淡的圖像又添上一層憂愁，像是一個失去了慶祝的過去。圖伊曼斯提醒我們：「暴力是我作品背後唯一的結構，它既真實可見，又完全脫離。」（圖伊曼斯，錄於 R. Storr，〈最糟的狀況〉，13-39頁，《呂克·圖伊曼斯: Mwana Kotobo, 漂亮的白人》，展覽圖錄，來自2001年威尼斯雙年展，根特，2001年，35頁）

在此幅《遺產 IX》，圖伊曼斯在畫布邊界運用深色顏料，像一個畫框般包圍著中間改編自照片的圖像，也襯托出表面的一絲光澤，強調移動的軌跡，帶觀者遠離原本的對象題材。圖伊曼斯自己的繪畫風格是其進一步的發展所至，於概念上和攝影角度上皆是：他經常限制自己在二十四小時內完成一幅畫，限制它們的「曝光」時間。在《遺產 IX》，圖伊曼斯的藝術概念已然完全成熟，在多次移除的過程中完成一幅作品，刻意賦予它難以捉摸的外表。如 Robert Storr 對其作品的評價：「當你不確定那裡有什麼，而又可以感覺到其暗流，那是我覺得呂克最巔峰的成就」（Robert Storr，錄於 L. Tillman〈呂克· 圖伊曼斯與羅勃·史多爾的對話〉，28-41頁，T. Simoens & D. Wingate（編），《呂克·圖伊曼斯 : David Zwirner 展覽》，安特衛普，2013年，29頁）那股暗流在整個「遺產」系列作品都十分強烈。他對美國1995年之氛圍產生很大的印象，那便是創作《遺產 IX》之前一年，那時國家被奧克拉荷馬市爆炸案所震驚動搖，事件過後，許多人馬上認定是外國恐怖分子所為，但最後確定的罪犯卻是美國授勛的退役軍人蒂莫斯·麥維克。

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Property of a French Collector

16. Marc Chagall

1887-1985

Le violoniste bleu signed ‘Marc Chagall’ lower right gouache on paper 66 x 51.3 cm. (25 7/8 x 20 1/4 in.) Executed in 1929, the authenticity of this work has been confrmed by the Comité Marc Chagall. Provenance Collection of Madame Maurice Raynal, Paris Christie’s, New York, 12 November 1992, Lot 165 Private Collection, Montreal Private Collection (by descent) Sotheby’s, New York, 6 May 2015, Lot 141 Acquired at the above sale by the present owner Exhibited London, The Leicester Galleries, Marc Chagall, April - May 1935, no. 14

法國私人收藏

馬克．夏卡爾《小提琴家 - 藍色》水粉紙本 1929年作，此作品已獲馬克·夏卡爾委員會確認。款識：Marc Chagall (右下) 來源巴黎，Maurice Raynal 夫人收藏紐約，佳士得，1992年11月12日，拍品編號165 蒙特婁私人收藏私人收藏 (由上述藏家家屬繼承作品) 紐約，蘇富比，2015年5月6日，拍品編號141 現藏者購自上述拍賣展覽倫敦，Leicester 畫廊，〈馬克·夏卡爾〉，1935年4月-5月，圖版14

HK$ 3,800,000-4,800,000 US$ 487,000-615,000

‘When Matisse dies, Chagall will be the only painter left who understands what colour really is.’ Pablo Picasso

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Marc Chagall and his wife Bella Rosenfeld in his studio in Paris, 1926. 馬克·夏卡爾與妻子貝拉·羅森菲爾德於藝術家工作室，巴黎，1926年。

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‘I’ll become a violinist. I’ll enter a conservatory.’ Marc Chagall

In Marc Chagall’s Le violoniste bleu, the titular musician sits while playing, utterly absorbed in his music, eyes closed in dream-like concentration. This poetic gouache is flled with the blues and purples of the twilight hours, which are present in so many of Chagall’s greatest works. It is a lyrical time of music, magic and mystery. This picture was formerly in the collection of the wife of the prominent French art critic Maurice Raynal, who was considered to be an important standard-bearer for Cubism. The work dates from 1929, when the technique of gouache was an important focus for Chagall in his artistic practice. He had just produced the etchings to accompany Les Fables by La Fontaine, which were commissioned by the legendary dealer Ambroise Vollard. They were published years later, in 1952, but the friendship of the two began much earlier through an introduction by the poet Blaise Cendrars. Vollard would become Chagall’s mentor and source of inspiration, opening new doors for him with his concepts for print projects. This allowed the artist to establish himself in Paris, following his return from Vitebsk, where he had been living for fve years afer the Bolshevik Revolution, in 1922. Chagall’s appointment as Fine Arts Commissioner for the Vitebsk region saw him working alongside the avant-garde artistic leaders in Moscow, Kazimir Malevich and El Lissitzky. Le violoniste bleu is a dreamy picture flled with poetry and music. It depicts a romantic scene recalling serenades, quite afar from the rigors of Suprematist aspirations, and yet, the quintessential lesson of Suprematism can be found in the bold use of an almost monochrome colour deployed as background, that becomes the main subject, incarnated on the blue musician. To the eyes of the Soviet power, having just accused Malevich for being

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a “philosophical dreamer” in 1929, the same year that this work was painted, such poetic character in Le violoniste bleu would have been regarded as rebellious and anti-establishment. Painted in the year of the Wall Street crash, Le violoniste bleu still captures the atmosphere of the Happy Twenties, coinciding with a time of prosperity for Chagall and his wife Bella. Paris had opened its doors to them and they enjoyed a period of comfort. In this ever-changing shape of the economy, Chagall conceptually captures an otherwise emotional period in between countries in this present lot. The musician is heavily rooted in Russian folklore and recalls memories of his childhood, yet the turquoise box he sits on represents the new, symbolically referring to his new home, Paris, as the fourishing capital of the arts. Far from a common bench, Chagall places the musician on a deep symbol of Parisian culture, one of the “bouquinistes”, second-hand book stall boxes that fanked the banks of the River Seine. A subtle allusion to the new city in contrast with the fddler, which evokes the “shtetl” of his childhood, the Jewish community of Vitebsk in which he had been raised and which was to impregnate his work throughout his life, Chagall explored his nostalgic longing for the home of his frst youth. In the idiosyncratic and personal memoir written a few years earlier, My Life, he vividly recollects his time in Vitebsk, “Like a cobbler… Uncle (Neuch) is playing the violin. The man who spent the whole day leading the cows into the sheds, tying their legs, and dragging them around, is playing now, playing the rabbi’s song” (M. Chagall, My Life, London, 1965, p. 25.) Images of violinists of all ages would be recurrent in his work, such as The Musician (circa 1912-1913), now in the Stedelijk Museum, Amsterdam. These fgures emphasise the importance of music, cultural roots, and memory to Chagall.

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The use of colour is where Chagall’s mastery truly lies. Picasso famously said, “When Matisse dies, Chagall will be the only painter lef who understands what colour really is.” (Jackie Wullschlager, Chagall: A Biography, New York, 2008.) The surface of the canvas comes alive with Chagall’s use of blue. Blue is at once a colour and a mood. It subsequently becomes a genre of music inextricably associated with melancholy. This feeling, however, is balanced in Le violoniste bleu by sparkles of white, bright pink, viridian green and a splash of golden

reverberation: all joyful colours. They come to punctuate the overall blue composition as in a musical partition, echoing the musical theme of the violin and visually transposing the melody. This synesthetic endeavour — to orchestrate music, shape and colour— would then be much explored by his compatriot Kandinsky, who also immigrated to France. In 1932 Le violoniste bleu was shown at the Leicester Galleries in London, Chagall’s frst exhibition in the United Kingdom, which focused on modern British and French artists. Reginald H. Wilenski, a prominent English art historian and critic, who had published The Modern Movement in Art, wrote the foreword of the exhibition catalogue. At this stage, Chagall had been worn down by a succession of hurdles in his life, from the fnancial crash of 1929 to the increasing health problems of his beloved Bella. It was their daughter Ida who attended the opening, hosted by Lady Clark, the wife of Sir George Clark, the British ambassador to Paris, who coincidentally had been given painting lessons from Chagall (J. Wullschlager, Chagall: Love and Exile, London, 2008, p. 362.) Reviewing the exhibition, The Times would describe Chagall’s pictures as ‘fanciful and eccentric illustrations… transformed by a mysterious delicacy and charm of feeling’ (‘Art Exhibitions: The Leicester Galleries, The Times, 1 May 1935, p. 14, reproduced online.) Through the themes of music and colour, Chagall captures an emotional connection to his motherland and his past through the fgure of the violinist and the Moon, while looking into the future ahead of him, represented by the Parisian symbol of the “bouquiniste”, an icon of his new city.

Marc Chagall The Musician, 1912-1913 Collection of the Stedelijk Museum, Amsterdam, The Netherlands Image courtesy of Photo Art Media/Heritage Images/Scala, Florence © Marc Chagall / ADAGP, Paris - SACK, Seoul, 2018 Chagall ®

馬克•夏卡爾《音樂家》1912-1913年作阿姆斯特丹，國立現代美術博物館收藏

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Music and colour are poetically entangled in the life and work of Chagall. It is not in vain that André Malraux, the Ministry of Cultural Afairs, would appoint him years later to decorate the ceiling of Palais Garnier, the main opera house in Paris. The theme of music runs through his œuvre and was an integral component of his life. Rooted in his Jewish upbringing in Russia, where religious processions, feast days, community celebrations and weddings were flled with music, Chagall himself also possessed musical skills: he liked to sing and play the violin. Recalling his childhood dreams of becoming a musician, we see his self-portrait in the fddler, “I’ll become a violinist. I’ll enter a conservatory.” (Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrrative, Stanford, 2004, p. 112.) Although the violin would not come to be his main vocation, it did however become an emblematic motif and held a special place within his works, a symbol deeply assimilated into his artistic consciousness. There is yet another protagonist in this contained composition: The Moon. Crescent-shaped, towering over from the far distance, it calls to mind the Nocturnes (Musique pour la Nuit), the fnest Romantic musical compositions evocative of the night mastered by the Polish composer Frédéric Chopin.

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Kazimir Malevich Suprematism with Blue Triangle and Black Square, 1915 Collection of the Stedilijk Museum, Amsterdam, The Netherlands (Copyright: Public Domain)

卡西米爾•馬列維奇《至上主義繪畫與藍色三角形和黑色正方形》1915年作阿姆斯特丹，國立現代美術博物館收藏

在夏卡爾《小提琴家 - 藍色》此幅畫作中，音樂家閉目端坐演奏著小提琴，如睡夢般深沈地凝神專注，全然浸淫於自己的音樂之中。這件充滿詩意的水粉作品，瀰漫著若似暮色低垂時分的藍紫色調，在夏卡爾精彩的作品中時常可見。遲暮微明的時刻，交織著音樂、魔幻與神秘的色彩。本幅作品曾為法國著名藝評家莫里斯·黑納爾的夫人所收藏，莫里斯在當時被推崇為立體派主義樹立典範的先鋒。作於1929年，水粉正巧是夏卡爾在那個時期探索的主要媒材。經由傳奇的畫商安博思·弗勒爾所委託，藝術家才剛剛完成了為《拉封丹寓言》所做的一系列蝕刻版畫；雖然這批版畫晚至1952年才出版，但兩人的友誼其早在詩人布萊茲·桑德拉爾的引薦下就已萌芽。弗勒爾不僅成為夏卡爾的啟蒙導師，更是他靈感來源，為他開啟在版畫創作上探索嶄新概念的一道窗。這讓他得以在巴黎成名，以至後來在1922年布爾什維克革命結束後，返回維捷布斯克居住了五年的時光。他被任命為維捷布斯克地區的美術官員，與當時莫斯科的前衛藝術先驅卡什米爾·馬列維奇以及艾爾·列斯基等藝術家一同工作。《小提琴家 - 藍色》是一幅充滿詩意與音樂的畫，描繪了一個如同小夜曲般浪漫的景緻，與絕對主義(或稱至上主義)所追求的嚴謹全然不同；然而，畫中大膽地以近乎單色所塗滿的背景，成為了畫面主角，再具體化身為藍色的音樂家，卻也反映出了絕對主義的基本精神。在蘇維埃威權的眼中，馬列維奇於1929年被指控為「哲學夢

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想家」，同年創作的《小提琴家 - 藍色》其中充滿詩意色彩的成分，想必也會被視為反抗威權與主流的作品。此外，這幅作品的創作年份也適逢華爾街金融風暴，《小提琴家 - 藍色》仍舊捕捉了黃金二十年代的風采，其中記載著夏卡爾和其夫人貝拉那段風華歲月。巴黎在當時為他們敞開大門，而他們也儘情歡度舒暢的人生。在這件作品裡，夏卡爾同時也概念性地捕捉了在經濟瞬息萬變的年代裡，不同國度中截然不同的感傷情景。主角樂手的形象，緊扣著他童年回憶中俄國民間故事，然而，他所坐的箱子，卻象徵意指了藝術家的新歸屬：巴黎，這個孕育藝術風采的首都。一般藝術家會於創作中描繪音樂家坐在長板椅上，夏卡爾於此作中的樂手，卻坐在沿著塞納河岸隨處可見的二手「書攤」所架在的那種箱子上。是對於他所居住的新城市的微妙暗喻象徵，其鮮明地對比著小提琴家，也喚起了他童年於維捷布斯克的猶太人區之成長回憶－「shtetl」(猶太意第緒語中指稱中歐及東歐地區居住著大量猶太人口的小村莊)；這個意象激發了他一生創作，在此，夏卡爾對他兒時成長的故鄉，一抒無盡懷念的想望。藝術家在早年的個人回憶錄《我的人生》裡，生動地回憶起他在維捷布斯克的時光：「就像一個鞋匠...叔叔(Neuch)正在拉小提琴。這個人花了一整天的時間，把乳牛拉進棚子，把牠們的腿給綁起來，然後再把牠們拉著到處跑，現在這個人卻在演奏，演奏著猶太教士的歌」(M·夏卡爾《我的人生》，倫敦，1965年，第25頁)。各種年齡的小提琴手，皆曾出現在他的作品中，阿姆斯特丹市立美術館所藏《音樂家》即為一例，這些人物代表著音樂、文化根源以及回憶對他的重要性。

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音樂及色彩在夏卡爾的人生與作品中，充滿詩意地緊密交織著。文化部部長安德烈·馬盧在多年後指派夏卡爾去裝置巴黎最重要的一間歌劇院卡尼爾宮，亦是其緣有故。音樂，不僅貫穿了藝術家畢生的作品，更是他生命重要的環節。回顧到夏卡爾在俄國時成長的猶太背景，無論是宗教遊行、慶典、社區慶祝以及婚禮，都充滿了音樂。他本人也具備了音樂能力，喜歡歌唱和彈奏小提琴。他曾憶及兒時想成為音樂家的夢想：「我想要成為一個小提琴家，我要進入音樂學校。」(班哲明·哈爾夏夫所著《馬克·夏卡爾及他的年代：實錄口述》史丹佛，2004年，第112頁)，在此，觀者應該也不難在這提琴樂手裡看到藝術家將自己投射其中的身影。雖然小提琴終究沒有成為他一生職志，但卻轉化成一個深具象徵性的主題，並在其畫作中佔有一個特殊地位，成為深深融入他藝術思維裡的一種象徵。然而，這幅構圖簡潔的畫中，還有另一個主角：月亮。彎彎的玄月高高地懸掛在遠處，讓人緬想起波蘭作曲家蕭邦的夜曲，為夜晚譜奏出最浪漫的樂章。夏卡爾對於色彩的應用，極度展現了其藝術的精湛之處。畢卡索曾說過這個為人津津樂道的評語：「等到哪天馬蒂斯走了，那就只剩下夏卡爾一人能如此透徹了解色彩了。」 (賈姬·沃許拉格所著《夏卡爾：自傳》，紐約，2008)。在此，夏卡爾用藍色讓整個畫布完全活了起來，藍色不僅是一種色彩，更是一種情緒。在音樂上，藍色更是與憂傷的情調密不可分。然而這樣的情緒，卻在《小提琴家藍色》中透過加入其他歡愉的色彩，像是些許的白色、粉紅、嫩綠，或是數筆的金色，在共鳴之間取得了平衡。這些愉悅的色彩，好似樂曲局部的音符，在視覺上切換著旋律的調性，點綴了整體的藍色構圖，更呼應了小提琴這個音樂主題。這種將音樂、形體和色彩融合在一起的藝術試煉，與夏卡爾來自同樣國度、爾後也遷居法國的康丁斯基，對此也進行過深刻的探索。

Bouquinistes, Secondhand booksellers in Paris, near Notre-Dame cathedral, 1940 © SZ Photo / Fotoarchiv Otfried Schmidt / Bridgeman Images

書攤，於巴黎聖母院附近的二手書商，1940年

《小提琴家 - 藍色》曾於1932年在倫敦萊斯特畫廊展出，這是夏卡爾首度在英國參展，該展覽主要推出英國及法國的現代藝術家。曾出版《現代美術運動》的著名英國美術史學家及藝評家瑞吉諾德·Ｈ·伍倫斯基，還為該展覽出版的目錄撰寫前言。在那個人生階段，夏卡爾經歷了一連串的重重考驗，從1929年的經濟大蕭條，以至他摯愛的妻子貝拉日趨走下坡的健康問題。當時是他們的女兒艾妲代表出席了展覽開幕式，當晚是由英國駐巴黎大使喬治· 克拉克爵士夫人所主辦，夏卡爾早先恰巧曾經為他教授過繪畫課(J·沃許拉格，《夏卡爾：愛與流亡》，倫敦， 2008年，第362頁)。泰晤士报則是對夏卡爾在這展覽中的作品做出了以下評論：「充滿奇幻及詭譎的描繪⋯⋯經由雅緻的神秘感及感官魅力而獲得昇華。」「 ( 藝術展覽：萊斯特畫廊」，泰晤士报，1935年五月一日，第14頁，網路再版)。透過音樂及色彩，夏卡爾以小提琴家與月亮的描繪，傳達出其對祖國以及他的過去的一份深厚的情感聯繫，進一步地再以巴黎「書報攤」的箱子，來作為暗喻他新居地的象徵。

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Raoul Dufy, Régates à Deauville A Foreword from the Collector 勞爾．杜飛《多維爾帆船賽》— 收藏家序言

Just like Raoul Dufy, I have wished that perseverance and commitment governed my life. Dufy persisted in his search for happiness by drawing his creations in series. Like him, I wanted to build, structure, so that my collaboration with the world is, like Dufy’s paintings, called to endure just like time and light. The works of Dufy have been snapshots of happiness. I have walked in his steps and tried to understand the intelligence of colours ofered to the viewer’s gaze, a structured rainbow, a vivid and cultivated palette, the colours of the divine ofered within reach of the human. I continue to pursue him, and invite you to follow me in sharing the abiding happiness comprised within this collection. Dufy is an aptitude for happiness! He ofered me the opportunity to discover its true meaning and birthed within me this desire to transform worldly vision into earthly happiness. In Dufy’s work, which combines art with the happiness of living, emotion emerges suddenly through violence and contrasting colours. Very early on, the painter understood how one could draw on the interplay between colour and drawing: ‘When I speak of colour,’ he says, ‘I do not speak of the colours of nature, but of the colours of painting, the colours of our palette which are the words from which the painter forms his language [...]. I make colour the creative element of light, colour in my eyes is only a generator of light.’ Dufy’s art, without power, without bitterness and without struggle, is almost unique for his time; it is established through the power of happiness and its light. This is because for Dufy, as for me, ‘colour is the glory of light’: this is what Jean Guitton teaches us (in his book Mon testament philosophique). This ‘colour’, the powerful soul of light, forms an arch of glory for us, for humanity. Light symbolises the principle of Life that creates, and the spiritual truth that illuminates. Light is the intermediary through which Life can exist. It delivers the movement, colour and images of the past; it draws us into the future, allowing us to enjoy the moment. Dufy understood this and maintained the characteristic insouciance and lightness of his oeuvre, qualities that today are neglected and misunderstood. He continues to help us understand it by allowing us follow him for eternity.

勞爾·杜飛的毅力不搖和鍥而不捨值得我用一輩子去效仿。透過一系列繪畫，杜飛實踐了他終其一生對於喜悅的追求。而我亦然，期望自己有所建設，盼望我對於世界的貢獻如杜飛的畫作一樣，歷久彌新。杜飛的畫作可說是喜悅的寫照。我循著他的步伐，試圖了解他構圖的精妙，他的畫面像是一道架構分明的絢麗彩虹，創造出一種近乎神聖的美。現在，我誠摯地邀請您和我一同在呈現與此的拍品中，探尋日久歲深的喜悅。杜飛擁有捕捉快樂的能力。他的畫作不僅讓我有機會去真正體會快樂的意義，更在我心中植下將世俗眼光轉化為塵世快樂的渴望。杜飛將活著的喜悅注入藝術，種種情感湧現於用色鮮明和對比強烈的畫面中。他在年輕時就已經深入了解顏色和藝術的相互作用。「我所說的顏色並不是大自然的顏色，而是藝術家調色盤中的顏色，也是就是藝術家使用的語言……我將顏色轉化為帶有創意元素的光，在我眼中，顏色不過是一種發光體。」相形於同儕藝術家，杜飛的風格獨樹一幟，因為其作無關權力、不帶苦澀、不談掙扎，而是源自快樂的能量和光。我和杜飛一樣相信「顏色是光的榮耀」，這是尚·吉頓在其著作《我的哲學見證》中對於世人的教導。他所說的顏色，是強大的光明之靈，在人性的穹蒼中形成一道榮耀的虹光。光象徵著生命的創作原則，也代表照亮黑暗的靈性真理。光是生命存在的媒介；光傳遞過往的顏色和意象，允許我們享受當下，更藉此把我們帶入未來。杜飛深刻的了解光，並在他的作品中保持一種輕巧的不經意，儘管後世常把這重要的特性誤解為漫不經心。我們在杜飛的作品中循著他的腳步，更因為他的作品得以了解他的追求。他的作品是一道明亮的生命之光，是神在畫布上的留下的痕跡。這趟追求光和喜悅的旅程在我的生命中有不可抹滅的地位。今晚，我將和諸位分享這趟在三十年前展開的歷程。馬諦斯曾形容杜飛為「一名經得住時代考驗的畫家」，我真心盼望諸位在欣賞杜飛之作後，感同身受。

His work is a luminous and living trace, the fnger of the divine laid upon the canvas. This journey has been an integral part of my private life. By sharing tonight my passion and my collection, born thirty years ago, my dearest wish would be that the work of this master resonates like the words of Matisse, “Dufy, a painter who will last!”

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The present lot (second from the right) exhibited with highlights from the collection at Phillips Paris, 2018. This collection is to be sold between Hong Kong and New York.

此次拍品（右二）與同一收藏家珍品精選展於富藝斯巴黎，2018。作品於香港及紐約拍賣。

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Property from a Private French Collection

17. Raoul Dufy

1877–1953

Régates à Deauville signed ‘Raoul Dufy’ lower lef oil on canvas 33 x 82 cm. (12 7/8 x 32 1/4 in.) Painted in 1934, the authenticity of this work has been confrmed by Fanny Guillon-Lafaille. Provenance Private Collection, Brussels Acquired from the above by the present owner in 1991 Exhibited Musée de Lodève, 2002-2009 (on loan) Tokyo, Musée Municipal des Beaux-Arts de Mitaka; Tochigi, Musée Municipal des Beaux-Arts d’Ashikaga; Musée Eki Kyoto; Musée Municipal des Beaux-Arts d’Oita, Raoul Dufy, April 18 – December 13, 2009, no. 27, pp. 44-45 (illustrated)

法國私人收藏

勞爾．杜飛《多維爾帆船賽》油畫畫布 1934年作，此作品已獲 Fanny Guillon-Laffaille 確認。款識: Raoul Dufy (左下) 來源布魯塞爾私人收藏現藏者於1991年購自上述來源展覽洛代沃博物館，2002-2009年 (借展) 東京，Mitaka美術館；栃木市，Ashikaga美術館；京都 Eki博物館，〈勞爾·杜飛〉，2009年4月48日-12月13日，圖版編號27，第44、45頁 (圖版)

HK$ 3,000,000-3,500,000 US$ 385,000-449,000

‘One must meditate about pleasure. Dufy is pleasure. Think of the colour and it is not that, and the line and it is not that, but it is that which is all together and which is the colour that is in Dufy.’ Gertrude Stein

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Â© Raoul Dufy / ADAGP, Paris - SACK, Seoul, 2018

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Composing an enthralling maritime panorama, Régates à Deauville is exemplary of Raoul Dufy’s unique contribution to the history of European painting. Celebrated for his unparalleled ability to capture the pleasure of leisure activities popular amongst the early twentieth century bourgeoisie, this paradigmatic work from 1934 utilises the artist’s revolutionary calligraphic brush strokes and characteristic washes of ebullient colour to grace the canvas with a unique sense of joyful dynamism. Depicting a bright summer’s day at the seaside resort of Deauville, Dufy returns to one of his most important observational themes – the sailing regatta – indulging in elegantly frenetic brushwork, and contrasting feeting impressions of light and colour with the structural integrity of form. Régates à Deauville preceded a pinnacle of Dufy’s career: the grand fresco La Fée Electricité for the 1937 Exposition Internationale in Paris. Painted three years prior, when Dufy was enjoying success as a critically acclaimed colourist, the present work represents the sum of a career dedicated to stylistic experimentation. His interest in the feeting moment and en plein air painting recalls his roots in Impressionism. The use of bright, fat colours also draw from Fauvism, which had a profound efect on the artist following a seminal encounter with Henri Matisse’s Luxe, Calme et Volupté at the Salon des Indépendants in 1905. Contact with the works of Cézanne around 1909 fostered a subtler approach to colour, but one that nonetheless remains emotive and, in this case, symbolic. Insisting on deeply saturated aqua blues, bright whites and an impassioned block of red at the centre, Dufy evokes national pride though allusions to the French fag – a key coloristic theme and frequent subject carried forward from his earlier 1900s masterpieces. Following interactions with Cubism in the 1920s, Dufy fully defned his own unique aesthetic vision for painting. Here we see Dufy’s typical foreshortened forms and important use of modulated colour washes, accented by elegant graphic outlines. Each demonstrates his adherence to the theory of couleur-lumière, which privileges colour over black and white shading to capture impressions of light.

As such, the viewer is captivated by Dufy’s intuitive approach: ‘the colour captures the light that forms and animates the group as a whole. Every object or group of objects is placed within its own area of light and shade, receiving its share of refections and being subjected to the arrangement decided by the artist” (the artist quoted in D. Perez-Tibi, Dufy, London, 1989, p. 150.) Located on the Côte Fleurie in Normandy, since the 1800s the upscale holiday destination of Deauville attracted afuent French tourists to its wide sandy beaches, chic boutiques and elegant belle époque villas. Whilst, boats and oarsmen had featured in Dufy’s work as early as 1919, the regatta of nimble yet imposing sailing boats at Deauville fascinated Dufy from the late 1920s onwards. An earlier example of Regates à Deauville from 1928 can be seen at National Gallery of Victoria, Melbourne. This piece was followed by the important work Deauville, le séchage des voiles (Deauville, Drying the Sails) painted just a year before the present work in 1933, which is part of the Tate Collection, London. Four years later in 1938, Dufy would present another variation on the theme through Yachts dans le Port de Deauville (Yachts in the Port of Deauville), now housed in the Indianapolis Museum of Art. Dufy exploits the structural nature of his observations for thrilling efect. The solid grandeur of the background architecture contrasts with the movement of the buoyant sail boats, allowing him to exploit the full range of his characteristic painterly vocabulary. As with the equine racing scenes that he also painted in Deauville, these spectator events appealed to a generation of the interwar period, who cherished the unadulterated freedom and simple pleasures of leisure time during a short period of peace. As Gertrude Stein wrote of Dufy in 1949: ‘one must meditate about pleasure. Dufy is pleasure. Think of the colour and it is not that, and the line and it is not that, but it is that which is all together and which is the colour that is in Dufy’ (quoted in B. Robertson & S. Wilson, eds., Raoul Dufy, London, 1983-1984, p. 67.)

Raoul Dufy La Fée Electricité, 1937 Collection of Musée d’Art moderne de la Ville de Paris Image Courtesy of Kleinefenn © Raoul Dufy / ADAGP, Paris - SACK, Seoul, 2018

勞爾‧杜飛《電力仙女》1937年作巴黎現代藝術博物館收藏

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Raoul Dufy Regatta at Deauville, 1928 Collection of National Gallery of Victoria, Melbourne © Raoul Dufy / ADAGP, Paris - SACK, Seoul, 2018. Licensed by VISCOPY, Australia

勞爾‧杜飛《多維爾帆船賽》1928年作墨爾本，維多利亞國立美術館收藏

《多維爾帆船賽》呈現一幅迷人的海岸美景，也是勞爾·杜飛的對於歐洲藝術史獨特貢獻的經典代表作。杜飛善於捕捉二十世紀早期資產階級所喜愛的休閒活動而聞名，從這幅完成於1934年的精典之作，可見杜飛原創的奔放筆觸、暢流洋溢的色彩，在畫面上透露一種獨特的愉悅動感。當中描繪的海濱多維爾是當時的仲夏度假勝地，杜飛在此重返他最重要的創作題材之一：帆船賽場景，他用奔放卻優雅的筆觸，配合精彩的明暗區分和用色，將行船的迅速感與完整的結構形式形成對比。杜飛的顛峰作品之一是他在1937年為巴黎世博會創作的巨幅壁畫《電力女神》。《多維爾帆船賽》完成時間比上述作品早了三年，當時，杜飛已是一位備受推崇的用色大師，呈現於此的拍品完整地反映了藝術家終其一生對於實驗性風格形式的追求。杜飛喜愛在日光下捕捉稍縱即逝的吉光片羽，他的表現主義根源可見一斑。杜飛於1905年在巴黎的獨立藝術家協會初見馬諦斯的《奢華、明鏡與喜悅》，這幅經典野獸派大作對於杜飛的影響深遠，或許他明亮卻平實的用色正是出自於野獸派的靈感。在1909年，杜飛在觀察塞尚之作後，用色變得更加精妙，但是依然保有其一貫的情感和象徵性。杜飛用濃郁的水藍、亮白和畫面中心一塊熱情洋溢的紅色影射法國國旗，透露對於祖國的自豪；藍白紅是杜飛創作的關鍵用色，延續自他的自1900年起的早期佳作。杜飛在1920年代接觸到立體主義後，奠定自己獨到的藝術眼光。從呈現於此的拍品可見杜飛典型的縮短透視型式、收放自如的用色和優雅的外描輪廓。杜飛在繪畫上的堅持展現他對於色光理論的忠誠，根據色光理論，在捕捉光的意象時，運用色彩勝過單純黑白。

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杜飛直覺性的繪畫技法讓觀者目不轉睛，如他所言：「顏色能捕捉光，而光構成物件並賦予整體畫面生命。將單一或是多組物件置於所屬的明暗空間中，每一個物件得到的反光都是藝術家的決定。」（節錄自《杜飛》，D·派瑞茲提比，倫敦，1989年，第150頁）位於諾曼第繽紛海岸的多維爾擁有白沙海灘、時尚精品店、和雅致的美好年代別墅，因此從十九世紀早期就深受富裕法國遊客的喜愛。杜飛早至1919年的作品中已經可見帆船和槳手，然而他對於輕巧卻威風的帆船執迷鍾愛卻是在1920年後才發展出來。一幅完成於1928年的早期多維爾帆船賽作品現藏於墨爾本的維多利亞國家美術館。接著，另一幅重要的帆船畫作是完成於1933年的《多維爾，曬帆》，現藏於倫敦的泰特現代美術館。杜飛在1938年又完成了一幅船隻系列作品，《多維爾港口的遊艇》，現藏於美國印第安納波利斯美術館。杜飛將眼見的結構性轉化為令人振奮的畫面。背景中矗立著壯麗的建築與前景中海面上動感的帆船形成對比，靜動分明的整體畫面讓杜飛充分展現他的藝術語彙。他在多維爾也描繪賽馬之景，戰爭期間人們非常珍惜紛亂停歇時得以享受自由及和平時光的片刻，因此相當嚮往這類觀賞性的休閒活動。格特魯德·斯坦因曾寫道：「我們必須冥想樂趣。杜飛就是樂趣。想像顏色不是顏色、線條也不是線條，而是加總起來的、便是杜飛自身的顏色。」（節錄自《勞爾·杜飛》，B·羅伯特森、 S·偉爾森編，倫敦，1983-1984年，第67頁）

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Property of an Important Asian Collector

18. Yun Gee (Zhu Yuanzhi)

1906-1963

Three Graces signed ‘Yun Gee’ lower lef oil on canvas 94 x 101.6 cm. (37 x 40 in.) Painted in 1939. Provenance Collection of the artist’s family Taipei, Lin & Keng Gallery Acquired from the above by the present owner Exhibited Taipei, Lin & Keng Gallery, Experiences of Passage: The Paintings of Yun Gee and Li-lan, 15 November - 16 December 2008, p. 80-81 (illustrated)

重要亞洲私人收藏

朱沅芷《三美神》油畫畫布 1939年作款識：Yun Gee (左下) 來源藝術家家屬收藏台北，大未來畫廊現藏者購自上述來源展覽台北，大未來畫廊，〈行旅生涯 — 朱沅芷與朱禮銀之繪畫展覽〉， 2008年11月15日-12月16日，第80、81頁（圖版）

HK$ 8,000,000-12,000,000 US$ 1,030,000-1,540,000

‘When I visited the Louvre day after day, the masterpieces there spoke to me in a language that was neither French nor Chinese but which transcended time and place.’ Yun Gee

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Robert Delaunay La Ville de Paris, 1910-12 Collection of Musee National d’Art Moderne, Centre Georges Pompidou, Paris

羅伯特·德勞內《巴黎市》1910-12年作巴黎蓬皮杜中心國家現代藝術博物館收藏

Yun Gee penned “The Chinese Artist and the World of Tomorrow” in the mid-1920s, a few years afer settling in America. (In Yun Gee: Poetry, Writing, Art, Theories, ed. Anthony W. Lee, Seattle and London: University of Washington Press, 2003, 141-142.) In it, he proposed two goals for his contemporaries: embrace Western infuences in order to make Chinese art more universally relevant for the twentieth century, and promote Chinese philosophical principles for the general betterment of the world. It also ofers a template for Yun Gee’s career. Artist, poet, and musician, his life was marked by both critical acclaim and struggle, but Yun Gee never wavered from his aesthetic and philosophical ideals.

Although Yun Gee spent most of his adult life in America, he twice journeyed to Paris for extended stays in 1927-30 and 1936-39. Encouraged by his success in San Francisco and the urgings of new French patrons, Yun Gee felt ready for a more challenging artistic arena. He found Paris exhilarating, and recognition came quickly. Within a year of arriving, a solo exhibition was followed by group shows at the Salon des Indépendants, and marked Yun Gee as a rising star. His work was shown alongside that of Georges Braque, Raoul Dufy, and Chaim Soutine, and received positive reviews. He also met many infuential fgures of the Parisian avant-garde, like Gertrude Stein and Ambroise Vollard.

Yun Gee was born in 1906 in Guangdong, where he received his early education. It may have been there that he encountered the ideas of Gao Jianfu (1879-1952) and Gao Qifeng (1889-1933), who advocated modernising guohua and imbuing it with a political agenda. The brothers’ strong commitment to revolutionary change in art and politics can be seen in the young Yun Gee’s ideas. Gee emigrated to America in 1921, at age 15, and settled in San Francisco where his father resided. He enrolled at the California School of Fine Arts in 1925, and the following year had his frst solo exhibition of colourful Cubistinfected works. That same year, Yun Gee founded the Chinese Revolutionary Artists’ Club, a venue for teaching painting and espousing his ideas about the importance of a universal modernist art with both aesthetic appeal and social consciousness.

The global economic recession altered Yun Gee’s Paris plans. In 1930, he lef Paris for New York. Despite the hardships of the Great Depression, Gee worked incessantly. His paintings, ofen depicting New York scenes, were featured in gallery shows, the Brooklyn Museum of Art, and the Museum of Modern Art (MoMA). (Wheels: Industrial New York (1932) and two other paintings were included in Murals by American Painters and Photographers, the inaugural exhibition for the opening of MoMA’s new building). Still, Yun Gee found himself disillusioned with opportunities in New York and increasingly mindful of the racism he encountered. He returned to Paris in 1936. This time, the deteriorating geopolitical situation of Europe in the 1930s cut his journey short, and he returned to New York in 1939 at the outset of World War II.

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The years in Paris had an undeniable infuence on Yun Gee’s development, both artistically and in terms of how he saw himself. Works from the late 1920s turned more introspective. In place of the colourful portraits and landscapes of his San Francisco period, Gee’s palette darkened, and he seemed to be in search of an identity — racially, culturally, and artistically. He painted images from Chinese history and philosophy, and also portrayed himself as a Chinese painter in Paris. In How I Saw Myself in a Dream, from around 1929, Gee walks along a deserted Parisian street, dressed in the long gown and cloth shoes of a Chinese scholar. A solitary fgure, set in a composition of strong diagonals and deep colours, it ofers an extraordinary glimpse of the artist’s burgeoning identity and recognition of his inner struggle as a Chinese artist in a foreign land. Dong Qichang Shaded Dwellings among Streams and Mountains, ca. 1622–25 Collection of The Metropolitan Museum of Art, New York

董其昌《溪山樾館圖》約1622-25年作紐約大都會藝術博物館收藏

Paris also exposed Yun Gee to current trends in art. He encountered modernist trends: Cubism, Fauvism, Synchromism, and Futurism. He explored Western artistic traditions in Paris’ many museums, especially the Louvre. He wrote, “When I visited the Louvre day afer day, the masterpieces there spoke to me in a language which was neither French nor Chinese, but which transcended time and place.” (Yun Gee, “East and West Meet in Paris,” in Yun Gee: Poetry, Writing, Art, Theories, ed. Anthony W. Lee, Seattle and London: University of Washington Press, 2003, 182.) Perhaps it was at the Louvre that Yun Gee frst encountered the art of classical antiquity and images of the Three Graces. During the Renaissance, artists revived the theme, with the three goddesses becoming an embodiment of female beauty and charm. Modern artists continued to depict them: paintings by Robert Delaunay (1912) and Pablo Picasso (1925), for example, adapted the theme with distinctive modernist interpretations. Yun Gee painted Three Graces upon his return to New York in 1939. He ofers an oneiric narrative, laden with symbols and allusions understood only by the artist himself — and maybe not even fully by him. Three nudes stand at the centre of the composition in a fantastical landscape setting and surrounded by fanciful creatures. In 1939, Gee had been experimenting with entwined groups of female fgures. The fgures in Knights Combat, for example, are painted in lively poses, their arms outstretched and intertwined, and suggestive of the ancient theme. The Graces at the centre of this dramatic composition are not alone. Yun Gee placed them within an otherworldly landscape, bathed in the glow of moonlight and fanked them with unusual fgures. Another classical allusion, in the form of a faun, appears to the lef. This mythical creature, ofen shown in its half-human, half-goat form, here reclines against a rocky outcropping, as the spectral image of one of his fock hovers nearby. More commonly depicted frolicking in a wooded setting, the faun holds a slender fute, as he appears to keep a watchful eye on the Graces. Yun Gee once painted a self-portrait playing a fute, and perhaps the faun here is a mischievous reference to the artist himself.

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‘A painting by Cézanne or Courbet became as close to me as any of the scrolls by the Chinese masters with which I was so familiar.’ Yun Gee

Abstract fgures – human and animal — dominate the right side of the canvas. A male, dressed in costume, wears a hat on which perches a large black bird. Before him stands an unusually imagined sheep. Both fgures deepen the mysterious mood of the painting. The infuence of Surrealism, with its perplexing imagery, and Expressionism, with its distortions and emotional origins on Yun Gee, is evident. Freud’s theories of dreams may play a role, as well. Freud saw dreams as an expression of the unconscious; the symbols in dreams denoted urges and impulses repressed by the conscious mind. Three Graces does, indeed, suggest an extraordinary dreamscape of the mind with Gee giving shape to a private inner vision.

The year 1939 was a momentous one. France and England’s declaration of war against Germany marked the start of World War II, and precipitated Yun Gee’s return to America. Against the uncertainty of global events, Gee continued to paint and write, and in 1939 he published his treatise on Diamondism. “Diamondism At Last! Or What It Takes to Make a Good Picture” marked another important moment in Yun Gee’s artistic journey — the fruit of his lifelong quest to formulate a theory of art. He explained that good pictures successfully combine physical, intellectual, and psychological elements that reveal both physical likeness and metaphysical truth. Following these principles, one begins to appreciate the complex achievement represented by Three Graces.

Alongside a mixture of Western imagery and modernist styles, the work also evokes the elements of Chinese painting. Yun Gee’s ties to China and Chinese culture remained strong throughout his life, and during his years in New York he contributed paintings and cartoons to beneft social and political causes back home. In Three Graces, Yun Gee abandoned the modulated line of Chinese painting in favor of rougher, more staccato brushwork. But within the composition itself are vestiges of the Chinese painting tradition. For instance, the furrowed hills recall similarly lumpen forms in paintings by Huang Gongwang (1269-1354) and Dong Qichang (1555-1636). Echoing a compositional device common in Chinese painting, a path zigzags from the foreground into the distance beyond, drawing the viewer’s eye into a swirling atmospheric rendering of the unknown.

Yun Gee’s career was marked by restlessness, of both body and spirit. He moved frequently in search of a community where race and ethnicity were not liabilities, and where his many talents might be fully appreciated. The intricacies of his artistic vision are on full display in Three Graces. Layers of infuence — antiquity, Modernism, Surrealism, Freud and China — defne Yun Gee’s art. His passions were many, as were the ways he expressed them. Yun Gee occupied a unique position. The world he negotiated in his life and art was territory defned by the disparate poles of Chinese culture and Western modernism. Yun Gee was an early voice in the creation of a global language of modernism, and a pioneer in the establishment of a unique aesthetic.

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Phillips wishes to thank Professor Melissa Walt for the writing of this essay.

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Yun Gee How I Saw Myself in a Dream, 1929 Private Collection

朱沅芷《夢中看到自己》1929年作私人收藏

1920年代中期，也就是朱沅芷移民至美國安頓後幾年，發表了《中國藝術家與明日的世界》一文，於文中他向當代藝術家提出兩項目標：擁抱西方的影響，而創作出與二十世紀更加息息相關的中國藝術，再者，積極推倡中國的哲思，以求更美好的世界。(朱沅芷，「中國藝術家與明日的世界」，出自《朱沅芷：詩詞、文集、藝術、理論》安東尼· Ｗ·李，西雅圖及倫敦，華盛頓大學出版社，2003年，第141-142頁)這似乎也呼應了朱沅芷的藝術生涯，身兼藝術家、詩人及音樂家的他，一路走來雖受到高度安可，其中卻不乏多所掙扎，但是朱沅芷從未對他所堅持的美學與哲學上的理想作出讓步。朱沅芷在1906年生於廣東省，早年在家鄉接受教育。也許他是在那個時候接觸到了高劍父(1879-1952)及高奇峰(1889-1933)所倡導的國畫現代化，並在其中引入政治宣傳。高氏兄弟堅決改革藝術與政治的意念，在年輕的朱沅芷心頭埋下了種子。1921年，他在十五歲那年移民到了美國，在父親所居住的三藩市落腳，四年後進入加州美術學校，並在次年舉行生平首度個展，展出當時色彩豐富及受到立體主義影響的作品。同年，他開創了「中國改革藝術家俱樂部」，在那裡他教授繪畫以及散播他的理念，強調一個全球化的現代藝術家需同時兼具美學訴求及社會意識之重要性。儘管朱沅芷在成年後大部分的時間都在美國，他曾於 1927-30及1936-39年間，兩度造訪巴黎，並佇留了一陣子。基於先前在舊金山發展的成功，以及巴黎新藏家的敦促，他覺得是時候朝著下一步的藝術挑戰躍進。巴黎對於他來說是個令人振奮的城市，也迅速在此獲得肯定。抵達巴黎的第一年即受邀舉辦個展，隨後又參加了聯展以及獨立藝術家沙龍，成為當地矚目的明日之星。其作品與布拉克、杜菲及蘇汀一同展出，並獲正面評價。同時他也結識了巴黎前衛藝術具影響地位的重要人物歌楚· 史坦女士及安伯斯·沃拉。

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然而，由於全球經濟大蕭條，朱沅芷對於巴黎的願景不得不做出修正。1930年，他離開巴黎回到紐約。儘管經濟蕭條的困境，他卻不懈創作。其繪畫往往捕捉了紐約街景，不僅在畫廊展出，甚至包括了布魯克林美術館及紐約現代美術館。(《工業之輪在紐約》，1932年，以及另兩幅畫展出於紐約現代美術館新館開幕展「美國畫家與攝影師壁畫展」。) 朱沅芷當時卻仍感受到在紐約發展機會的幻滅，他也經歷到了種族歧視。於是他在1936年重返巴黎，歐洲當時的地緣政治地位日益萎化，因此讓朱沅芷無法久留。二次世界大戰爆發之際，他最終還是在1939年回到了紐約。那些在巴黎的日子，在朱沅芷人生發展留下不可抹滅的印記，無論是在藝術層面或是他看待自己的方式。1920年末期後作品偏向內省，和他於三藩市時期充滿色彩的肖像或風景截然不同，色調驟然轉向深暗，彷彿在種族、文化與藝術的自我定位上欲尋求更深的探索。中國歷史及哲學的意象開始出現在畫中，或是可見到他在自畫像裡將自己描繪成一位身處巴黎的中國藝術家。《在夢中看到的自己》約創作於 1929年，其中藝術家在空蕩的巴黎街頭踽踽獨行，穿著長袍及布鞋的打扮就像中國古代文人一般。一個孤寂的身影，置身於一個強烈對角線構圖及深沈色調裡，讓我們瞥見了朱沅芷內心萌發的自我定位及安可，一位中國藝術家身處異鄉內心所歷經的掙扎。此外，巴黎也讓朱沅芷接觸到當下的藝術新潮流，包括立體派、野獸派、共色主義及未來主義等現代藝術流派。在巴黎的美術館裡，他探索到西方美學傳統，尤其在羅浮宮。「當我日復一日造訪羅浮宮，大師的作品開始與我對談，既不是以法文也不是中文，是種超越了時空藩籬的語言。」 (朱沅芷，「巴黎的東西交匯」，出自《朱沅芷：詩詞、文集、藝術、理論》安東尼·Ｗ·李，西雅圖及倫敦，華盛頓大學出版社，2003年，第182頁) 也許，藝術家即是在羅浮宮內初次見到了希臘三美神及其他古典藝術。在文藝復興時期，

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藝術家們重返古典主題，將三美神化身為女性之美與柔媚。現代藝術家也延續這個傳統於繪畫之中：例如羅伯特·德羅納(1912) 及帕伯羅·畢卡索(1925)皆曾針對這個古典主題做出獨特的現代解讀。《三美神》創作於朱沅芷1939年重返紐約之時，如夢囈般的敘事，並滿載著象徵符號及寓意，也許唯有藝術家本人能了解，甚或連他自己也不全然理解。三位裸女站在構圖中央，於一片虛幻的景致中，圍繞著許多奇幻的生物。在這一年，他開始嘗試描繪交纏的女性軀體。《搏鬥武士》中的人物即為一例，他們的姿態生動，手臂外展並綣繞著彼此，也呼應了這古典主題。畫面中央的三美神在這個戲劇性的構圖裡並不孤單，朱沅芷將她們放在超脫現實的境地之中，浸淫在柔和月光下，然後被一群奇特的形體圍繞著。畫面左方出現像是牧羊神的形體，這個神話中的造物同源為古老神話典故，經常是半人半羊的軀體，在此斜倚著岩石，其身旁則飛過一抹若似幽靈般的生物。一般繪畫中的人羊常被描繪成森林中跳舞的模樣，在此他拿著細長的笛子並且注視著三美神。朱沅芷其實曾於自畫像中畫著自己吹奏笛子，也許他在此詼諧地將自己化身成了畫中的牧羊神。抽象的人物或動物形體主宰了畫面的右側。一位著裝男子，頭上戴了棲息著一隻大黑鳥的帽子，而他則站在一頭超乎異常想像的羊之上，這兩個形體加深了這幅畫的神秘氣氛。超現實主義中謎般的意象以及表現主義中扭曲及情緒根源，對於朱沅芷的影響顯而易見。佛洛伊德解讀夢的理論或許也多有影響，他將夢視作潛意識的表達，夢境中的象徵可解讀為心理意識所壓抑的衝動。《三美神》的確也傳達出了一種強烈的心理夢境，朱沅芷藉此將私密的內在心相化為形體。

此作除融合了西方意象及現代風格之外，中國繪畫元素也同時可見。朱沅芷畢生緊繫著中國這片土地及文化，他在紐約也不時貢獻出畫作或時事漫畫，以回饋造福祖國的社會或政治發展。《三美神》中，他捨棄中國繪畫在施力輕重間轉換的線條技法，而傾向用了較為粗獷、斷續的筆觸，然而在構圖本身卻隱約可見中國繪畫傳統，其中轉側的丘壑就不禁讓人緬想起黃公望(1269-1354)和董其昌(1555-1636)畫中塊狀的山水結構。而從前景蜿蜒到遠方的曲折小徑，更是中國畫常採用的技法，引導觀者目光進入旋迴而充滿未知的氛圍。 1939年是歷史上關鍵的一年，法國及英國向德國宣戰，二次世界大戰正式爆發，因而也迫使朱沅芷回到美國。全球瀰漫著一片不確定性，他繼續執著繪畫及寫作，該年他發表了「鑽石主義」的論文《鑽石主義藝術終於來了！或者，要畫出好畫所要具備的》，這標誌了他藝術生涯重要的里程，一生傾盡全力追求提出藝術理論的成果。他解釋道，好的繪畫成功地結合實體、知性及心理元素，並能同時揭示實體相似度與形而上的真理。依據這些原則，觀者自能全然體會他在《三美神》中所展現的高度成就。不管在實體或是精神層面上，朱沅芷一生藝術旅程似乎如馬不停蹄般地動盪，頻繁地遷徙，不斷試著去尋找一個地方，在那裡人們能夠不在意種族血緣，他多方的才華也能完全受到賞識。其藝術觀的複雜性在《三美神》中獲得完美體現：來自古代、現代主義、超現實主義、佛洛伊德以及中國等多層次的影響，定義了朱沅芷的藝術。他對許多事物充滿熱情，他所表達出的方式也亦然，因此也在藝術史上有著十分獨特的位置，其人其藝跨越看似兩極的中國文化及西方現代主義，開創出一塊只屬於他的疆土。朱沅芷更可視為在現代主義基調上推創出普世藝術語言的重要先驅，建立了獨一無二的美學價值。富藝斯特別鳴謝Melissa Walt博士協助撰寫此專文。

Paul Cézanne Three Bathers, 1879-1882 Gif of Mr and Mrs Henri Matisse, 1936 Collection of Petit Palais, City of Paris Fine Art Museum

保羅 · 塞尚《沐浴者》1879-1882年作亨利·馬蒂斯先生和夫人1936年捐贈品巴黎市小皇宮美術館收藏

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Examples of Seeking the Ideal Female Form in Yun Gee’s Works 朱沅芷作品中尋找理想女性形態的例證

1927-1930 Paris 巴黎 1930-1936 New York 紐約

1921-1927 San Francisco 三藩市

Where is My Mother, 1926 《我的母親在何方》1926年作

Sunbathers, 1932 《日光浴者》1932年作

Exhibited Wheels: Industrial New York, in the exhibition “Murals by American Painters and Photographers” at the Museum of Modern Art in 1932

In this seminal work, Yun Gee addressed his shifing status as a peripatetic immigrant and modern painter. The painting’s subject matter is described in an accompanying poem, and evokes the familiar modernist theme of displacement. 在此件感傷的作品和其伴隨的詩詞中，朱沅芷反映了他作為移民人士和現代畫家之間的矛盾身份狀態，並描述現代主義畫家之流離失所主題。

Yang Gwei Fei at Her Bath, 1929 《貴妃出浴圖》1929年作

1932年參加於紐約現代藝術博物館所舉辧之「美國畫家和攝影家壁畫展」，朱沅芷在此展出《工業之輪在紐約》

Yun Gee exhibited at the Salon des Indépendents in 1929 藝術家於1929年參與巴黎獨立沙龍展

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Throughout the diferent periods of Yun Gee’s life, the female form is a recurring subject matter – as an allegory of displacement, or as reinvention of Taoist, biblical, classical Greco-Roman sources, or Modernist bathers form. All works depicted are in Private Collections. 在朱沅芷生活的不同時期，女性形態是一個反復出現的主題。透過此主題，藝術家表達出離鄉別井的斯壞，和重新探索道教、聖經、古典希臘羅馬來源或現代主義出浴者的形式例子。所有作品均為私人收藏。

1936-1939 Paris 巴黎 1939-1963 New York 紐約

Central Park Lake, 1940 《中央公園河畔》1940年作 Adam & Eve, 1939 《亞當和夏娃》1939年作

Exhibited in group shows with Braque, Dufy, Soutine, Modigliani, etc. in 1937 1937年參與多個群展，與布拉克、杜菲、蘇丁及莫迪里亞尼等藝術家共同展出

The present lot – Three Graces, 1939 此次拍品 —《三美神》1939年作

Returned to New York afer the outbreak of World War II in 1939 1939年因二次世界大戰而返回紐約

Seven Nudes in Central Park, 1939 《中央公園中的七裸女》1939年作

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Property of a Distinguished Southeast Asian Collector

19. Cheong Soo Pieng

1917-1983

Nature’s Expression signed and dated ‘Soo Pieng [in Chinese] 1963’ lower right; further signed, titled and dated ‘“NATURE’S EXPRESSION” Soo Pieng 1963’ on the reverse oil on canvas 101.5 x 153 cm. (39 7/8 x 60 1/4 in.) Painted in 1963. Provenance Private Collection, Singapore Christie’s, Hong Kong, 25 May 2013, Lot 15 Acquired at the above sale by the present owner

重要東南亞私人收藏

鍾泗濱《自然的神韻》油畫畫布 1963年作款識：泗濱 1963 (右下);《NATURE’ S EXPRESSION》 Soo Pieng 1963 (畫背) 來源新加坡私人收藏香港，佳士得，2013年5月25日，拍品編號15 現藏者購自上述拍賣

HK$ 1,500,000-2,000,000 US$ 192,000-256,000

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‘Some may see this as a representation of Soo Pieng’s gaze towards the Other, like Gauguin, but the vibrancy of the culture is also felt through Soo Pieng’s choice of strong, bright, Fauvist-inspired colours.’ Yeo Wei Wei

For Singaporean artist Cheong Soo Pieng, the opportunity to spend two years in Europe from 1962 to 1963 under the patronage of Singaporean magnate Dato’ Loke Wan Tho precipitated an unprecedented rupture within his art as he embraced abstraction. This bold foray into abstraction can be traced to Cheong’s persistent desire to develop and innovate new forms of expression within his art that would place him in dialogue with global art movements as well as the specifcity of his context. Nature’s Expression is an evocative example of Cheong’s work from this seminal period. Rendering the background in undertones of red and yellow in thick, short strokes, Cheong creates texture and dimension within an otherwise fattened picture plane. The foreground is accentuated with thick and confdently modulated black paint in an application that draws immediate correlation with techniques of traditional Chinese ink painting. Achieving a successful assimilation of the elegance of Eastern sensibilities of ink painting within the medium of oil, the work achieves in presenting a transcendent rendering of the traditional subject of landscape. While in Europe, Cheong resided mainly in London, and was able to behold in person masterpieces of Impressionism, Cubism, Surrealism, and Abstract Expressionism that he had previously only studied and ruminated upon through images in books and catalogues. Beyond the walls of the museum, Cheong also encountered the works of Chinese artists who had been living in Europe, such as Zao Wou-Ki and Sanyu, and had developed a new path of modernism and abstraction through melding of Eastern and Western aesthetic sensibilities. Notably, Cheong exhibited a selection of abstract works in the same vein as the present lot, Nature’s Expression, in a solo show at the Redfern Gallery on Cork Street in London in 1963, where Zao Wou-Ki’s also exhibited in the same year.

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Born in Xiamen, China in 1917, Cheong was exposed through his education at the Xiamen Academy of Fine Arts as well as the Xin Hua Arts Academy in Shanghai, to the fundamentals and techniques of Western oil painting, as well as traditional Chinese ink painting. However, it was not until his arrival in Singapore in 1946, that Cheong began to freely experiment primarily within the medium oil. Cheong found himself unmoored from the environment in China that necessitated a strict adherence to formal and academic styles of painting, and within an entirely diferent landscape. He became quickly immersed in the community of migrant Chinese artists in Singapore and began teaching at the Nanyang Academy of Fine Arts alongside fgures such as Liu Kang, Chen Wen Hsi. As a prominent fgure within the Singapore art scene, Cheong’s subsequent stylistic experimentations including his interest in abstraction would come to infuence the development of modern art in Singapore. Cheong can hence be regarded as a simultaneously reactive and refexive painter in close conversation with the context of his environment, while retaining a stylistic character that he constantly sought to challenge and refne. Across artistic experiments and ruptures which include early works fltered through the language of cubism, as well as his well-known renderings of stylised female fgures within idyllic tropical landscapes, Cheong’s works display a persistent adherence to Chinese aesthetic philosophy and a sensitivity towards composition and line. His sojourn to Europe in the 1960s served as a catalyst for new modes of expression within the integrity of his visual language. Producing a limited number of works while in Europe, Nature’s Expression serves as a rare and important testament to this pivotal moment within Cheong’s career.

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對於新加坡藝術家鍾泗濱而言，因在新加坡巨賈陸運濤的資助下，於1962年至1963年旅居歐洲的兩年期間研習抽象藝術，而迎來了其藝術創作中前所未有的轉折。這種對抽象藝術的大膽嘗試可以追溯到鐘氏在他的藝術創作中對新的表達方式的不停尋找和創新的願望，也正是這種不斷的探尋讓他能夠與全球藝術運動以及他自身的特殊語境進行對話。《自然的神韻》是鍾氏在該開創時期頗為讓人玩回味的一個例子。他以濃重厚而短促的筆觸，運用淡紅與淡黃兩色渲染背景，為原本平面的畫面創造出肌理和立體感。前景則用厚重且自信的黑色來做展現，手法讓人立刻聯想到其與中國傳統水墨畫技巧之間的關聯。作品是以油畫作為創作媒介，然而卻顯東方水墨的優雅意境，這件作品實現了對傳統山水畫的超然描寫繪。在歐洲，鐘氏主要居住在倫敦，並且得以親眼看到，那些過往他只能在書籍或畫冊的圖片中所研究的印象派、立體派、超現實主義和抽象表現主義傑作。除了流漣在美術館吸收藝術的精髓，他還接觸到當時同樣生活在歐洲的藝術家如：趙無極、常玉等人的作品，並通過融合東西方審美品味，開闢了一條現代主義和抽象主義的新道路。值得留意的是，鐘氏1963年在倫敦的庫克街的瑞德芬（Redfern）畫廊舉辦的個展中，展出的一系列的抽象作品與本拍品《自然的神韻》同出一脈。而趙無極的作品亦於同年在該畫廊展出。

1917年出生於中國廈門，鐘泗濱在廈門美術專科學校和上海新華美術專科學校接受教育時，同時接觸到西方油畫的基本原理和技法，以及與中國傳統水墨畫。然而，直到1946年抵達新加坡時，鐘氏才開始在油畫這一媒介上得以自由實驗。他發現自己從中國嚴格恪守繪畫中的正式學術風格的環境中脫離，並且進入到一個完全不同的環境之中。他很快地進入到新加坡的中國移民藝術家的社群中，並且與劉抗、陳文希等藝術家一同任教於南洋美術專科學校。作為新加坡藝術界的知名人物，鐘氏隨後在包括抽象藝術等方向的風格化實驗也影響了新加坡現代藝術的發展。因此鐘可被視為一位既具有知性辯證又同時反身思考的畫家，在與他所處的環境語境有著緊密的對話同時，又保留了他不斷去尋求挑戰和精進的風格特徵。在其不同藝術實驗和階段中，包括他通過立體主義語言表達的早期作品，以及在他著名的田園詩般的熱帶風景中風格化的女性人物繪畫，鐘氏的作品都體現了他對中國審美哲學的持續恪守，以及對構圖和線條的敏感性。他在1960年代在歐洲的旅居成為了他視覺語言完整性中新表達方式的催化劑。此期間留下作品數量並不多，《自然的神韻》是對鐘泗濱的藝術生涯中這一關鍵時期的重要見證。

The artist’s solo exhibiton at Redfern Gallery London, 1963— the same year the present lot was executed

藝術家1963年於倫敦瑞德芬畫廊個展，同年度他創作了此次拍品

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â&#x20AC;&#x2DC;In my paintings, colour in the subject is the main theme. I always work on the main subject frst and then put in the foreground and background, the colours in which are of secondary importance.â&#x20AC;&#x2122; Cheong Soo Pieng

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20. Takeo Yamaguchi

1902-1983

Ko signed, titled and dated ‘“Ko” July 1965 Takeo Yamaguchi [in Kanji]’ on the reverse oil on board 90.2 x 91.2 cm. (35 1/ 2 x 35 7/8 in.) Executed in July 1965. Provenance IAO Gallery, Tokyo Acquired from the above by the present owner

山口長男《構》油畫木板 1965年7月作款識：《構》一九六五年七月山口長男(畫背) 來源東京，IAO 畫廊現藏者購自上述來源

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

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Rich ochre quadrants conjoin and interlock over a striking black background in a signature painting by Takeo Yamaguchi, a coveted pioneering fgure of the Japanese modern art movement. Yamaguchi singularly created his own language of post-Cubist minimalist painting that has actively shaped defnitions of post-war and contemporary Asian art. The imposing yet strict and concise forms of Ko create a sense of limitless expansion as the sculptural weight of the impasto invigorate and ground the work with body and depth, an impression that characterises Yamaguchi’s investigation into nonrepresentational expression. Executed in 1965, the present lot epitomises not only the peak of Yamaguchi’s esteemed career, but also a distinctive transition from paintings he produced in the 1960s that illustrate an increase of rectangular planes to works that defned his style in the 1970s, as his abstract shapes gradually dominated the canvas.

‘I deny the use of inorganic things as subject matter even though they easily become abstract confgurations and advocate taking as the foundation an expression of a sense of nature, an ordinary sense of beauty.’ Takeo Yamaguchi

Ossip Zadkine Femme debout, 1922

奧西普·扎德金《站姿女子》1922年

The ebb and fow of Yamaguchi’s career is fascinating from a historical standpoint. Having studied western painting at the Tokyo Art school, Yamaguchi was infuenced early on by Cubism’s fat and monochromatic compositions. Afer graduation in 1927, Yamaguchi moved to Paris to broaden his exposure to European avant-garde styles. “Arriving in Europe, I felt suspicious of what I had been doing up to that point. I started to consider throwing away the past and restarting from scratch,” admits the artist. (Takeo Yamaguchi quoted by Taka Ishii Gallery, accessed October 10, 2018.) While naturalistic “Western-style” painting attracted many Japanese artists at the time who regarded the technique as a standard to be emulated, Yamaguchi walked his own path and would eventually develop a wholly unique language. Through his exchanges with Yuzo Saeki and Ossip Zadkine while in Paris, Yamaguchi began making works fuelled by the aim of apprehending not just the physical appearance, but the underlying substance of objects. He was incredibly moved by Saeki’s intentions of expressing “the personality” intuitively assessed from an object in addition to Zadkine’s interest in the “framework” of objects. Yamaguchi illustrates, “gradually, I put greater and greater value on the real or tangible existence (of the object) and the ability actually to touch it. For this reason, I could do without atmosphere. Well, it became clear that of all the senses touch was the basis (of all understanding).” (Takeo Yamaguchi quoted by Miki Tamon, “Yamaguchi Takeo and Horiuti Masajazu— Two Distinctive Artists,” exh. cat. Yamaguchi Takeo, Horiuti Masakazu, National Museum of Modern Art: Tokyo, 1980, p. 19.)

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Takeo Yamaguchi Taku, February 1961 Collection of The Museum of Modern Art (MoMA), New York

山口長男《Taku》1961年2月作紐約，現代藝術博物館收藏

In 1931, Yamaguchi returned to Tokyo where artists were categorised as either Western or Japanese painters. Dissatisfed with either classifcation, Yamaguchi submitted work on the recommendation of Ikuma Arishima to the powerful Nika-kai association, one of several alternative art groups that arose out of a need for a more permissive environment in which artists like Yamaguchi could continue working and exhibiting. Excluding the wartime and post-war years, Yamaguchi exhibited with the Nika-kai until 1962. During World War II, Yamaguchi’s creative endeavours were completely bisected as the growth of avant-garde art in Japan diminished to a halt. Despite his circumstances, Yamaguchi viewed this moment as an opportune time to completely reinvent his work. The mature style exemplifed by Untitled that emerged from this period exhibit pared down forms rendered in a signature palette of ochre yellow and Venetian red arranged against a black backdrop. As portrayed in the present lot, Yamaguchi ofen implemented a palette knife to move, spread, and carve thick paint to create a captivating texture of swaths and lines of pigment on plywood. In Untitled, Yamaguchi removes extraneous elements from previous works including the narrow black lines he would ofen apply to juxtapose the coloured planes from the backdrop. Yamaguchi is celebrated for his use of a severely minimal palette of saturated earth tones and geometrical shapes as a method to depict the essential forms found in nature. He explains, “I don’t particularly like geometrical forms for abstract painting.

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Rather, I deny the use of inorganic things as subject matter even though they easily become abstract confgurations and advocate taking as the foundation an expression of a sense of nature, an ordinary sense of beauty.” (Takeo Yamaguchi quoted by Miki Tamon, “Yamaguchi Takeo and Horiuti Masajazu—Two Distinctive Artists,” exh. cat. Yamaguchi Takeo, Horiuti Masakazu, National Museum of Modern Art: Tokyo, 1980, p. 19.) Far from merely emulating the styles transplanted from Europe to Japan, Yamaguchi defly confgured aspects of Eastern minimalism with Western mediums to create a unique visual language that earned him the status of both pioneer and individualist. For his indisputably unique work, he has been selected time afer time by prestigious institutions across the globe as a defnitive component of all major representations of the development of Japanese art. At the time Untitled was created and as a testament to the high calibre of his work and welldeserved international acclaim, Yamaguchi had shown his work at the São Paolo Biennial (1955, 1964), the Venice Biennale (1956), the Solomon R. Guggenheim Museum (1956) and the New York Museum of Modern Art (1964). His protégé includes the great Korean artist, Lee Ufan who openly accredits Yamaguchi’s infuence on his work and thought. Yamaguchi’s attention to materiality and process has proven to be markedly ahead of his time, while his iconic style continues to resonate with quiet sophistication and unwavering strength.

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《無題》之上一片漆黑，塗抹塊塊赭黃，山口長男獨樹一幟的畫風躍然於畫面之中。山口引領日本當代藝術，為時代的先峰者之一。在眾多後立體派極簡主義畫作當中，山口的作品正是他的獨白。他的作品個性鮮明，推動了亞洲戰後及當代藝術的發展，一次又一次地將其重新定義。《無題》背後的思想縝密，構圖簡明，張力無限。色彩沉厚，仿佛將畫面推入更深層次。這幅作品表現了山口所要表達的一切，看不見摸不著的無形世界。《無題》作於1965年，是山口的藝術生涯巔峰之作，體現自60至70年代山口畫風的獨特轉變軌跡，此時期他的藝術風格奠定，運用越來越多的長方形來成就畫面的主視覺。在藝術創作的道路上，山口歷經了種種波瀾。起初，在東京美術學院研習西洋畫時，立體派扁平及極簡的構圖風格打動了山口。自1927年畢業後，山口移居法國巴黎，接觸到了歐洲當時的前衛藝術，擴大了自身對於藝術的感受及體驗。山口說：「自從到了歐洲，我就一直在質疑之前所做的一切。我開始拋棄過去，擁抱未來，重新起步。」（摘自：2018年10月10日山口於Taka Ishii畫廊口述資料）。在日本藝術家還在以「西洋派」自然畫法為標準，相互效仿，彼此競爭之時，山口早已開闢了一條自己的道路，終究塑造出一派獨一無二的藝術語彙。在巴黎的日子裡，山口與佐伯祐三、奧斯比·扎德可因彼此切磋交流，他的創作目標開始日漸明朗。山口不僅

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要通過畫面去理解物質的表象，還要通過畫面透視事物表象之下的現象。佐伯與扎德可因的創作宗旨觸動了山口的內心。佐伯力求通過物件本身將藝術作品的「個性」無聲無息地帶出畫面，扎德可因則專注物件的「架構」。山口說：「漸漸地，我越來越注重強調物件本身的真實及存在感，一種看得見摸得著的感覺。正因這些，我不再受意境的束縛。顯而易見地，在一切感知當中，觸覺才是最真實的。」（摘自： 1980年版東京國家當代藝術館出版，三木多門著《獨一無二：山口長男、堀内正和》圖錄第19頁）。 1931年，山口回到了東京，當時，日本的藝術家被外界定義為「西洋派」或「日系」藝術家。對於這兩類畫派的分門別類，山口心懷不滿。在有島生馬的建議下，山口將作品自薦到頗具影響力的「二科會」。在當時，「二科會」與其它幾個藝術協會為山口這類藝術家提供了較寬鬆的創作環境，在特有的氛圍下，他們持續創作，舉辦畫展。除了戰時及戰後的一段期間，山口一直在「二科會」舉辦畫展，直至1962年。二戰時期，隨著日本前衛藝術的發展逐漸停止，山口的藝術道路也進入了一個分水嶺。儘管外在環境艱難，山口將這段時期視作一個徹底審視及改變其創作的契機。《無題》正產於這段時期，其畫風尤顯成熟，漆黑之上塗滿赭黃與朱紅。這幅作品呈現了山口的作畫過程，他用油畫刀將厚厚的油彩在膠合板上推開、塗勻、塑型，創造出迷人色帶，質感豐富，魅力獨具。

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《無題》抹去了山口的過去，拋棄了無關的元素，包括出現在早期作品上的黑色細線。通過極簡的大地色調與幾何形狀，山口找到了一條展現大自然之本真的道路。他解釋道:「我不太喜歡用幾何圖形來表現抽象畫，即使這類無機物為主題很容易成就抽象的配置，我拒絕使用，就算它們能夠自然地展現普通美感表達。」（摘自：1980年版東京國家當代藝術館出版，三木多門著《獨一無二：山口長男、堀内正和》圖錄第19頁）。山口從歐洲將其所學習及貫通的藝術風格帶回日本，巧妙的將西方藝術的媒介和東方極簡主義融合，作品述說著屬於其特有的視覺藝術語言。山口獨一無二，名副其實，不愧為藝術先鋒。毋庸置疑，他的作品一次又一次地被世界知名機構選入，以展現日本藝術的發展歷程。《無題》淋漓盡致地呈現了山口特有的畫風，他的作品備受矚目，曾參展於聖保羅雙年展（1955年， 1964年）、威尼斯雙年展（1956年）、古根漢博物館（1956年）、以及紐約當代藝術館（1964年）。與山口比肩齊名的包括南韓藝術家李禹煥，李禹煥曾公開表示他的作品及藝術創作思路深受山口的影響。山口對事物的本質及其發展過程之關注優於他時代中其他同儕，他的標誌性風格，至始至終，低調內斂，充滿力量。

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Property of an Asian Collector

21. Park Seo-Bo

b. 1931

Écriture No.96-75 signed, titled and dated ‘PARK SEO-BO “ÉCRITURE No. 96-75” 1975 [in Hanja and French]’ on the reverse pencil and oil on canvas 129.3 x 161.2 cm. (50 7/8 x 63 1/ 2 in.) Executed in 1975. Provenance Sigong Gallery, Daegu Acquired from the above by the present owner

亞洲私人收藏

朴栖甫《描法 No.96-75》鉛筆油畫畫布 1975年作款識：朴栖甫《描法 No.96-75》1975年作 PARK SEO-BO ÉCRITURE No. 96-75 (法文) 1975 (畫背) 來源大邱，Sigong 畫廊現藏者購自上述來源

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

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Park Seo-Bo and Lee Ufan, in Park’s Shinchon Studio, August 1972 Courtesy of Park Seo-Bo Studio

朴栖甫及李禹煥，於朴栖甫新村工作室，1972年8月

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‘When I am aimlessly and endlessly repeatedly drawing these lines, I realise that I am emptying myself in a similar way as a monk who chants and beats on his moktak (a wooden percussion instrument)...’ Park Seo-Bo

Confating the ethos of traditional Korean culture with the formal language of Minimalism, Écriture No. 96-75 represents a primary example from the mid-1970s underlining a crucial turning point in the esteemed career of pioneering Korean avant-garde artist, Park Seo-Bo. Thickly-drawn horizontal bands of dense oscillating lines rendered in pencil on an ivory background reduce the element of subjectivity within the present lot to the most miniscule point. Park repeats this process of painting and inscribing with pencil only until he is satisfed. Epitomized by the purely physical act of drawing, Écriture No. 96-75 references the disciplined practice of calligraphy yet showcases the ceaseless movement not as a means to represent a certain object or image, but rather as a strict record of the work’s conception. As a principal example of Park’s lifelong commitment to the impossible aim of deconstructing the “ego” and proclaiming nonpurposefulness to attain complete liberation of the self, Écriture No. 96-75 ofers a space for spiritual consolation and exultation. (Kim Bok-Young, “Korean monotone fat painting in 1970s-80s,” Age of Philosophy and Aesthetics, National Museum of Contemporary Art, 2002, pp. 42- 44, reprinted in Pak So-bo and Taegu Misulgwan, Park Seo Bo, Daegu Art Museum, 2012.) Emitting a serene collected power with its subtle indefnable depth, the present lot showcases Park Seo-Bo’s distinctive practice within the greater context of the high-profle Dansaekhwa movement. Park Seo-Bo along with his fellow contemporaries including Lee Ufan (b. 1936) and Ha Chong Hyun (b. 1935) spearheaded the articulation of a uniquely Korean contemporary aesthetic defned as Dansaekhwa that emerged in the mid 1970s and has continued into the present day. Powerfully informed by the trauma and cultural erasure attendant on the brutal war years, Dansaekhwa developed out of a need to reconcile traditional Korean art of the past with the spiritual demands of the present. Écriture No. 96-75 embodies the essence of Dansaekhwa through the work’s exemplifcation of the movement’s tendency towards large-scale monochrome-style painting portraying the artist’s untiring search for neutrality and spiritual transcendence. Despite comparisons to the work of Minimalist heavyweights including Richard Serra,

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Robert Mangold, and Agnes Martin, Dansaekhwa “is devoted to the process of repetition and specifcity of material based on meditative nature, which is the opposite of Western Minimalism and monochrome’s rationality and logic.” (Yoon Jin-sup quoted by Kwon Mee-Yoo, “Dansaekhwa on the Rise, The Korea Times, August 10, 2015.) Écriture No. 96-75 does not merely portray Park’s innovative forays into monochromatic forms on canvas, but this key work also showcases the artist’s refned meditations coinciding with the tenets of Daoism. In the late 1960s, Park engaged deeply with the writings of Laozi and Zhuangzi, a spiritual awakening that not only completely altered Park’s outlook on life, but also became the philosophical backbone for his seminal Écriture series. “When I am aimlessly, and endlessly repeat drawing these lines, I realize that I am emptying myself in a similar way as a monk who chants and beats on his moktak (a wooden percussion instrument). I believe this is the right way for me to approach art, as a Korean who believes the Eastern philosophy that human and nature is one.” (Park Seo-Bo in conversation with Suh Sang-Sook, “Destruction is Always the Premise for New Order,” Chungcheong Daily News, May 31, 1986, reprinted in Soon Chun Cho, Oh Kwang-Soo, Joseph, ed., Park Seo-Bo, Paris, 2016.) While individuality was the underlying premise of his earliest work created in the wake of the war, Park began to doubt this so-called “individuality” and its meaning within creative work, and thus fully re-directed his eforts towards shedding the baggage of self-expression through non-image and non-expressive art-making as illustrated in the present lot. Soukyoun Lee writes, “for Park, ‘painting’ is ‘erasing’; on the contrary, ‘erasing’ is again ‘painting’. The acts of painting the painting, or erasing the painting, flling and emptying came to be Park’s life.” (Soukyoun Lee, “Opening the Park Seo Bo Exhibition,” Pak So-bo and Taegu Misulgwan, Park Seo Bo, Daegu Art Museum, 2012.) Park is one of the key Korean artists who has achieved critical acclaim and has been a focal point of the conversation about Korean art since the 1950s. Now more than ever, there has been signifcant interest in the work of Park Seo-Bo and that of the Dansaekhwa movement as a whole propelled by several recent international exhibitions centred on both the artist and group.

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Park Seo-Bo Writing 59-74-77, 1974-1977 Collection of The Museum of Modern Art (MoMA), New York

朴栖甫《描法 59-74-77》1974-1977年作紐約，現代藝術博物館收藏

《描法No. 96-75》融會貫通傳統韓國文化特質與極簡主義的形式語彙，是韓國先鋒藝術家朴栖甫1970年代中期作品的絕佳範例，此時期正值他備受景仰的藝術生涯之關鍵轉折點。鉛筆塗抹的水平帶狀波伏線條密密麻麻地佈滿象牙色背景，將主觀性元素在本件拍品中降至微乎其微。朴使用鉛筆重複此繪畫與描印過程直至滿意為止。《描法No. 96-75》是繪畫作為純粹律動行為的典範，既引人聯想起書法的規範訓練，又將這種不間斷的動態呈現為作品構思的嚴格記錄而非表現物品或圖像的方式。朴一生致力於一個近乎不可實現的目標——解構「自我」並宣揚無目的性，以此獲得自身的全然自由，《描法No. 96-75》作為朴終身信仰的重要範本，為心靈的慰藉與狂喜留存一席之地。(Kim Bok-Young，「韓國197080年代單色平面繪畫」，《哲學與美學時代》，國家當代藝術博物館，2002年，第42-44頁，再版於朴栖甫與 Taegu Misulgwan編，《朴栖甫》，大邱美術館，2012年) 本件作品於其微妙而不可言說的深度中釋放出一絲寧靜且泰然自若的力量，於備受關注的單色畫運動範疇之下，彰顯了朴栖甫獨具一格的創作風格。朴栖甫與其同輩藝術家李禹煥(1936年生)、鄭相和 (1935年生)等，領導了1970年代中期出現並延續至今的獨特韓國當代美學表述——單色畫運動。清晰知曉伴隨殘酷戰爭年代所出現的創傷與文化破壞，單色畫的誕生調和了過去傳統韓國藝術與現今精神需求的不同。《描法 No. 96-75》完美體現了單色畫運動的精髓，通過大尺幅單色畫作展現藝術家對於中立性和精神超越的不懈追求。儘管單色畫時常會與極簡主義重量級人物理查德·塞拉、羅伯特·曼戈爾德、艾格尼絲·馬丁等作比較，但單色畫「致力於冥想基礎上過程的重複性與材質的特殊性，與西方極簡主義和單色的理智與邏輯截然相反。」(Yoon Jin-sup，引自Kwon Mee-Yoo，「上升中的單色畫」，韓國時報，2015年8月10日)《描法No. 96-75》不僅體現了朴氐於畫布上涉獵創新的單色形體，這件重要作品同時展現了藝術家與道教信條一致的精深冥想。

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於1960年代末期，朴氐深入接觸老子與莊周的文章，所獲之精神覺醒不僅完全改變了他的人生觀，而且成為了他頗具開創性的「描法」系列的哲學支柱。「當我漫無目的且無休無盡地重複繪製這些線條的時候，我意識到我在淨化自己，正如僧侶誦經念佛敲擊木魚(一種木質打擊器)。作為一個信仰天人合一東方哲學觀的韓國人，我認為這於我來說是正確通往藝術的途徑。」(朴栖甫與 Suh Sang-Sook對談，「毀滅是新秩序的一貫前提」，忠清每日新聞，1986年5月31日，再版於Soon Chun Cho, Oh Kwang-Soo, Joseph編，《朴栖甫》，巴黎，2016年) 儘管個性化是其戰後早期作品的基本前提，朴氐開始質疑所謂「個性化」及其在藝術作品中的涵義，因此轉而透過非圖像化、非表現式的藝術創作來推動卸下自我表達的包袱，正如本件拍品所示。 Soukyoun Lee寫道「對於朴氐來說，『繪畫』即是『消除』；反之，『消除』也是『繪畫』。繪製和擦除繪畫、填充和清空成就了朴氐的人生。」(Soukyoun Lee，「舉辦朴栖甫展覽」，朴栖甫與Taegu Misulgwan編，《朴栖甫》，大邱美術館，2012年) 朴栖甫是獲得一致好評的韓國重要藝術家之一，自1950年代起已是談及韓國藝術的焦點人物。現今，在近期圍繞藝術家與此群體的諸多國際展覽驅使下，對朴栖甫及單色畫運動作品的興趣更加空前絕後。

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Property of a Canadian Collector

22. Anish Kapoor

b. 1954

Untitled signed, inscribed and dated ‘Anish Kapoor 2014 Anish Kapoor 2014’ on the reverse bronze and lacquer 134.3 x 134.3 x 21.9 cm. (52 7/8 x 52 7/8 x 8 5/8 in.) Executed in 2014. Provenance Gladstone Gallery, New York Acquired from the above by the present owner

加拿大私人收藏

安尼施．卡普爾《無題》銅漆 2014年作款識: Anish Kapoor 2014 Anish Kapoor 2014（背面）來源紐約，Gladstone 畫廊現藏者購自上述來源

HK$ 4,500,000-5,500,000 US$ 577,000-705,000

‘What happens with concave surfaces is in my view, completely beguiling... cease to be physical and it is that ceasing to be physical that I’m after.’

Anish Kapoor

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Sensual, poetic, yet unsettling, Anish Kapoor’s Untitled ofers a multi-sensory experience, enticing the viewer as a gilded portal to another dimension. Since the late1990s, Kapoor has created a body of concave mirrors that iterate upon the artist’s long-term investigations into both the phenomenological structure of experience and minimalist notions of the noncompositional. Viewed from a distance, the lacquered bronze and exquisitely fnetuned surface of Untitled projects a luscious golden refection of the work’s immediate environment that is fipped upside down, distorted, and liquifed. Despite the spiritual and meditative intonations of this work, the crimson backside of the refective mirror and resulting reddish halo projected behind the piece, point to the artist’s ongoing exploration of the colour red as indexical to the bodily realm. Like his iconic Cloud Gate in Chicago and Sky Mirror in Kensington Gardens, the present lot is at once intimate and imposing, implicating viewers as they become participants within the work’s undulating landscape.

Throughout his diverse and ambitious practice, Kapoor’s works continuously pose nuanced questions concerning the viewer’s relationship to space, “one of the only truly abstract entities,” as according to the artist. (Anish Kapoor in, “Mythologies in the Making: Anish Kapoor in Conversation with Nicholas Baume,” exh. cat. Anish Kapoor: Past Present Future, Institute of Contemporary Art Boston, 2006, p. 52.) The concavity and mirror-efects of Untitled employ concepts regarding infnity and void, spaces that the artist considers “transitional” and that “seem to be very active, to be in various states of becoming.” (Ibid.) It is this constant state of change that beckons viewers. As one approaches the work, the refected image enlarges, playing with the viewer’s innate desire to fully take in or visually capture the complete image at a glance. As one crosses a certain focal threshold, however, the image suddenly implodes as the refected objects deconstruct and become indecipherable. Drawing on the association of the mirror as a window into self-discovery and self-knowledge, Untitled describes the competing forces between the centralised pull of the concave form and the outward expression of the mirrored surface. Kapoor explains, “what happens with concave surfaces is in my view, completely beguiling.” The artist clarifes that these surfaces “cease to be physical and it is that ceasing to be physical that I’m afer.” (Ibid, p. 53.) Untitled exists at a constant tipping point, rejecting a prescriptive idea of overt symbolism as a means of creating an environment within which viewers themselves can consider meaning.

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As an international artist born in India and educated at art schools in London during the late 1970s, Kapoor draws on the strategies of non-composition that strive for self-erasure popularised in Western cultures by Minimalist and Conceptual art. The meticulously polished mirror works demonstrates Kapoor’s commitment to eradicating all evidence of the artist’s hand through the work’s strict, geometric fabrication akin to minimalist tendencies. Kapoor’s auto-generative sculptures share an aversion to art as a process of self-expression with not only minimal art but also the Indian concept of self-manifestation. Untitled references Svayambhu, a Sanskrit term describing that which is created of its own accord rather than by the hand of man. Kapoor afrms, “when the work leads the artist, the process is one of discovery… if I allow myself to excavate, to research, the process leads to meanings that could never have been logically imagined.” (Ibid, p. 39-40.) Nevertheless, Nicholas Baume elucidates that “noncompositional strategies never truly erase the artist, but rather elaborate the creative process as a complex interaction between subjective and nonsubjective elements.” (Nicholas Baume, “Floating in the Most Peculiar Way,” exh. cat. Anish Kapoor: Past Present Future, Institute of Contemporary Art Boston, 2006, p. 24-25.) In doing so, the work regards the myth of the self-made object as a crucial fction while underpinning the creation of meaning as a fundamentally social act involving both artist and viewer. Considering the concurrent growth of Kapoor’s career and the advent of the internet and cyberspace, the experience of Untitled furthermore captures aspects of the visual language of the digital era. Kapoor asks, “where does the internet reside? Where is that space? I suggest that it is an intermediary space that is between all sorts of things, residing seemingly nowhere, and it exists somewhere.” The uncertain status of the present work, as it morphs from one state to another, seamlessly warping and altering our surroundings, is deeply resonant with the contemporary language of digital representation. Based on neither the deep pictorial space of Renaissance perspective nor the empirical fatness of modernist abstraction, the space of Untitled hovers in front of the object. David Joselit describes this as “the epistemology of the hyperlink: a displaced or virtual depth that is composed of multiplied surfaces.” (David Joselit quoted by Nicholas Baume, “Floating in the Most Peculiar Way,” exh. cat. Anish Kapoor: Past Present Future, Institute of Contemporary Art Boston, 2006, p. 26.) Ceaselessly innovating and negotiating our position within space, Kapoor continues to create internationally acclaimed work today while inviting viewers to self-refect and participate in shiny, astonishing, alternate worlds.

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《天之鏡》不銹鋼直徑10米倫頓，肯辛頓花園，2010-11年

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感性、詩意而又撩人心絃，安尼施·卡普爾的作品帶來多重感官盛宴，仿若一扇鎏金大門，吸引觀者進入另一方天地。自1990年代末期起，卡普爾創作了一系列凹面鏡作品，反覆探討藝術家長期以來對於體驗之現象學結構以及非構圖性之極簡主義概念的研究。遠觀之，《無題》的漆面銅材與精細表面將周遭環境顛倒、扭曲、流動地折射出來，帶着一抹豐盈的金色反光。除卻安件作品於精神、冥想層面的語義，反光鏡背面的緋紅色及其投射在牆面的紅色光環無不指向藝術家對於紅色的持續探索。這些概念在卡普爾過往的許多作品中常出現，爲其理論的支柱。如同他其他知名的標誌性作品：芝加哥的《雲門》以及紐約的《天空之境》，本件拍品既寧靜怡人又宏偉壯觀，使得觀者成爲其作品跌宕起伏風景中的參與者。通過他多元且宏大的實踐，卡普爾的作品持續對觀者與空間兩者關係細膩入微地發問，於他而言，「這是唯一真正抽象的本質」。(「醞釀中的神話：安尼施·卡普爾與《安尼施·卡普爾：尼古拉斯·鮑姆對談」，展覽圖錄，過去，現在，未來》，波士頓當代美術館，2006年，第52頁)《無題》的凹面及鏡像效應採用了無窮與空虛的概念，營造藝術家稱之爲「過渡」且「似乎特別活躍，具有萬千可能」的空間。(同上)正是安種千變萬化的狀態引人入勝。當觀者靠近作品時，反射的圖像變大，激發其本能反應想要全然領會亦或是從視覺角度一窺堂奧、盡收眼底。當觀者超越某一聚焦臨界點之後，圖像隨着反射物的解構而瓦解，變得難以辨識。利用鏡面作爲自我探索與自我認知的窗口，《無題》描述了兩股力量之間的相互作用——凹面形式的聚集拉力與鏡像表面的外在表現力。卡普爾說到，「我認爲凹面非常具有迷惑性」，藝術家進而解釋說這些表面「不再符合物理法則，而這正是吸引他的地方。」(同上，第53頁。）《無題》處於一個永恆的臨界點，拒絕明顯象徵主義的規範思路，從而營造一個觀者可以自由思考其中意義的環境。

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出生於印度，於1970年代末在倫敦接受藝術教育，並現已成為國際知名藝術家，卡普爾善用印度哲學與非構圖性策略，該策略受極簡主義與觀念藝術影響，力求自我抹除，於西方文化中廣爲流行。透過作品類似極簡主義傾向的精確幾何製作，精心打磨的光滑圓盤呈現卡普爾消除所有手作痕跡的決心。卡普爾這看起來一體成型的雕塑作品，體現其對於藝術作爲體現自我的反抗，這不僅存在於極簡主義藝術，也印證於印度文化中關於自我的概念。《無題》引用梵語自生者(Svayambhu)，意爲自然而然而非通過人手創造而成。卡普爾繼而斷言，「當作品引導藝術家時，這是一個探索的過程...如果我放任自我去挖掘、去研究，這個過程將引向邏輯無法想象的意義。」(同上，第39至40頁。) 然而，尼古拉斯·鮑姆解釋「非構圖性策略從未真正消除藝術家的痕跡，而是將創作過程周密發展爲一個主觀性與非主觀性元素的複雜互動過程。」(尼古拉斯·鮑姆，「以最非同尋常的方式漂浮」，展覽圖錄，《安尼施·卡普爾：過去，現在，未來》，波士頓當代美術館，2006年，第24-25頁。) 以安種方式，該作品將自制物品視爲至關重要的虛構，反而支持了創造意義作爲牽涉藝術家和觀者雙方的基本社會行爲。卡普爾藝術事業的發展與互聯網及網絡空間的到來並駕齊驅，《無題》的體驗更爲深入地捕捉住數位時代的視覺語言。卡普爾詢問，「互聯網存在於何處？那個空間在哪裏？我認爲它是一個無處不在的中介空間，似乎居無定所，卻又有跡可循。」本件拍品變幻出不同形式的無常狀態，天衣無縫地扭曲並改變周遭環境，與數位影像的當代語彙產生強烈共鳴。《無題》的空間既非立足於文藝復興透視法的景深維度，亦非基於現代主義抽象的實證扁平化，它懸浮於物體面前。大衛·喬斯利特將安形容爲「超鏈接的認識論：由多重表面組成的置換或虛擬深度。」(大衛·喬斯利引自尼古拉斯·鮑姆，「以最非同尋常的方式漂浮」，展覽圖錄，《安尼施·卡普爾：過去，現在，未來》，波士頓當代美術館，2006年，第26頁。) 馬不停蹄地創新並超越我們於空間中所存在之處，卡普爾持續創作揚名國際的作品，邀請觀者進入熠熠生輝、令人驚歎的異世界。

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23. Jonas Wood

b. 1977

Australian Open Two signed with the artist’s initials, titled, and dated ‘JBRW 2012 “AUSTRALIAN OPEN TWO”’ on the reverse oil and acrylic on linen 223.5 x 152.4 cm. (87 7/8 x 60 in.) Executed in 2012. Provenance David Kordansky Gallery, Los Angeles Private Collection (acquired from the above) Acquired from the above by the present owner

喬納斯．伍德《澳洲網球公開賽二》油畫壓克力麻布 2012年作款識: JBRW 2012《Australian Open Two》(畫背) 來源洛杉磯，David Kordansky 畫廊私人收藏 (購自上述來源) 現藏者購自上述來源

HK$ 4,500,000-5,500,000 US$ 577,000-705,000

‘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.’’ Jonas Wood

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Â© Jonas Wood

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大衛·霍克尼《更大的水花》1967年作倫敦，泰特美術館收藏

As an outstanding proponent of his iconic and highly coveted tennis court paintings, Jonas Wood’s masterwork Australian Open Two substantiates the artist’s ultimate thesis on the psychological interplay between abstraction and representation. As a visionary who has redefned beauty in prosaic images, Wood yields a unique space that is both a highly personal and universally familiar. Through an expanse of enigmatically stacked tectonic planes that recede from marine blues to a wistful darkness, the artist frst lays the abstract architecture of his engulfng canvas. Horizontal bands of colour then slowly unfold to reveal volume within their fatness, as delicate white lines demarcate the boundaries of a tennis court. Finally, representational space is anchored by the embellishments of corporate logos and the economic evocation of a taught tennis net constructed through methodical cross hatching. The images of these courts are based on Wood photographing the television screen, creating bands of black colours at the top and bottom of some works. Presented at an immersive scale that is rare to the market, Wood re-imagines a famed site of international sport that is known globally from infnite angles, cropping it haphazardly and emptying it of any action to present an abstracted splice of shared personal experience.

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Comprising his most recognisable series, Wood has been continuously drawn to the four international Grand Slam tennis tournaments that punctuate the global sporting calendar: the French Open, Wimbledon, the US Open, and the Australian Open. Here, Wood announces his location through a wash of oceanic blues: the distinguishing colour of the Australian Open courts since the surfaces of Melbourne Park were renovated in 2007. Yet, rather than focusing on the game itself, Wood’s vacant court functions as uncanny contemporary landscape emptied of human presence in the vein of David Hockney’s 1967 masterpiece, A Bigger Splash. The of-centre viewpoint emphasises the orthogonals of the stadium environment, supported by the aesthetic weight of saturated block colours. As the artist surmises: ‘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’ (Jonas Wood in conversation with Jennifer Samet in: ‘Beer with a Painter, LA Edition: Jonas Wood’, Hyperallergic, 12 September 2015, online.)

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Rigorously structured to play with our perception of depth, Wood shows a profound indebtedness to Paul Cézanne’s deconstruction of pictorial space and the fracturing of forms that manifested in the Cubism of Pablo Picasso and Georges Braque. He modifes the visual strategies of modern painting to refect a post-modern reality; one that is infltrated by fatness of the screen and a saturated visual culture fed by digital technologies. With further references to the consumer brand worship of Andy Warhol and the graphic interest in corporate logos expounded by Jean-Michel Basquiat, Wood condenses the abstract, the representational, the photographic and televised. In the absence of players, referees or audience, this surreal tennis court becomes a geometric game, revelling in asymmetry, where form and colour provide the dynamic back and forth energy otherwise expressed in the heat of a match. Having initially studied psychology before focusing on fne art, Wood’s unique interweaving of aesthetics and memory have earned his quotidian scenes a revered place in the history of contemporary painting. The artist gained notoriety in his early career through personal images of friends, family and interiors all based on frst hand perception and memories. Wood has remarked: ‘Of all the possible things I could paint, the thing that interests me is something that I can get close enough to in order to paint it honestly.’ (Jonas Wood in conversation with Ana Vejzovic Sharp in: Dan Nadel, Ed., Jonas Wood: Interiors, Los Angeles 2012, p. 56.) As a crucial innovation in his practice, Wood’s sports images specifcally relate to visions and memories mediated through other media such as photography or television. Wood’s frst sport paintings used portraits of athletes that he sourced from the cards he collected as a child. Whilst familiar to some and surreal to others, the fattening efect of the blue court in Australian Open Two evokes space experienced as an image mediated through television. But despite presenting a scene rooted in a widely accessible record of reality, Wood’s askew framing of the composition remains both highly personal and coolly abstract.

藝術家於工作室

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《澳洲網球公開賽二》是喬納斯·伍德的標誌性、亦受世人認同的網球場油畫系列之傑出範例，藝術家藉以探討抽象和具象之間的心理交相作用。伍德利用平淡無奇圖像重新定義美，作品所呈現的獨特空間既個人化，同時也是普遍世人熟悉的場景。層疊的平面色塊從海軍藍漸變為幽幽的黑色，藝術家於畫布上鋪展了其抽象結構，橫向的色塊逐漸展開，透露平面之中的厚重；白色細線勾勒出網球場的邊界。最後，一幅具體空間出現了，周圍可見企業品牌標誌，有條不紊的交叉平行線組織成一張球網。這幅畫的尺幅龐大，在市場上非常罕見，伍德重新想像這項國際體育運動的知名賽場，這個場景曾以無數角度出現在世界各地觀眾面前，但畫家隨意抽取其中一部分，抽離任何人物動作，只集中表現一段抽象化、公開的個人經歷。

伍德在專注藝術創作之前，本科修讀過心理學，他將各種藝術美學和個人記憶交織，使他所描繪的平凡場景在當代繪畫史上佔得一席位。伍德在早年憑著親身感覺和記憶，繪畫朋友家人和室內場景的影像，卻因此而聲名狼藉。他指出：「在各種各樣可以入畫的事物當中，我感興趣的是那些讓我可以近距離接觸，然後忠實地描繪的東西。」（喬納斯·伍德與安娜·維耶索韋·沙普對話，載於 Dan Nadel編，《喬納斯·伍德：室內》，洛杉磯，2012年，第56頁）。運動主題作品是伍德在藝術事業上的重要轉折，與其他媒介如攝影或電視所傳遞的視覺體驗和記憶息息相關。伍德的第一批運動主題作品以他童年時收集的運動員肖像卡為藍本。《澳洲網球公開賽二》裡的藍色球場對於某些人來說非常熟悉，對另一些人來說卻是超現實，這種平面視覺效果令人想到電視機影像所帶來的空間體驗。儘管這幅作品展現的場景在現實裡隨處可見，但畫家精心營造的傾斜構圖卻高度個人化，而且充滿抽象氣息。

伍德一直以國際網球四大滿貫賽事為主題：法國網球公開賽、溫布頓網球錦標賽、美國網球公開賽、澳洲網球公開賽，成為他最具代表性的作品系列。伍德在這幅作品中以一片海藍色表示所在地：自2007年墨爾本公園賽場翻新以來，這就是澳網公開賽場地的標誌性顏色。伍德的重點並不在比賽本身，空蕩蕩的賽場令人想起邈無人跡的當代藝術風景畫，與大衛·霍克尼的1967年名作《水花四濺》一脈相承。偏移的視角突出場館的十字交叉線，畫面因飽滿的色塊而顯得充實。藝術家設想：「我並非以空間呈現形態。我的網球場作品是出於對抽象的興趣，還有就是賽場如何成為一幅幾何拼圖」（喬納斯·伍德與珍妮弗·薩默對話，〈啤酒和一位藝術家，加州版本：喬納斯·伍德〉，《Hyperallergic》，2015年9月12日，網上資料）。

這幅作品構圖嚴謹，挑戰觀眾對空間深度的感知，從中可見伍德對前輩藝術家的深刻致敬：保羅·塞尚對平面空間的解構；在畢加索和喬治·布拉克的立體主義下形狀的割裂支離。他將現代繪畫的視覺表現技巧稍作改動，反映後現代的現實；觀眾面對一片平坦乏味的畫面，以及由電子科技填塞過剩的視覺文化。其他引申內涵包括安迪· 沃荷的消費品牌崇拜、尚·米歇爾·巴斯基亞的企業標誌圖案改造，伍德藉此將抽象、具象、攝影和電視影像濃縮在一幅圖像作品中。這個沒有球員、裁判或觀眾的超現實網球場成為一場幾何學的遊樂場，沉醉在不對稱裡；球賽中動態的來回能量，在此以形狀和色彩的形態出現。

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24. Christopher Wool

b. 1955

Untitled signed and dated ‘Wool ‘89’ on the reverse enamel on Suzuki paper 94 x 61 cm. (37 x 24 in.) Executed in 1989. Provenance Luhring Augustine, New York Private Collection, New York Acquired from the above by the present owner Exhibited Michigan, DePree Art Center; San Jose Museum of Art; Belleair, Florida Gulf Coast Art Center, Independent Curators International Exhibition: Dark Decor, 10 January 1992 - 7 February 1993 London, Inigo Philbrick, Christopher Wool, Mike Kelley Paintings on Paper, 8 February – 28 April 2016, pp. 35, 36, 37 (illustrated, p. 37)

克里斯托弗．伍爾《無題》瓷漆鈴木紙本 1989年作款識：Wool‘89 (背面) 來源紐約，Luhring Augustine 畫廊紐約私人收藏現藏者購自上述來源展覽密歇根州，DePree藝術中心；聖荷西美術館；比爾埃爾，佛羅里達海岸藝術中心，〈獨立策展人國際展: 黑暗裝飾〉， 1992年1月10日-1993年2月7日倫敦，Inigo Philbrick，〈克里斯托弗·伍爾、麥克·凱利紙本作品〉， 2016年2月8日-4月28日，第35、36、37頁（圖版於第37頁）

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

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Christopher Wool is one of the most prominent contemporary painters at work today. His pictures featuring either stencilled words or repeated patterns have become modern icons in their own rights. Painted in 1989, Untitled dates from the period when Wool was beginning to gain international recognition for his unique dismantling and reconstruction of the precepts and tenets of painting. By this time, his work had been shown he himself had been granted an artist’s residency at the American Academy in Rome, the same year that Untitled was executed. More recently, Wool’s works have been celebrated in a number of exhibitions in prominent international museums, including a 2014 retrospective held at the Solomon R. Guggenheim Museum, New York; which later travelled to the Art Institute of Chicago in his native city. Wool was brought up in Chicago, but moved to New York in the early 1970s, in search of a vibrant avant garde artistic sphere. At the time when Wool had been an art student, much of the teaching was still dominated by artists who had been linked to Abstract Expressionism, a style that he sometimes respected but nonetheless rejected. Like his contemporaries and early admirers Jef Koons and Richard Prince, Wool sought out his own means of expression over the years. For Wool, this ultimately involved a return to painting, creating works that intelligently dissected and explored the limitations of their own medium. This is certainly the case in Untitled, which features a foral motif repeated again and again across the surface: its fgurative origin as an image of leaves and branches is repeated to the point of absurdity. It becomes instead an all-over pattern of forms which the viewer is forced to appraise on its own new terms. In this way, the foral pattern echoes the process that underpins his famous word paintings, where the letters are painted in such a way, with words ofen split from line to line, that their appearance tangles with their supposed meaning. This is exemplifed in Untitled from the following year, now in the Museum of Modern Art, New York, which is emblazoned with the words: ‘CATS IN BAG BAGS IN RIVER.’

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‘There is no secure sense of what Wool’s paintings mean. They are uniform, deliberate, absolute, and masterful, but entirely resistant to one’s natural search for meaning, which they seem to deny.’ John Caldwell

During the 1980s, Wool had been struck by the rollers landlords in New York used to paint interiors, to give a false and supposedly luxurious impression of wallpaper. He himself adopted similar techniques, using rubber stamps and rollers to create works such as Untitled that probed the entire nature of painting. Ever the iconoclast, Wool was able to skewer the lofy concepts of Action Painting by creating pictures that bore visual similarities to his post-war American forebearers, yet were rooted in the fabric of a degraded, punk-era New York. At the same time, using this found subject matter Wool discovered, ‘an interesting friction generated by putting forms that were supposed to be decorative in such severe terms’ (Wool, quoted in C. Brinson, ‘Trouble is my Business’, pp. 35-51, C. Brinson, ed., Christopher Wool, exh. cat., New York, 2014, p. 38.) This was a seemingly natural development in Wool’s work’s from his frst exhibited pictures, which featured layers of enamel upon aluminium sheets. When he showed those in 1986, only three years before creating Untitled, the critic Colin Westerbeck would identify the tension between the epic and the domestic that underpinned those earlier works, commenting that they were ‘a cross between a Jackson Pollock and a Formica countertop’ (C. Westerbeck, ‘Christopher Wool’, Artforum, Vol. 25, No. 1, September 1986, p. 139.) As Westerbeck continued, ‘the aspiration here is to span the distance… between Expressionism and Minimalism.’

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This is also the case in Untitled: looking at this work, the viewer is immersed within the lace-like intricacy of the patterns that cover the surface of the sheet of paper. There are knowing echoes of Jackson Pollock in the rivulets that form the stems and leaves of the repeated motif. Despite this, Wool defantly obstructs any hints of sensuality, insisting upon the viewer’s awareness that the pattern has been applied using a form of stencil. Repeating the motif through an almost mechanical technique, Wool removes that emphasis on the brushstroke or the artist’s mark that was so vital to so much twentieth-century painting. Using a technique derived from painter-decorators rather than painters, the artist has made a pattern which is replicated across the entirety of the surface, ofen with slight variations in the density of the ink or unevenness of its application. He deliberately undermines the expressive potential of the visual language of painting, resulting in an image that is instead largely inscrutable, yet upon closer inspection, reveals teasing glimpses into the actions and movements of its creator, resulting in a complex and unresolved game of feints and veils. Wool presents the foral pattern in such a way that it becomes a form of barrier rather than a window, recalling the ironwork fences echoed in some of his paintings from the same period. In this way, the artist ensures that his work remains intriguingly opaque, a continuing and enticing mystery.

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克里斯托弗·伍爾是當代藝術中最受推崇的藝術家之一，其畫作以使用模板噴字或是大量重複圖案為特色，確立了他在現代藝術中標誌性的風格。《無題》創作於1989年，時逢伍爾因在繪畫原則與理論上獨到的拆解和重構，而在國際藝壇上聲名大噪的時期。此時，他已在紐約及海外舉辦過個展，《無題》這件作品正創作於他在羅馬的美國學院進行藝術家駐村的那段時光。近年來，伍爾也受邀展出於國際各大重要美術機構，包括2014年紐約古根漢美術館的回顧展，展覽隨後也巡迴到了他的故鄉芝加哥，於芝加哥美術學院展出。成長於芝加哥，伍爾在1970年早期遷居至紐約，在當地感受到活躍的前衛藝術創作氣息。當他還在學校的期間，遇到的老師多受到抽象表現主義影響，他本身對於這個藝術風格表示尊重，卻仍然感到排拒。如同他早期所欽慕的同輩藝術家傑夫·昆斯及理查德·普林斯，伍爾多年來試著探尋屬於自己藝術表達方式；而對他來說，終於在他回歸到繪畫時找到了答案，進而創作出能精妙剖析並探索繪畫這個媒材本身限制的作品。《無題》此作便提供了最佳佐證，花草的圖案佈滿了整件作品，無窮無盡地重複著葉子和樹枝的圖像，圖案本身具象的根源被重複到近乎荒謬的程度。然而，它卻也被轉化成了一個整體的模式，迫使觀者用這個全新角度去重新評估及審視。透過這種方式，在此的花草圖飾也呼應了伍爾著名的文字繪畫，文字在他的畫作中往往被分行而打斷，文字在畫中所被呈現的拆解，因而和本身所具備的意義產生了一種糾結。這在《無題》創作後的下一年的作品亦再次相互佐證，該畫作上面寫著「貓在袋子裡袋子在河裡」，那件作品則為紐約現代美術館典藏。在1980年代，紐約當時許多房東愛用刻有圖紋的滾筒刷來漆牆，製造出一種好像在室內鋪上壁紙般華麗的幻覺，伍爾深深為此所著迷，進而也發展出類似的技法，以橡皮章及滾筒刷創作出像是《無題》等系列作品，探究繪畫的整體本質。儘管是個反傳統的藝術家，伍爾卻能在批判行動繪畫崇高理念的同時，創造出與美國戰後藝術前輩相似之視覺元素的繪畫，然而，又同時與紐約頹靡的龐克時期接軌。此外，伍爾也發現，在使用這個現成物主題時，「將理當是裝飾性的元素放在用嚴格形式的框架裡，便形成了一種有趣的衝撞。」(摘錄自伍爾，C·布林遜所著《找麻煩就是我的本業》，第35-51頁，C·布林遜編輯，《克里斯托弗·伍爾》展覽畫冊，紐約，2014年，第38頁)。

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伍爾藝術生涯裡首件展出的作品是以層層的瓷漆畫在鋁片上，從那件作品開始，演進至今似乎也是一個極為自然的發展過程。當他在1986年展出那些作品時，也就是在創作《無題》三年之前，藝評家柯林·衛斯特貝克曾評論道，他早期作品中存在那種介於史詩感與家居感之間的衝突張力，就像是「傑克遜·波洛克與富美家品牌的流理檯跨界的組合」(C·衛斯特貝克，「克里斯托弗· 伍爾」，Artforum，第25編，第1號，1986年9月，第139頁)。衛斯特貝克又評：「他在此的意圖是想要跨越一種距離…在抽象表現主義與極簡主義之間。」《無題》所要呈現的也極為相近：當觀者凝視此作，立即被像蕾絲般纖細的圖案所縈繞，那圖案完全覆蓋著近乎一公尺高的紙張，而不斷重複的枝葉裡，也不難看出其中呼應著傑克遜·波洛克的繪畫技法。儘管如此，伍爾仍大膽地抗拒了一切感官的暗示，執意讓觀眾意識到圖案是採用了模板的形式，是通過近乎機械式的重複技法所呈現的主題，徹底消弭了對於二十世紀繪畫來說，至關重要的筆勢或藝術家痕跡的重要性。以源自油漆工或裝潢師而非畫家的技法，伍爾將一個圖案不斷複製在整個表面上，通常只有墨水密度略有不同或施力稍稍不均微小的變化。他刻意削弱了繪畫視覺語言潛在的表現力，反而卻營造出一種謎般似的形象。但若仔細觀察，又仍能看得到藝術家想隱藏，卻又若有似無地洩露出的動作與動態，進而形成一種複雜而模稜兩可的假象和隱蔽。伍爾所呈現花草圖樣的形式，不是要讓它成為一道窗，而是讓它成為一道阻礙，這也讓人聯想起他同時期的一些畫作中出現的鐵欄杆，似乎也呼應了這概念。透過這種方式，藝術家確保他的作品維持一種有趣的不透明、持續又誘人的神秘色彩。正如同約翰· 考德威爾所寫：「伍爾繪畫裡不存在絕對的定義。它們是統一的、刻意的、絕對的、高超的，但完全抗拒我們對於去尋找意義的那股自然衝動，它們似乎完全否定了意義。」(摘錄自約翰·考德威爾，C·布林遜所著《找麻煩就是我的本業》，第35-51頁，C·布林遜編輯，《克里斯托弗·伍爾》展覽畫冊，紐約，2014年，第35頁)。

30/10/18 11:24

Property of a Middle Eastern Collector

25. Robert Indiana

1928-2018

LOVE (Gold Face - Blue Sides) stamped with the artist’s signature, numbered and dated. painted aluminum 45.7 x 45.7 x 22.8 cm. (17 7/8 x 17 7/8 x 9 in.) Executed in 1966-2000, this work is from an edition of 8. The authenticity of this work has been confrmed by the personal representative of the Estate of Robert Indiana. Provenance Morgan Art Foundation Opera Gallery, Paris Acquired from the above by the present owner

中東私人收藏

羅伯特．印第安納《LOVE (金色面版 - 藍色側面)》著色鋁 1966-2000年作，共有8版。此作品已獲羅伯特·印第安納個人遺產管理代表律師確認。藝術家簽名、日期及版次戳記於作品上

來源摩根藝術基金會巴黎，Opera 畫廊現藏者購自上述畫廊

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

‘Here the quartered feld is flled with the four letters of love, as compactly and economically as possible, but with my interest in the circle still called to mind by the tilted O.’ Robert Indiana

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Lef: Robert Indiana’s LOVE (1965) for a Christmas card commissioned by the Museum of Modern Art (MoMA), New York.

左: 羅伯特·印第安納為紐約現代藝術博物館聖誕卡而設計的作品《LOVE》（1965年作） Right: “Make Love Not War” poster, 1967

右:《相愛，不要相戰》海報 1967年

A boldly hued iteration of the most celebrated and potent motif in the artist’s oeuvre, LOVE is a timeless sculpture that is the defning image of the pantheon of Pop Art and contemporary American culture. Variants of the present work are held in the collections of prestigious cultural institutions such as the Indianapolis Museum of Art and installed in the throbbing hearts of cosmopolitan cities, New York, London and Tokyo. Originally conceived as a painting to be used on a Museum of Modern Art Christmas card in 1965, the letters L.O.V.E. are at once a powerful and playful statement in three dimensions. The bold, hard-edged, fat forms and stenciled words share an aesthetic characteristic with roadside signs and signals, a lasting fxation that the artist had growing up in Depression era Indiana, where he spent years moving from home to home, being on the road in the family car as a child. As Pissarro stated, “Indiana’s art corroborates this new reliance on street and highway signage, and on its chance poetry, on the endless fux or urban messages that ceaselessly buzz in front of our eyes and brain, and on its powerful visual fascination – which these signs seem to gradually lose their referential meaning, although never quite completely.” (J. Pissarro, “Signs into Art,” Robert Indiana, New York, 2006, p. 59.) To the artist, these signs took on intangible meanings and emotions through the reduced language of graphic art and became his main source of inspiration. Indiana’s LOVE was an emblem of 1960s idealism, profoundly resonating with the youth culture who lived in an era dominated by the fght for civil rights,

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nuclear disarmament and the Vietnam War. It was a declaration which embodied the moral issues that preoccupied the time, physically epitomizing the aspirations of its social and political movements, taking its place among the many slogans which promoted the word ‘Love’, such as ‘Make Love Not War’. The artist said, “I had no idea LOVE would catch on the way it did. Oddly enough, I wasn’t thinking at all about anticipating the Love generation and hippies. It was a spiritual concept… It’s become the very theme of love itself.” (Indiana’s Indianas: A 20- Year Retrospective of Paintings and Sculpture from the Collection of Robert Indiana, exh. cat., Rockland, The William A. Farnsworth Library and Art Museum, 1982.) In the present lot, the word ‘Love’ is reduced to the simple structure of its letters, divided into a typographic placement of four stacked letters, with each monosyllable superimposed, and the tilted letter “O”, perpetually trembling on the edge of movement. Describing the work as a ‘one-word poem’, Indiana explained that “LOVE is purely a skeleton of all that word has meant in all the erotic and religious aspects of the theme, and to bring it down to the actual structure of calligraphy [is to reduce it] to the bare bone” (the artist in Theresa Brakeley, ed., Robert Indiana, New York, 1990, p. 168.) Utilising the simplicity of two colours, an attractive combination of gold and blue, and fusing it with a monumental threedimensionality, Indiana’s LOVE possesses a powerful strength where the symbolic overtures of the word ‘Love’ resonates beyond the sculpture’s abstract qualities, thus becoming a lasting emblem of the artist’s legacy.

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「歷經數年以圓形為主要形態的繪畫作品，通過《愛》，又回到了單字的表達，也是回歸四等分的畫布，或者如同這件作品，回歸四等分的結構…在這裡結構被愛的四個英文字母所填滿，簡潔且緊湊，但是斜體的O仍然引人聯想起我對於圓形的興趣。」—羅伯特·印第安納作爲一件永恆經典的雕塑作品，《愛》用色大膽，呈現藝術家作品集中最廣爲人知且極富感染力的圖案，是波普藝術與當代美國文化萬神殿的標誌性圖像。本件作品的不同版本被享譽盛名的文化機構所收藏，包括印第安納波利斯美術館等，且被裝置於紐約、倫敦、東京等多個國際都市的中心城區。 L.O.V.E 這幾個字母樣式最初作爲一幅畫作，被用於現代藝術博物館(MOMA) 1965年的聖誕卡片上，而作爲三維雕塑亦顯得強勁有力且耐人尋味。粗體，有棱有角，平面化的形態及印刷的文字與馬路邊的標誌有異曲同工的審美特徵。成長於印第安納大蕭條時期，藝術家自幼隨着家用車四處奔波，時常搬家，因而對道路標誌有一種長期的癡迷感。正如畢沙羅所說，「印第安納的作品驗證了對於街道以及高速公路標識的全新依賴，對於其偶發性詩意的依賴，對於持續不斷浮現在我們眼前與腦海中的都市信息或無限變遷的依賴，對於充滿感染力的視覺魅力的依賴——這些標誌似乎逐漸失去他們指示作用的含義，儘管從未全然喪失。」(J·畢沙羅，「標誌變爲藝術」，《羅伯特·印第安納》，紐約，2006年，第59頁)。於他而言，這些標誌透過其平面藝術的簡約語彙，呈現不可言喻的含義以及情感重要性，並成爲他主要的靈感來源。

印第安納的《愛》是1960年代理想主義的象徵，與歷經爭取公民權利、解除核武器以及越南戰爭等當時的青年文化產生深刻共鳴。它是收錄困擾這個時代的道德問題的宣言，是這個時代社會與政治運動願景的縮影，從許多宣揚「愛」的標語中取材，例如「相愛，不要相戰」。藝術家說到，「我並不知道《愛》會如此流行起來。說來也奇怪，我完全沒有預期到充滿愛意的一代以及嬉皮人士。這是一個精神理念…它變成了愛的主題本身。」(《印第安納州的印第安納：羅伯特·印第安納繪畫及雕塑作品廿年回顧展》，展覽圖錄，羅克蘭，William A. Farnsworth 圖書館及美術館，1982年) 本件拍品中，「愛」這個字被簡化為字母的基本結構，按照各個音節來分開、疊加，四個堆疊字母排版方式，其中斜體字母「O」，仿彿不停地颤抖著；即將跳動起來。印第安納將這件作品形容為「單字詩」，並解釋說道「《愛》純粹是所有以此為主題的情感與信仰層面含義的骨骼，將它簡化為書寫的現有結構是只保留其基本框架」 (藝術家自述，特蕾莎·布萊克利編，《羅伯特·印第安納》，紐約，1990年，第168頁)。此作品利用兩種顏色的簡明，形成金色與藍色的誘人組合，並營造尺幅巨大的三維感，印第安納的《愛》具有強勁的感染力，「愛」這個字的象徵序曲引發超越雕塑抽象特質的共鳴，並成為藝術家流傳後世之藝術財富的永恆象徵。

Robert Indiana Love, 1970 Collection of the Indianapolis Museum of Art, Indiana Indianapolis Museum of Art at Newfelds, Gif of the Friends of the Indianapolis Museum of Art in memory of Henry F. DeBoest. Restoration was made possible by Patricia J. and James E. LaCrosse, 75.174 © 2018 Morgan Art Foundation / Artists Rights Society (ARS), New York Indianapolis Museum of Art at Newfelds, Gif of the Dudley Sutphin Family, 1990.40 © 2018 LeWitt Estate / Artists Rights Society (ARS), New York.

羅伯特·印第安納《愛》1970年作印第安納州立美術館收藏

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Property of a European Collector

26. Oscar Murillo

b. 1986

Untitled oil, oil stick, graphite and dirt on canvas 190 x 170 cm. (74 3/4 x 66 7/8 in.) Executed in 2012. Provenance Acquired directly from the artist by the present owner

歐洲私人收藏

奧斯卡．穆里略《無題》油畫油棒石墨泥畫布 2012年作來源現藏者購自藝術家本人

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

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Cy Twombly Untitled, 1964 Phillips London, 8 March 2018 Estimate: £500,000 – 700,000 Sold For: £609,000 塞·托姆布雷《無題》1964年作倫敦，富藝斯，2018年3月8日估價: 英磅 500,000 – 700,000 成交價: 英磅 609,000

Segmented into four discrete abstract zones that chime with centrifugal energy, Oscar Murillo’s Untitled defly exhibits the defning features of the artist’s radical oeuvre. Here we see painting and drawing reduced to their most base and visceral components: the frenetic scrawl of raw oil stick on untreated canvas; the emphatic power of primary colours; and the semiotic intrigue of text presented at its most graphically potent state. Amongst the best earliest examples, Untitled is a paradigm of Murillo’s idiosyncratic folding method, as the canvas has been dissected into quarters, each representing a unique chapter of his extensive creative process. Murillo’s canvases may live on the foor of his studio for months, bearing the marks of their partial or accidental working overtime, before they are modulated into complete works of art. His unique reformulation of process splinters the creative moment over time, through acts of intentional labour and pure chance. As a fnal addition to the process, in a radiant yellow oil, here Murillo graces the canvas with one of his most iconic, enigmatic phrases. Playing with the Spanish word ‘pollo’, Murillo has reproduced the word through his unique folding technique to create a curiously playful palindrome superimposed over a buzzing abstract universe. It is with these semantic games of representation that Murillo extends on the expressive legacy of automatism, adding an entirely new conceptual dimension the act of painting.

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Drawing on the enigmatic impact of words as a subject for painting, as explored by Christopher Wool, in Untitled we see Murillo as his most inventive regarding the semantic games that he plays with text. Whilst ‘pollo’ (Spanish for ‘chicken’) speaks to his Colombian heritage, here its simple value as a signifer is confused. It is created by painting half of the word (‘pol’) then folding the canvas in two whist it is still wet, re-printing the word as a mirrored image that is dissected along a vertical axis of the work, readable from both lef and right. This reifes the crucial theme of displacement in Murillo’s work: ‘For me the words are very displaced. Like cultural displacement with performance, in painting its material displacement, object displacement… I also like to think that these paintings also imply a displacement of time.’ (Oscar Murillo in conversation with Legacy Russell, BOMB Magazine, No. 122, Winter 2013, online.) Born in 1986, in a small mountain-side town of La Paila in South East Columbia, Murillo moved to London with his family when he was just 10 years old, experiencing a vastly diferent urban topography in the cosmopolitan British capital. Presenting his magnetic canvas as an accumulated process of collected gestures and aggregated histories, Murillo crafs within Untitled a unique ontology for the medium that manifests as a visually enthralling experience.

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Instantly recognisable and wholly unique, Murillo’s erratic and dynamic scrawl conjures a maelstrom of aesthetic energy that radiates both in and outside of the frame, substantiating a vision of contained creative chaos. Expressing passion and violence in the rich red scratches, deep mystery in his favoured marine blue loops, and jubilant ecstasy in the golden yellow text, Murillo’s oil stick harnesses painterly gesture at its most primal and emotive. Murillo’s freehanded and impassioned mark making pays partial homage to the legacy of Abstract Expressionism. The action painting of Jackson Pollock is evoked alongside the signature scrawl of Cy Twombly, who also combined the freedom of rhythmic line with choice words – a legacy extended by Neo-expressionist painter Jean-Michel Basquiat. But unlike these painters, Murillo consciously embeds within his practice the sense of pure automatism and chance that was pioneered by surrealists such as André Masson. Murillo’s canvases bear an embedded history that align them with the ready-mades of Marcel Duchamp, having spent up to two months lying on the foor of his studio, lef to gather dust, footprints and detritus that he refers to as DNA: ‘My studio is a cradle of dust and dirt, of pollution. I don’t tidy up at the end of each production process. It’s all very much on purpose; it’s continuous process, a machine of which I’m the catalyst. Things get moved around, I step on them, and they get contaminated. It’s not about leaving traces, it’s about letting things mature on their own’ (Oscar Murillo in conversation with Legacy Russell, BOMB Magazine, No. 122, Winter 2013, online.)

Much like the cigarette butts that can be found in the surface of large scale paintings by Pollock, or the crucial layer of dust that Duchamp let collect on his masterpiece The Bride Stripped Bare by Her Bachelors over 8 years between 1915 and 1923, Untitled draws into its surface the weight of time and a holistic approach to the creative process. As an innovation that dominated his canvases around 2012, here Murillo’s grafti-like marks are undoubtedly performative, but the canvas is envisioned as being in a constant state of creation, bearing the ephemeral marks of its lifecycle. Murillo sees expressive painting not merely as a grandiose shrine to the valorised creative moment, but a historic monument to temporality itself. Looking to simultaneously compress and stretch time, the artist fulfls his ‘desire to inhabit an environment where the multiple realities of that space, say, its materiality, its potential usages, its history, are all simultaneously active.’ (Oscar Murillo, quoted in C. Wood, ‘Dirty Painting’, Mousse Magazine, no. 35, October 2012, p. 107.)

傑克遜·波洛克《藍竿》1952年作堪培拉，澳洲國立美術館收藏

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劃分為與離心力相符的四個抽象區塊，奧斯卡·穆里略的《無題》靈巧地展現了藝術家作品的關鍵特徵。於此我們見證繪畫與素描簡化爲最基礎與本能的元素：不曾加工的油畫棒狂亂地塗抹於未經處理的畫布上；三原色的顯著力量；文字作爲符號學巧思以最具圖像感的方式呈現。至關重要的是，《無題》可謂是奧斯卡·穆里略獨具一格摺疊法的絕佳範例，畫布一分爲四，每一部分各自代表着藝術家廣泛創作過程的一頁獨特篇章。穆里略的作品在化為成品之前，可能會在工作室地板上停留數月，隨着時間流逝留下有意或者偶然的痕跡。他獨特的步驟重組通過有意的勞動與純粹的機遇將創作過程隨着時間而變得碎片化。作爲創作過程的最後一步，穆里略以絢爛的黃色油彩將其最具標誌性且神祕莫測的詞語添加在畫布上，使得作品更加引人矚目。以西班牙文「pollo」爲基礎，穆里略利用其獨有的摺疊技巧再創了這個令人玩味的反向文字，並疊置於翻騰的抽象宇宙之上。穆里略運用這些語義象徵遊戲，拓展了自發性富有表現力的特色，爲繪畫增添了全新的概念維度。正如克里斯托弗·伍爾所探索過，《無題》運用文字作爲繪畫主題所起的高深莫測效果，見證了穆里略把玩文字與語義遊戲最獨出心裁的一刻。儘管「pollo」(西班牙語譯爲「雞」) 體現了藝術家的哥倫比亞傳統，而它作爲最基本語意符號的作用於此被混淆。首先在畫布上繪製這個詞的一半「pol」，隨後趁畫布仍然溼潤的情況下對摺畫布，將這個詞沿着垂直軸線以鏡像方式重新印在畫布上，形成左右均可閱讀的模式。這個創作過程將穆里略作品中的關鍵主題錯位體現得淋漓盡致：「於我而言，文字時常詞不達意。例如表演中的文化錯位、畫作中的媒材錯位、主題錯位…我也傾向於這些畫作暗示着時間錯位。」 (奧斯卡·穆里略與Legacy Russell對談，BOMB雜誌，第122期，2013年冬季刊，線上版)。於1986年，出生於哥倫比亞東南La Paila的一個臨山小城鎮，穆里略十歲時隨家人搬至倫敦居住，在英國首都這個國際大都市中體會到迥然相異的城市景觀。穆里略將其獨具魅力的作品化作一個累積過程，融入收集而來的風情與匯聚而成的故事，在作品《無題》中爲這些材料精心研製出一套本體論，並營造一場視覺盛宴。

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極具辨識度且獨一無二，穆里略古靈精怪且活力滿滿的塗鴉營造一陣美學漩渦，畫裡畫外都熠熠生輝，呈現出一種泰然自若的創造性混沌。以濃郁的紅色劃痕表現熱忱與猛烈，以其最爲喜愛的海藍色環形呈現深層奧祕，以金黃色文字帶來歡呼雀躍的狂喜，穆里略的油畫棒以最爲原始且極具感染力的方式運用寫意姿態。穆里略無拘無束且慷慨激昂的創作一定程度上向抽象表現主義致敬。傑克遜·波洛克的「行動繪畫」受到賽·托姆布雷標誌性塗鴉的啟發，後者也利用精選文字融合韻律十足的線條的自由——這是新表現主義藝術家尚·米榭·巴斯奇亞所拓展的藝術財富。然而不同於這些藝術家，穆里略在創作中融入備受安德烈·馬松等超現實主義藝術家所倡導的偶然自發性與機緣巧合感。穆里略的作品融入與馬塞爾·杜尚現成品息息相關的歷史，這些作品在其工作室地板上停留長達兩個月，累積藝術家稱之爲DNA的灰塵、腳印與碎屑：「我的工作室是灰塵、污染的搖籃。我在每次創作過程后並不整理工作室。這些都是有意為之；它是一個持續的過程，而我是這台機器的催化劑。東西被搬來搬去，我會踩在上面，他們會變髒。這與留下痕跡並不相關，而是讓事物以自己的方式發育成熟」 (奧斯卡·穆里略與Legacy Russell對談，BOMB雜誌，第122期，2013年冬季刊，線上版)。正如波洛克大尺幅作品表面可能出現的菸頭，亦或杜尚於 1915至1923年這8年之間在傑作《新娘甚至被光棍們扒光了衣服》中收落的一層關鍵灰塵，《無題》在作品表面融入時間的重量以及關於創作過程的整體觀。作爲2012年左右佔據穆里略多數作品的新技法，其塗鴉狀的痕跡毫無疑問具有表演性質，然而畫面在設想中處於持續創新的狀態，承載其生命週期中轉瞬即逝的痕跡。穆里略認為富有表現力的畫作不應只是珍貴創造時刻的堂皇神龕，而且是暫時性本身的歷史紀念碑。既希望壓縮又期待延展時間，藝術家滿足了自己「對棲居於一個多重空間現實同時共存的環境的渴望，例如其物質性、其潛在用途與歷史等。」 (奧斯卡·穆里略，引自C.Wood「骯髒的畫作」， Mousse雜誌，第35期，2012年10月刊，第107頁)。

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Property from a Prominent Hong Kong Collection

27. Banksy

b. 1975

Property from a Prominent Hong Kong Collection

28. Banksy

b. 1975

Abe Lincoln initialed and inscribed ‘ ’ lower right spray paint on cardboard 89.9 x 62 cm. (35 3/8 x 24 3/8 in.) Executed in 2008, this work is accompanied by a certifcate of authenticity issued by Pest Control.

Abe Lincoln initialed and inscribed ‘ ’ lower right spray paint on cardboard 89.9 x 59.9 cm. (35 3/8 x 23 5/8 in.) Executed in 2008, this work is accompanied by a certifcate of authenticity issued by Pest Control.

Provenance Acquired directly from the artist Sotheby’s, New York, 9 March 2011, Lot 91 Christie’s, South Kensington, 24 September 2013, Lot 158 Acquired at the above sale by the present owner

Provenance Acquired directly from the artist Neal Auction Company, New Orleans, 13 July 2013, Lot 353 Acquired at the above sale by the present owner

重要香港私人收藏重要香港私人收藏

班克斯《亞伯林肯》噴漆紙板 2008年作，並附Pest Control工作室之保證書。款識：（右下）來源直接購自藝術家本人紐約，蘇富比，2011年3月9日，拍品編號91 南肯辛頓, 佳士得, 2013年9月24日，拍品編號158 現藏者購自上述拍賣

《亞伯林肯》噴漆紙板 2008年作，並附Pest Control工作室之保證書。款識：（右下）來源直接購自藝術家本人 Neal Auction Company，新奧爾良，2013年7月13日，拍品編號353 現藏者購自上述拍賣

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

Courtesy of Pest Control Ofce

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

班克斯

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Banksy presents the world with a conundrum. His work is some of the most iconic of the contemporary age— and yet the Bristol-based grafti artist remains largely anonymous. Two of only three known versions painted in 2008, his pictures of Abe Lincoln show him confronting and disrupting another icon—one of the most famous Presidents of the United States of America. In these pictures, Banksy has taken the famed face of ‘Honest Abe’ and transformed him into a ghoulish, comical presence. In one of them, googly eyes appear to pop out of his head as though from a skull; in the other, there is a spectral halo around the eyes, as though they were glowing. These potentially sinister traits are deliberately undermined by the stenciled decoration behind him, and in one case, by the green polka dots that cover his face and shirt. These two pictures on cardboard—from a series of only three—were created in 2008 when Banksy visited New Orleans, three years afer the devastation of Hurricane Katrina. There, Banksy used the still-tattered urban fabric of New Orleans as an eloquent backdrop for his critiques of the situation. Banksy’s works encapsulated sympathy, anger and above all humour, reacting accusingly to the inadequate aid and slow subsequent clean-up operations there. In one case, Banksy painted Abraham Lincoln as a homeless man, pushing a trolley full of goods, using the same stencil he would employ for these works on cardboard. The building upon which Banksy had painted his image of Lincoln has since been demolished to make way for a healthcare facility. Banksy’s use of the instantly-recognisable features of Lincoln as a visual theme demonstrated his laser-sharp sense of satire. Lincoln was the great fgurehead of the emancipation movement, liberating the slaves of the Southern states—many of whose descendants remain at a socio-economic disadvantage throughout America.

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During Hurricane Katrina, that legacy of structural discrimination was felt all the more keenly as the poorer black areas of New Orleans sufered the greatest losses when the levee broke. Depicting Lincoln walking the streets, pushing his cart, searingly highlighted the shortcomings of his political descendants. Afer all, Lincoln, like the Bush administration on whose watch Katrina hit, was a Republican. In these distorted, dystopian depictions, the conundrums provided by historical hindsight are explored to diferent efect, with Banksy presenting a Lincoln who is less an emancipator or a martyr and more an ectoplasmic boogieman. Lincoln was one of the frst US Presidents to make use of photography in order to promote himself. In the years leading up to his frst presidential election, photographs were disseminated to give him a more human aspect, countering rumours of his unusual height and supposed ugliness. Lincoln’s success in making himself instantly recognisable, combined with his assassination, resulted in a strong pictorial legacy. This in turn makes Lincoln all the more apt as a subject for Bansky’s ghost-train-style interventions. The iconic image has been converted, with Banksy defating the reverence that ofen surrounds Lincoln’s legacy, and instead showing him as a comical ghoul. Banksy’s mural campaign in New Orleans, where these two Abe Lincoln works were created, received largely positive acclaim, although inevitably some of the works were defaced, removed or otherwise destroyed. Subsequently, Banksy himself would refect upon the campaign with his customary wit and self-deprecation: ‘I wanted to highlight the state of the clean-up operation. Only later did it dawn on me that if you choose to do this by drawing all over their stuf, you’re actually only slowing down that clean-up operation’ (Banksy, quoted in G. Shove & P. Potter, Banksy: You are an Acceptable Level of Threat, Darlington, 2018, unpaginated).

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Banksy’s Homeless Lincoln at S. Derbigny Street near Canal Street in New Orleans, 2008. Image Courtesy of Pest Control Ofce, Banksy, New Orleans, 2008.

2008年，班克斯的《流浪漢林肯》在新奧爾良，運河街附近的 S. Derbigny街班克斯工作室，2008年，新奧爾良

班克斯是當世的一道謎。他的創作是當代藝術中最具代表性的作品之一，然而這位布里斯托出身的塗鴉藝術家，世人至今還不知道其真實身份。創作於2008年的《亞伯林肯》為目前所知的三件獨立作品中的兩幅，主題顯示了他對另一偶像人物－美國歷史上最著名的總統之一－的面對和破壞。在這些畫像中，班克斯將「誠實的亞伯」的著名面孔變成了一個空洞鬼魅的、滑稽的存在。其中的一幅，畫中林肯的雙眼彷彿從他的頭骨中暴突出來；另一幅作品，其眼睛周圍帶著光暈，彷彿在發射光芒。這些潛在的陰險特徵故意地用印在他身後的模板裝飾來隱去，而在另一件作品中則用綠色的波點將其臉部和襯衫掩蓋住。這兩幅繪於紙板上的創作－來自該系列中僅有的三件作品——是班克斯在2008年訪問新奧爾良時所作，也就是當地遭颶風卡崔娜破壞的三年後。在那裡，班克斯利用新奧爾良當時仍然破敗的城市結構作為對局勢的批評，以此背景下創作此一系列。班克斯的作品包含了同情、憤怒，更重要的還有幽默感，對不充分的救援和緩慢的災後清理行動做出指責。在另一個作品中，班克斯將亞伯林肯繪畫成一個無家可歸的人，推著裝滿貨物的手推車，並在其上運用了與此紙板作品中同樣的模板裝飾。班克斯曾繪製亞伯林肯的形象之牆面已被拆除，以便騰出空間來建造醫療設施。班克斯對林肯的即時識別形象之使用作為一個視覺主題，展示了他敏銳的諷刺意味。林肯是解放運動中，倡導解放南方各州奴隸的偉大領袖人物－而其中許多人的後裔在

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現今美國仍處於社會經濟劣勢。在颶風卡崔娜災害期間，當防洪堤被摧毀時，新奧爾良較貧窮的黑人地區遭受了最大程度的損失，而歷史上遺留下來的結構性種族歧視的體會也因此更加深切。對林肯在大街上推著手推車形象的描繪，煞費苦心地突出了他遺留後世的政治缺陷。畢竟，正如當颶風卡崔娜來襲時執政的布希政權，林肯也是共和黨人。在這些扭曲的、反烏托邦的描繪中，歷史後見之明所呈現的難題被探索到不同的效果，在班克斯的展現下，林肯非但不是一個解放者和殉道者的形象，而更像是一個惡鬼。林肯是美國歷史上首批利用攝影來推廣自己形象的總統之一。在他第一次總統大選之前的幾年裡，攝影的傳播給予了他更為人性化的一面，以此用來反駁他超出尋常的身高和面目醜陋的謠言。林肯成功地為自己打造了他的普羅的識別形象，加上他被暗殺，帶來了強烈的歷史紀憶之效果。這讓林肯更加成為班克斯系列創造主題的不二之選。在班克斯的創作下，原本林肯備受崇敬的形象已然轉換成了一個滑稽的食屍鬼樣貌。班克斯在新奧爾良的塗鴉行動中創作了兩件《亞伯林肯》，部分作品雖然不可避免的受到污損、清除或破壞，同時也得到了很多正面的讚譽。隨後，班克斯本人以他慣常的機智和自貶來反思這個行動：「我當時想強調災後清理行動的狀況。只是後來我才發現，如果選擇用到處塗鴉的方式來實現這一目的，實際上反而會減慢清理行動。」（班克斯，引自G. Shove & P. Potter, 班克斯：你不過就是一個可承受程度內的威脅, 達靈頓, 2018，未註明頁碼）

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Guide for Prospective Buyers Buying at Auction The following pages are designed to ofer you information on how to buy at auction at Phillips. Our staf will be happy to assist you. Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller. Bidders should also read the Important Notices immediately following this Guide for Prospective Buyers. Buyer’s Premium Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$2,000,000, 20% of the portion of the hammer price above HK$2,000,000 up to and including HK$30,000,000 and 12.5% of the portion of the hammer price above HK$30,000,000. The purchase price payable for any lot is the sum of the hammer price plus the buyer’s premium plus any applicable taxes and charges. 1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +852 2318 2000, +41 22 317 8181, +44 20 7318 4010 or +1 212 940 1240. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate upon Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in Hong Kong dollars, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of the property, as well as the exhibition history and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the

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identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property. While condition reports are prepared honestly and carefully, our staf are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of signifcant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verifed and approved by a qualifed electrician. Deposit If you wish to bid on a lot designated with the symbol * (a “Premium Lot”), Phillips may require you to pay a deposit of HK$2,000,000 or such higher amount as Phillips in our sole discretion deems appropriate and to provide such fnancial references, guarantees and/or other security as Phillips may require in our sole discretion as security for the bid. Phillips will also require you to complete the Premium Lot pre-registration prior to the date of the auction at which the Premium Lot will be ofered for sale. Upon our receipt of the deposit and a completed pre-registration form, Phillips will provide you with a numbered Premium Lot paddle for identifcation purposes. The auctioneer will usually only accept bids on Premium Lots made with the Premium Lot paddle or by its registered bidder. This applies to saleroom, telephone and absentee bids. Payment of the deposit may be made by wire transfer or credit card acceptable to Phillips for the prospective purchase. If you are not the successful bidder on a Premium Lot and do not owe Phillips or any of our afliated companies any debt, the deposit will be refunded to you by wire transfer (in the same currency in which you paid the deposit) or credit card

refund, as the case may be, the refund will be processed within seven days afer the date of the auction. Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee.

In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the lot. Δ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

•

No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. ∑ Endangered Species Lots with this symbol have been identifed at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions

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regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. * Premium Lots Lots with this symbol carry a low pre-sale estimate of HK$8,000,000 or more and are referred to by Phillips as Premium Lots. Prospective buyers who wish to bid on Premium Lots must complete the pre-registration form and pay the Premium Lot deposit, as described more fully in this Paragraph 1 of the Guide for Prospective Buyers. ▼ Restricted Importation Lots with this symbol may be subject to importation restriction in the US. Please refer to the Important Notices which appear in this catalogue immediately following this Guide for Prospective Buyers. 2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identifcation may be required, as may an original signature. We may also require that you furnish us with a bank reference. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staf members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least HK$8,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium, which we can execute on your behalf in the event we are unable to reach you by telephone. To arrange a telephone bid please contact the Hong Kong bids department at +852 2318 2029. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com.The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe Flash Player.

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Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the Auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. HK$1,000 to HK$2,000 HK$2,000 to HK$3,000 HK$3,000 to HK$5,000

HK$5,000 to HK$10,000 HK$10,000 to HK$20,000 HK$20,000 to HK$30,000 HK$30,000 to HK$50,000 HK$5,000, HK$8,000 HK$50,000 to HK$100,000 HK$100,000 to HK$200,000 HK$200,000 to HK$300,000 HK$300,000 to HK$500,000

HK$500,000 to HK$1,000,000 Above HK$1,000,000

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

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

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

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Important Notices Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction. Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licences Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from Hong Kong or to import it into another country. It is the buyerâ&#x20AC;&#x2122;s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the object qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot.

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

Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certifcate prior to exportation and additional licences or certifcates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certifcate does not ensure the ability to obtain an import licence or certifcate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyerâ&#x20AC;&#x2122;s sole responsibility to obtain any necessary export or import licences or certifcates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis regarding continent of origin and confrmation the object is more than 100 years old. We have not obtained a scientifc analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientifc analysis or other report required in connection with their proposed import of such property into the US.

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

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

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

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

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

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(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable taxes and charges (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including HK$2,000,000, 20% of the portion of the hammer price above HK$2,000,000 up to and including HK$30,000,000 and 12.5% of the portion of the hammer price above HK$30,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property ofered and sold at auction. (b) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in Hong Kong dollars by wire transfer in accordance with the bank transfer details provided on the invoice for purchased lots. (c) As a courtesy to clients, Phillips will accept American Express, Visa and MasterCard to pay for invoices of HK$800,000 or less. A processing fee will apply. (d) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identifcation has been provided, and any earlier release does not afect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our afliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed all of the foregoing conditions, he or she should contact us at +852 2318 2000 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days

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

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

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

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

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

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Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of fve years from date of sale by Phillips, subject to the exclusions and limitations set forth below and the Important Notices set out in this catalogue immediately following the Guide for Prospective Buyers. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientifc methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry.

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

(b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the salesroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above.

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

In-person Absentee Bidding Telephone Bidding

Paddle Number

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

Sale Date

Surname

Address

City

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

State/Country

Post Code Phone

Mobile

Fax

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. • If we receive identical bids, the first bid received will take precedence.

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

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

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

Brief description

In Consecutive Order

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$2,000,000, 20% of the portion of the hammer price above HK$2,000,000 up to and including HK$30,000,000 and 12.5% of the portion of the hammer price above HK$30,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

Account Number

Company (if applicable)

• CONDITIONS OF SALE All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale. • If you cannot attend the sale, we can execute bids confidentially on your behalf.

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

Title

• PRIVATE PURCHASES Proof of identity in the form of governmentissued identification and proof of address will be required. • COMPANY PURCHASES We require a Letter of Authorisation signed by a company director for the noted individual to transact on the company’s behalf and a copy of government-issued identification (such as the certificate of incorporation) to verify the status of the company.

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

Sale Title

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

Maximum bid price in HK$* Absentee Bids Only

• Please submit your bids to the Bid Department by fax at +852 2318 2010 or scan and email to bidshongkong@phillips.com at least 24 hours before the sale. You will receive confirmation by email within one business day. If you have not received our confirmation, please resubmit your bids(s) and contact the Bid Department at +852 2318 2029. • Payment for lots can be made by credit card (up to HK$800,000) or by wire transfer. Please note that credit cards are subject to a surcharge. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillips’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium

Signature

Date

By ticking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

HK_TCA-DESIGN_EVE_102-199.indd 185

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

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

拍賣前預展拍賣前預展乃免費並對外公開，我們的專家可於預展或預約時提供意見及品狀報告。

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。

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

電子及機械性拍品所有帶有電子及或機械性能之拍品均只供以其裝飾價值出售，並不代表可運作。如有特別運作上的用途，其電子系統必須經認可電子技術人員檢測及通過授權使用。

* 高額拍安品標有此符號的拍安品其拍安前低估價為港幣8百萬或以上均被富藝斯列為高額拍安品。如欲競投高額拍安品，準買家必須填妥預先登記表格及繳付高額拍安品保證金，詳情請參閱準買家指引第1段。

買家支付之酬金本公司會按每件拍品成交價向競投成功者收取佣金或買家支付之酬金。買家應支付酬金費率為：拍賣品成交價首港幣 2,000,000 元之25%，加逾港幣2,000,000 元以上至港幣 30,000,000元部份之20%；加逾港幣30,000,000元之餘款的12.5%計算。買家須就每件拍品支付其成交價、買家支付之酬金及任何適用之稅項及費用。 1 拍賣前訂購圖錄如欲購買是次或其他富藝斯拍賣圖錄，請致電 + 852 2318 2000, +41 22317 8181, +44 20 73184010 , +1 212 940 1240 聯絡我們。拍賣前估價拍賣前估價用意為提供指引予準買家。本公司認為任何介乎於高至低估價範圍之間的競投價皆有成功機會。然而，拍品亦有可能在低於或高於拍賣前估價拍出。如欲對標示為「估價待詢」之拍賣品了解更多，請與專家部門聯繫。由於估價可予修改，因此閣下可於臨近拍賣前聯絡我們。拍賣前估價並不包括買家支付之酬金或其他適用稅項。拍賣前估價以美元及歐元為單位本拍賣會將以港元為競投貨幣，但載於拍賣圖錄內的拍賣前估價除以港元為單位外，亦或會用美元及或歐元。由於圖錄中的貨幣兌換率是根據圖錄付印時而非拍賣當日的兌換率而訂，因此美元或歐元的拍賣前估價只供參考用。圖錄編列富藝斯或會在圖錄內刊印有關拍品之出處及過往展覽、引述於藝術刊物之紀錄。儘管我們以審慎的態度進行編列，但拍賣品的出處、展覽及文獻或未能詳盡；及在某些情況下我們或會有意地不揭露物主身份。請注意所有陳述於圖錄內拍賣品之量度均為約數。拍賣品之狀況本公司之圖錄只會在多件型作品 (例如印刷品)的描述中提到狀況事宜。但該些狀況資料並不等於狀況之完整說明。未有提及此等狀況資料亦不表示拍品全無缺陷或瑕疵。品狀報告乃富藝斯為方便買家提供的一項服務。我們的專家以物品估價相應的方式評估及撰寫品狀報告。雖然我們以真誠及謹慎的態度撰寫品狀報告，惟本公司職員並非專業修復者或經培訓之管理人。故我們建議所有準買家應親臨拍賣前展覽並親自檢查拍品；由於所有品物均於無裝框下出售，除特別註明在品狀報告上。如拍品出售時有裝框，富藝斯將不會就框架任何狀況承擔任何責任。如我們售出的拍品沒有裝框，我們樂意為買家推薦專業的裝框服務。

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保證金如欲競投標有*記號之拍賣品 (高額拍賣品)，富藝斯或要求閣下交付港幣2,000,000元或其他由富藝斯決定之更大金額的保證金及任何財務狀況證明，擔保及/或其他由富藝斯可全權酌情決定要求的抵押作為參加富藝斯競投的保障。富藝斯亦會要求閣下於該高額拍賣品拍賣日前完成高額拍賣品預先登記。當我們確認收到保證金及已填妥之預先登記表格後，閣下將獲發高額拍賣品競投牌以資識別。拍賣官一般只接受以高額拍賣品競投牌或其登记競投人士作出之競投。此亦適用於拍賣現場、電話及書面競投。閣下可以電匯或富藝斯可接受之信用卡繳付保證金。如閣下未有成功競投高額拍賣品，於富藝斯或我們任何附屬公司亦無任何欠款，保證金將以電匯( 與閣下繳付保證金時相同之貨幣)或信用卡退還，視乎個別情形，本公司將安排於拍安日期後7天內安排退還保證金。符號圖例圖錄內提述有關以下符號之意思 O 保證項目拍安品標有O符號代表已獲承擔保證最低出售價。在此情況下，不論拍安結果如何，該安家都可收取一筆由富藝斯保證的最低金額款項。該保證可由富藝斯獨自提供或與第三方共同提供。 ♦ 第三方保證在富藝斯同意提供最低出售價保證時，便承擔拍安品不被安出或以低於最低出售價保證的價格安出所涉及的財政風險。由於可涉及龐大金額，富藝斯可選擇與第三方分擔有關的財政風險。第三方會在拍安進行前承諾分擔有關風險，通常是以書面形式競投，列明不論有否其他競投都會以一個協議金額買入拍安品。若出現其他競投，第三方擔保人仍可以高於任何書面出價競投。在此情況下，第三方擔保人須承擔競投未能達到最低出售價保證的風險。為換取第三方承保或分擔有關風險，富藝斯通常會向第三方支付補償金。該補償金可為一固定費用或拍安品成交價的一定比例。若該第三方擔保人競投成功，其必須繳付拍安品的成交價和買家支付之酬金，而不會獲得任何補償。第三方財政權益的披露富藝斯規定第三方擔保人向接受其建議的任何人士披露其對拍安品的財政權益。若您考慮競投涉及第三方保證的拍安品及正在接受他人的建議，或若您已要求他人代表您競投，您必須要求他們確定其是否對拍安品有財政權益。無底價 •除非標有•符號，否則所有本圖錄內所載之拍安品均有底價。底價是由富藝斯和安家共同訂立且機密之價格。拍安品不會以低於該價售出。每件拍安品的底價一般以低估價之一定比例來定，並且不會高於拍安前低估價。

▼ 限制進口標有此符號的拍安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 拍安競投於拍安會上競投競投可於拍安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安前以書面形式參加。請提供政府發出的身份證明文件及原有簽名。我們或需要閣下提供銀行證明。親身競投親身競投之人士須於拍安會開始前登記及領取競投牌。我們建議新客戶於拍安舉行前至少48小時辦理登記，以便有充足時間處理閣下之資料。所有售出之拍安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。拍安完結時，請將競投牌交回登記處。電話競投如閣下未能出席拍安會，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。此服務須於拍安會開始前至少24小時安排，及只適用於拍安前低估價為港幣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安會，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執行網上拍安。閣下如欲以Safari運行網上拍安需先行安裝Adobe Flash Player。於網站內按「拍安」、「實時拍安」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安即可。閣下須於拍安前至少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安會及參與電話競投，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。投標價必須是以拍安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安24小時前收到。倘本公司就同一項拍安品收到相同之競價，則最先收到之競價會獲優先辦理。

∑ 瀕危物種標有此符號的拍安品表示在編列圖錄時該拍安品已確定含有

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重要通告僱員競投富藝斯及其附屬公司之僱員，包括拍賣官只可在不知底價及全面遵守本公司的僱員競投內部規例之情況下進行書面競投。競投價遞增幅度競投一般由低於最低估價開始，通常每次喊價之遞增幅度最高為10%，拍賣官亦可於拍賣時自行決定更改每次喊價增加之額度。書面競投價若與下列之遞增幅度不一致，將被調低至下一個喊價幅度。競投價 1,000-2,000 港元 2,000-3,000港元 3,000-5,000港元 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。 3 拍賣如上所述，拍賣會受業務規定及保險書所規限，所有準買家應仔細閱讀。該等業務規定及保證書可經在拍賣會場張貼通告或由拍賣官作出公佈之方式進行修改。有利害關係的各方公佈在某些情況下對拍賣品有直接或間接利害關係的一方可能對拍賣品作出競投，如出售拍賣品之遺產之受益人或執行者；拍賣品之聯權共有人或提供或參與保證的一方，富藝斯將會於拍賣廳內公佈有利害關係的各方可能對拍賣品作出競投。

接連投標及競投；無底價拍賣品拍賣官可代表賣家為任何拍賣品叫第一口價以開始競投。拍賣官更可代表賣家以接連投標或競投之方式，就拍賣品作出競投直至達到底價。就不設底價的拍賣品,除非已有競投,否則拍賣官一般會以拍品的拍賣前低估價的50%開始拍賣。若在此價格下並無投標,拍賣官會自行斟酌將價格下降繼續拍賣,直至有客戶開始競投,然後再由該投標價向上繼續拍賣在沒有更高叫價的情況下,以書面投標競投無底價拍賣品會以拍賣前低估價大約50%成交。但若該投標價低於拍賣前低估價的50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫價, 拍賣官會自行決定該拍賣品為流拍。

信用卡為方便客戶, 富藝斯可接受以信用卡支付不多於港幣80萬元的付款。使用信用卡將會被收取附加費。如欲了解更多以信用卡付款詳情, 請聯絡客戶服務部+852 2318 2000。

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

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

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

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

(a) 富藝斯對各拍賣品之認識部份依賴賣家向其提供之資料, 且富藝斯無法及不會就各拍賣品進行全面盡職審查。準買家知悉此事, 並承擔進行檢查及檢驗之責任, 以使滿意彼等可能感興趣之拍賣品。儘管如前所述, 富藝斯在圖錄描述或品狀報告作出之明示聲明, 應以有關拍賣中有關拍賣品之拍賣官身份相符之合理審慎態度作出; 以及基於(I)賣家向其提供之資料; (II)學術及技術知識; 及(III)相關專家普遍接納之意見作出之明示聲明, 在各情況下應以合理審慎態度作出明示。 (b) 富藝斯提呈拍賣時出售之各拍賣品於拍賣前可供準買家檢查。在競投人(鑑於有關拍賣品之性質及價值及競投人之專業知識而屬合適者,以及代表彼等之獨立專家)已當作在投標前全面檢驗拍賣品, 並滿意拍賣品之狀況及其描述之準確性, 富藝斯會接受競投人對拍賣品之投標。 (c)準買家確認眾多拍賣品年代久遠及種類特殊, 意味拍賣品並非完好無缺。為方便準買家, 富藝斯或會準備及提供品狀報告以方便準買家檢查拍賣品用。圖錄描述及品狀報告在若干情況下可用作拍賣品某些瑕疵之參考, 但競投人應注意, 拍賣品可能存在其他在圖錄或品狀報告內並無明確呈視出之瑕疵。所有量度皆為約數。解說只供鑑定用途, 將不能當作為拍賣品尺寸之精確量度或真實狀況之全部資料。 (d) 提供予準買家有關任何拍賣品之資料包括任何拍賣前預測(無論為書面或口述)及包括任何圖錄所載之資料、規則及其他報告、評論或估值, 該等資料並非事實之陳述, 而是富藝斯所持有之意見之聲明, 故不應依賴任何拍賣前預測作為拍賣品售價或價值之預測, 且該等資料可由富藝斯不時全權酌情決定修改。富藝斯及並附屬公司皆不會為任何拍品拍賣前估價與於拍賣或轉售所達之實際價錢之間的差距負上任何責任。 4 拍賣會上競投出價 (a) 富藝斯可全權酌情決定拒絕進入拍賣場地或參與拍賣。所有競投者需於競投前登記競投牌, 並提供富藝斯所需資料及參考。

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

時採取其認為是合適之其他行動。富藝斯不會為拍賣官之行動承擔任何責任。如在拍賣後有任何爭議, 將會以本公司的拍賣紀錄為確鑿。拍賣官或會接受富藝斯附屬公司競投者在不知道該拍賣品之底價的情況下之競投。 (c) 拍賣官會以其認為合適之喊價開始及繼續拍賣。為保障所有拍賣品的底價, 拍賣官在不一定表示的情況下, 可代表賣家以接連投標或競投之方式就拍賣品作出競投直至達到底價。就不設底價的拍賣品,除非已有競投,否則拍賣官一般會以拍賣品的拍賣前低估價的50%開始拍賣。若在此價格下並無投標,拍賣官會自行斟酌將價格下降繼續拍賣,直至有客戶開始競投,然後再由該投標價向上繼續拍賣。在沒有更高叫價的情況下, 以書面投標競投無底價拍賣品會以拍賣前低估價大約50%成交。但若該投標價低於拍賣前低估價的50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫價, 拍賣官會自行決定該拍賣品為流拍。 (d) 本拍賣會以港元進行拍賣及須以港元繳款。為方便海外客人, 圖錄內之拍賣前估價或會用美元及或歐元, 及會反映大概兌換率。因此, 美元或歐元的估價只供參考用。為方便競投者, 本公司於拍賣會上或使用貨幣兌換顯示板, 富藝斯不會為任何貨幣兌換計算出現錯誤承擔任何責任。 (e) 在拍賣官之酌情下, 其出價最高且被拍賣官接受的競投者將為買家, 下槌則顯示最高競投價之被接受, 亦表示賣家與買家之間的拍賣合約之訂立。拍賣品之風險及責任將如載於以下第7段轉移到買家。 (f) 如拍賣品沒有售出, 拍賣官會宣佈該拍賣品為”流拍”, “撤回”, “送回賣家”。 (g) 任何於拍賣會後的拍品買賣均受業務規定及著作保證所限制, 如同拍品於拍賣會中出售。 6 購買價及付款 (a) 買家同意支付本公司每件拍賣品之成交價，買家應支付本公司酬金及所有適用稅項及費用。買家應支付酬金費率為：拍賣品成交價首港幣2,000,000元之25%，加逾港幣 2,000,000元以上至港幣30,000,000元部份之20%；加逾港幣30,000,000元之餘款的12.5%計算。富藝斯保留用酬金支付介紹佣金予一個或多個協助拍品於拍賣會中售出的第三方之權利。 (b) 除非另有協議, 否則買家須於拍賣後立即繳款, 與有任何意圖獲得該拍賣出口或進口許可證或其他執照無關。付款須由發票抬頭人,以港元及按照發票上之詳細銀行資料以電匯方式支付。 (c) 為方便客戶, 富藝斯將接受以美國運通卡, Visa及萬事達卡繳付最多港幣80萬元之發票。使用信用卡將被收取附加費。 (d) 所購拍賣品之擁有權將於富藝斯全數收取後方可轉移。富藝斯概無責任將拍賣品交給買家直至拍賣品之擁有權已轉移, 且已獲提供適當確認而提早交付不會影響擁有權之轉移或買家支付買入價之無條件責任。 7 提取拍賣品 (a) 富藝斯直至確認全數收取及買家於富藝斯或其附屬公司沒有欠款, 包括任何根據以下第8(a)段所述需繳之任何費用; 及我們滿意買家所需其他條款(包括完成反洗黑錢或反恐怖主義之財務審查後, 會將拍賣品交予買家。

(b) 拍賣官可隨時酌情決定拒絕或接受任何競投, 撒回任何拍賣品, 重新出售拍賣品(包括在落槌後), 以及如遇出錯或爭議

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

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

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

13 法律責任限制 (a) 根據以下(e)段, 富藝斯, 其附屬公司之所有法律責任及賣家與買家在拍賣品銷售關係乃受買家實際所付的購入價限制。

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

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香港中環雪廠街2號聖佐治大廈14樓 • 以個人名義購買請提供政府發出的身份證明文件及現時住址證明。 • 以公司名義購買請提供由公司董事簽署及蓋有公司章授權予被授權人代表公司進行競投的競投授權書，及政府發出的公司證明文件(如公司註冊證書)之副請填妥此表格並於拍賣日前24小時傳真至+852 2318 2010 或電郵至bidshongkong@phillips.com。敬請細閱表格右列須知，並選擇閣下欲以個人名義或公司名義參與是次競投。

本。 • 業務規定所有投標的處理及執行、及所有拍品的成交及購買均按照圖錄所載之

請選擇此表格之競投方式(選一項)：

業務規定執行。請於參與競投前細閱業務規定，並細閱第4段之內容。

現場競投書面競投電話競投

競投牌號碼

• 如閣下未能出席拍賣會，本公司樂意代表閣下進行保密的書面競投。 • 本公司會按每件拍品成交價向成功競投者收取佣金或買家支付之酬金。買家應支付本公司酬金，酬金費率為：拍品成交價首港幣 2,000,000元之25%，加逾港幣2,000,000元以上至港幣30,000,000 元部份之20%；加逾港幣30,000,000元之餘款的12.5%計算。

請選擇閣下是次競投名義(選一項)：

• 「購買」或無限價競投標將不獲接納。閣下可於拍品編號之間以

以個人名義以公司名義

「或」字作兩者(或若干)中擇一競投。 • 如欲進行書面競投，請列明每件拍品之最高限價(買家酬金及稅(如有)

拍賣名稱稱謂

拍賣編號名字

公司名稱(如適用)

拍賣日期姓氏

不計在內) 。拍賣官將參考底價及其他競投價，盡力以最低價進行競投。在沒有更高價的情況下，對不設底價的拍賣品所提交的不在場投標，會以售前低估價大約50%成交，但是若該投標價低於售前低估價的50%，則以該投標價成交。

客戶號碼

• 投標價必須以拍賣當地的貨幣為單位，及將會被調低至最接近拍賣官

地址

喊價遞增幅度之競投金額。 • 如本公司就同一項拍賣品收到相同競價之委託，則最先收到之委託獲

城市

國家

優先辦理。 • 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

郵編電話

手提電話

電郵地址

傳真

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Sale Information Auction and Viewing Location Mandarin Oriental 5 Connaught Road Central Hong Kong Auction 25 November 2018, 6pm (Lots 1–28) Viewing 22-25 November Thursday-Friday 10am-6pm Saturday 10am-7pm Sunday 10am-6pm

Deputy Chairman, Asia Jonathan Crockett +852 2318 2023 jcrockett@phillips.com Head of Department Isaure de Viel Castel +852 2318 2011 idevielcastel@phillips.com Head of Evening Sale Sandy Ma +852 2318 2025 sma@phillips.com Head of Day Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com

Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010218 or 20th Century & Contemporary Art Evening Sale

Specialists Jane Yoon +82 10 7389 7714 jyyoon@phillips.com

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

Cataloguers Danielle So +852 2318 2027 dso@phillips.com

Meiling Lee +886 908 876 669 mlee@phillips.com

Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Administrator Marian Ang +852 2318 2024 mang@phillips.com

Auctioneer Jonathan Crockett Photographers Peter Lee Arnold Lee Etta Kwok Toromark Inc. Creative Brothers PTE Ltd Kim Sang Tae Jean Bourbon Kent Pell Alex Braun Matt Kroening Special Thanks Fusako Oshima William Paton Joseph Funnell Shauna Yuan Hui Min Teo Zoe Chiu Luisa Ku Alice Zhong Xing Zhao Corinna Ko Catalogues catalogues@phillips.com HKD400/$50/€35/50CHF +852 2318 2000 Client Accounting clientaccountslondon@phillips.com +852 2318 2000 Client Services 14/F St. George's Building 2 Ice House Street Central Hong Kong +852 2318 2000 Shipping Christine Cheung +852 2318 2017 christinecheung@phillips.com

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Zao Wou-Ki Untitled, 1956 watercolour on paper 40.5 x 33 cm. (15 7/8 x 12 7/8 in.) Estimate HK$ 1,300,000 - 1,800,000 US$ 167,000 - 231,000 趙無極《無題》水彩紙本 40.5 x 33 公分 (15 7/8 x 12 7/8 英寸) 1956年作估價港幣 1,300,000 - 1,800,000 美元 167,000 - 231,000

Art. Design. Hong Kong. 20th Century & Contemporary Art and Design Day Sale Hong Kong, 26 November 2018, 10:30am 二十世紀及當代藝術和設計日間拍賣香港，2018年11月26日，上午10時30分 Mandarin Oriental Hong Kong 香港文華東方酒店 Enquiries 查詢 Charlotte Raybaud +852 2318 2026 charlotteraybaud@phillips.com

Visit us at phillips.com Auctioneers since 1796.

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Index BANKSY 27, 28

Lam, Wifredo 13

班克斯 27, 28

林飛龍 13

Brown, Cecily 2

Lin, Richard 12

塞西麗·布朗 2

林壽宇 12 劉野 6

Liu, Ye 6 亞歷山大‧考爾德 11

Calder, Alexander 11 Chagall, Marc 16

Murakami, Takashi 4

馬克·夏卡爾 16

村上隆 4

Cheong, Soo Pieng 19

Murillo, Oscar 26

鍾泗濱 19

奧斯卡·穆里略 26

Doig, Peter 7

Park, Seo-Bo 21

彼得·多伊格 7

朴栖甫 21

勞爾‧杜飛 17

Dufy, Raoul 17 Dumas, Marlene 8 Foujita, Léonard-Tsuguharu 9 Gee, Yun 18

Tuymans, Luc 15

馬琳·杜馬斯 8

呂克·圖伊曼斯 15

Utarit, Natee 10

藤田嗣治 9

納堤·尤塔瑞 10

Whitney, Stanley 1

朱沅芷 18

斯坦利·惠特尼 1 喬納斯·伍德 23

Wood, Jonas 23 Indiana, Robert 25

Wool, Christopher 24

羅伯特·印第安納 25

克里斯托弗·伍爾 24

Kapoor, Anish 22

Yamaguchi, Takeo 20

安尼施·卡普爾 22

山口長男 20

KAWS 3, 14

Kusama, Yayoi 5

草間彌生 5

Front Cover Lot 13, Wifredo Lam, Sur les traces (detail)

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Back Cover Lot 12, Richard Lin, Painting Relief (detail)

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Watches. Hong Kong. Now. The Hong Kong Watch Auction: SEVEN Hong Kong, 27 November 2018 名錶薈萃－香港 VII 香港,2018年11月27日中午12時香港文華東方酒店 Mandarin Oriental Hong Kong 5 Connaught Road, Central, Hong Kong Enquiries 查詢 Thomas Perazzi +852 2318 2030 ThomasPerazzi@phillips.com

Richard Mille, ref. RM 52-01 “Skull”, a highly attractive and rare limited edition titanium, pink gold and ceramic skeletonized tonneaushaped wristwatch with tourbillon, original certifcate and box, numbered 6 of a limited edition of 6 pieces. Estimate HKD 4,800,000–6,000,000 Richard Mille，「Skull」型號RM 52-01，十分精細及罕有，限量版鈦金屬、18K玫瑰金和陶瓷酒桶形鏤空腕錶，配陀飛輪，限量發行6枚，編號第 6號，2013年製。附錶盒、保證書和配件，特別為亞洲市場限量生產，首次現身拍賣市場估價港幣 4,800,000–6,000,000

Visit us at phillips.com Auctioneers since 1796.

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8. Marlene Dumas 瑪琳．杜馬斯

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y p y g g g 二十世紀及當代藝術晚間拍賣

25 November 2018 H K010218

phillips.com

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